Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00072
 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
S.l
Publication Date: December 1991
 Subjects
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: VID00072
Source Institution: University of Florida
Holding Location: University of Florida
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Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text



/N}EW LET ER


A -FE, Y 1_
NEWSLETTER
WNSLE

NEWSLETTER

NEWSLETTER

SA NEWSLETTER

NELEMTTER OF THE ARTI COUNCIL OF THE AFRICAN STlUDIES ASSOCIATION INumik 12 D ri II








ACASA Board of Directors


Maria Berns, President
Lisa Aronson, Secretary-Treasurer
Rowland Abiodun
Mary Jo Arnoldi
David Binkley
Acha Debela
Margaret Drewal
Barbara Frank
Simon Ottenberg
Janet Stanley


Membership Information
(for residents of North America & Europe):
Lisa Aronson, ACASA Secretary-Treasurer
Art Department
Skidmore College
Saratoga Springs, NY 12866


Membership Information
(for residents of Africa & the Caribbean):
Janet Stanley, ACASA Newsletter Editor
National Museum of African Art Library
Smithsonian Institution
Washington, D.C. 20560
U.S.A.


Cover design by Acha Debela









ACASA Newsletter


December 1991


Letter from Marla Berns,
ACASA President

ACASA was well represented at the 1991 ASA
meeting in St. Louis despite a relatively modest
number of arts panels (due to the upcoming
Triennial in April). Many issues were discussed
at the Annual Business Meeting, including
ACASA initiatives and upcoming events (see
minutes for details, page 4).
The deadline for submitting panel and paper
topics for the next African Studies Association
meeting in Seattle in November 1992 is fast
approaching. The Board urges you to respond
to some of its suggestions for possible
ACASA-sponsored panels and to propose
others. We realize that the upcoming Triennial
may be foremost in your minds, but it is
important that ACASA continue to make a
strong showing at ASA. Please be thinking of
panel topics and individuals you can solicit to
participate as presenters and discussants. David
Binkley, though officially retiring from the Board
in April, has generously agreed to serve again
as a program chair (see page 3 for details).
Members of the Triennial Program Planning
Committee met several times during ASA. On
behalf of that Committee, I would like to stress
how difficult our job became because so few
abstracts were submitted by potential Triennial
participants. Our organization has surely grown
to the point where members can respect a call
for panels and papers that requires an abstract.
In the future, submissions of titles alone will not
be acceptable for consideration. Despite this
disappointment, the program committee is very
pleased with the number of proposed panels
and their diversity. We anticipate that the
Triennial will offer a stimulating three-day
program of plenary sessions and panels, as well


I ACASANEWS


ACASA Newsletter / No. 32, December 1991 1


Contents
ACASA News
President's Letter 1
1992 Triennial Symposium 2
1992 ASA in Seattle 3
Book Distribution Program 3
1991 Business Meeting 4
Board Nominations 6
People in the News 6
Obituaries 7
Opportunities 7
Forthcoming Exhibitions 9
Research Reports
Mande Pottery 10
Baga Art 10
News Round-Up
Benin, Cameroon, Cuba 11
Ethiopia, France 11
Germany 12
Ghana, Great Britain 13
Mexico, Namibia 13
Nigeria, Somalia 14
Switzerland, Tanzania, U.S. 15
Noteworthy Publications
From Europe and America 16
From Africa 16
Journal Notes 17
Video Notes 17
Conferences
Forthcoming 18
Past 19
End Notes 20


as a full day of museum-related presentations
and discussion. I look forward to seeing all of
you in Iowa City next April. Best wishes for a
happy, healthy, and productive New Year.








Ninth ACASA Triennial
Symposium on African Art
April 1992
Program Summary. The 9th ACASA Triennial
Symposium on African Art will take place from
April 22-26, 1992 at the University of Iowa,
Iowa City, sponsored by ACASA and hosted by
the University's School of Art & Art History
and The Museum of Art.
Wednesday, April 22
Museum day
Thursday, April 23
Triennial sessions
Exhibition opening
Friday, April 24
Triennial sessions
Evening Reception
Saturday, April 25
Triennial sessions
ACASA banquet
Sunday, April 26
PASALA conference
On Wednesday, April 22nd there will be a
Museum Day with presentations and discussion
devoted to museum issues. The three days of
the symposium will be marked by panels on art
of Africa and the African Diaspora. Preliminary
plans call for a full plenary session each
morning, followed in the afternoon by three
pairs of panels of about four presentations each.
On Thursday evening, April 23 participants may
attend the opening reception of "Art and Life in
Africa: Selections from the Permanent
Collection" [of the University of Iowa Art
Museum]. On Friday evening there will be a
reception at the International Center. The
ACASA Triennial banquet will be Saturday
evening during which the Arnold Rubin Book
Award and the ACASA Leadership Award will
be presented. On Sunday, April 26th, following
the main symposium, the Second Annual
Graduate Student Conference on African Art
will be held in the University of Iowa School of
Art & Art History.
* One of the features at the Triennial will be a
book and video exhibition, focusing on African
art publications, exhibition catalogues,
educational materials, films and videos.
Publishers and authors are invited to exhibit or
to send for exhibit display copies of works


-along with order forms. Space will be provided
to at no charge to exhibitors. (Note: This
invitation does not extend to vendors of craft
items and souvenirs). For more information,
contact Janet Stanley, National Museum of
African Art, Washington, DC 20560. Telephone
(202) 357-4600 extension 285.
* Another special feature at the Triennial will be
the video and film sessions, running for the
three days, April 23-25. Film-makers and those
with unedited field footage are invited to screen
and discuss informally their experiences,
particularly recent of work. Contact: Margaret
Drewal, Department of Performance Studies,
Northwestern University, Evanston, IL 60602.
(708) 491-3171. FAX (708) 491-3234.
* The Triennial exhibition, "Art and Life in
Africa," will include over 200 works of art from
the Stanley Collection and other collections of
Iowa. Many of these pieces were acquired by
the late Elizabeth Stanley from 1985 to 1990,
including a superb Lele leopard mask, the
beaded Luba mask illustrated on the cover of
African Arts, an unusual Boa mask, and the
portrait of Shamba Bolongongo that was given
to the Belgian administrator Riesdorff by the
King of the Kuba in 1919. The exhibition will be
illustrated by a new edition of the "Art and Life
in Africa" catalogue that will include recent
acquisitions.
Travel & Accommodation. The Cedar
Rapids/Iowa City airport is just twenty minutes
from the University of Iowa campus.
Participants can fly to Cedar Rapids on United,
United Express and American Airlines from
Chicago; TWA from St. Louis; Northwest from
Minneapolis; United and Continental from
Denver and the west coast. Hotel reservations
may be made at convention rates Iowa House
on campus (319) 335-3513, FAX (319) 335-0497
or at the Iowa City Holiday Inn (319) 337-4058,
FAX (319) 337-4088 ext. 1236. Complimentary
van shuttle service will be provided from the
airport at the beginning and end of the
conference. Limousine and taxi service is
available at other times. Inquires: Conference
Bureau, Iowa Memorial Union, Iowa City, Ia
52242.
ACASA Travel Stipends to the Triennial.
ACASA will provide two $1,000 travel stipends
for African scholars and up to six $250 travel
stipends for graduate students whose papers
have been accepted for presentation at the


2 ACASA Newsletter / No. 32, December 1991









Ninth ACASA Triennial Symposium. Requests
for travel subsidy have already been received
from African scholars and are now under
review. All graduate student Triennial
participants interested in receiving support
should submit a letter of application along with
a letter of support from their academic advisor
to: Allen Roberts, Program Chair,
Anthropology Department, McBride Hall,
University of Iowa, Iowa City 52242.
Note: See the enclosed brochure for the
preliminary program of the Triennial
Symposium and the registration forms.
Questions? Call: (319) 335-1777.

1992 ASA in Seattle
Panels are now forming for the 1992 African
Studies Association meetings in Seattle. David
Binkley is coordinating the ACASA-sponsored
art panels. Ideas floated for panels include four
under the general heading of "Contested
Parameters": (1) Art rich/art poor: whose
values?; (2) Historicizing art and ethnicity; (3)
Inclusion/exclusion: the politics of positionality;
(4) Staking a claim: limitations in the arts of
Africa. Other panel topics are: Ethics of field
photography; Cultural performance and public
policy; Post-colonial issues in the arts;
Recognizing and revising rhetoric: strategies
towards processual models in the arts of Africa.
One firm panel is "Unexpected Discoveries in
Recent Research on African Ceramics"
(organized by Barbara Frank). This panel is
intended to present unexpected discoveries in
an art form often taken for granted as rather
static, little differentiated from one region to
another, and not terribly interesting beyond the
descriptive level of style and technique. Papers
that challenge the stereotype are solicited on
issues concerning identity such as gender roles
(or role reversals) in the production and
distribution of ceramics: the relationship
between pottery and blacksmithing (or the lack
of such a relationship) and other roles male or
female potters play in society; surprises in the
nature of patronage across class, ethnic or other
social boundaries; as well as noteworthy
departures from expected techniques and the
creation of unusual and exceptional forms.
For this panel, please copy Barbara Frank for
any paper proposals sent to David Binkley:


Barbara Frank, USIS-Bamako, Department of
State, Washington, DC 20520, USA.
Send ideas for other panels and paper proposals
with brief abstracts to David Binkley,
Nelson-Atkins Museum of Art, 4525 Oak
Street, Kansas City, MO 64111. All presenters
must be 1992 members of the African Studies
Association. Approval to participate may be
granted to guests of ASA, international scholars
not resident in the United States, and
non-Africanist specialists. Note that the deadline
for submitting paper proposals is March 1st to
David Binkley for the March 15th, 1992
submission to ASA. No exceptions.

Book Distribution Program
1991 marked the second full year of the ACASA
Book Distribution Program during which
African Arts and seven books were distributed
to 100 libraries and museums in Africa,
dispatched from the Smithsonian Institution.
ACASA would like to recognize the individuals
and organizations who donated catalogues and
other publications to the book program in 1991:
Fired Brilliance: Ceramic Vessels from Zaire
(courtesy of Pat Darish and the University of
Missouri-Kansas City Gallery of Art).
Pattern and Narrative (courtesy of Frieda High
Tesfagiorgis and the University of Wisconsin,
Madison).
Iowa Studies in African Art. Volume 3: Art and
Initiation in Zaire (courtesy of Christopher Roy
and the University of Iowa).
Royal Benin Art in the Collections of the National
Museum of African Art by Bryna Freyer; Patterns
of Life: West African Strip-weaving Traditions by
Peggy Gilfoy; The Art of the Personal Object by
Philip Ravenhill (all courtesy of the National
Museum of African Art).
African Art: The Cleveland Museum of Art; A Brief
Guide to the Collections by Henry John Drewal
(courtesy of Henry Drewal and the Cleveland
Museum of Art).
African Arts, through the July 1991 issue
(courtesy of Doran Ross and the publishers at
the James B. Coleman African Studies Center at
UCLA).
Selected publications courtesy of Arnold Rogoff
of Ethnographic Arts Publications.


ACASA Newsletter / No. 32, December 1991








In 1992, the ACASA Book Distribution Program
will expand from 100 recipients to 125. The
supplementary list of 25 libraries and museums
is now being drawn up. ACASA members who
are planning to donate titles to this program in
1992 should budget for 125 instead of 100. For
further information, contact Janet Stanley,
National Museum of African Art Library,
Smithsonian Institution, Washington, DC
20560, USA. (202) 357-4600 extension 285.
Donated titles may be shipped to Janet Stanley.

ACASA 1991 Business Meeting
Saturday, November 23, 1991
St. Louis
Financial/Membership Report (Lisa Aronson).
ACASA membership is increasing: We now
have 222 paid members (compared to 208 this
time last year). The only other time we reached
this number was following the 1989 Triennial,
when ACASA membership cycle is usually at its
highest. For this reason, we expect membership
to increase even more after the 1992 Triennial.
ACASA tries to build up budgetary reserves on
a three-year cycle in anticipation of the special
costs of the Triennial Symposium. ACASA's
current balance is $10,584.14, down $400 from
this time last year. Five thousand dollars has
been earmarked for stipends to allow students
and African scholars to attend the Triennial; the
annual publishing costs of the newsletter are
around $2,400. To compensate for these growing
costs, it was moved (by Bob Soppelsa),
seconded (by Barbara Blackmun), and then
voted unanimously by ACASA that the annual
membership be increased by $5.00. As of 1992,
regular membership will be $25.00 and special
membership (students, retirees, unemployed)
will be $10.00.
Newsletter report (Mary Jo Arnoldi). The
ACASA Newsletter is issued three times a year in
April, August and December to paid members
of ACASA; formerly it was issued quarterly. In
addition to the 222 paid ACASA memberships,
260 complimentary memberships in ACASA
were extended to scholars and others resident in
Africa and in the Caribbean and Latin America.
The mailing of the newsletter to Africa and the
Caribbean is sent by air mail from the
Smithsonian Institution.
ACASA Initiatives Report.
(1) Book distribution Mary Jo Arnoldi
reported that the book distribution project is


ever-expanding, now reaching more than 100
- African institutions, many of which have
written to acknowledge the contributions.
ACASA members planning to donate books are
now urged to plan for 125 (rather than 100
copies) intended for distribution through this
project.
(2) Slide distribution Barbara Frank reports
that some of those who originally offered to
participate did not come through, causing the
committee to select alternative ethnic groups for
the pilot project. Those groups are now the
Bamana, Akan, Kuba/Luba and
Turkana/Maasai of East Africa. Monica Visona
suggested that computerized imaging systems
had advantages of access and preservation over
the conventional slide format, although they
would be of little value for those in Africa
without access to viewing equipment. But
ACASA might consider it for distribution to
scholars in the U.S. and in Europe.
(3) African Art Text/Reader Project A group
was formed (Robin Poyner, Kathy Curnow, Art
Bourgoise, Barbara Blackmun, David Binkley,
and Barbara Frank) to investigate possible texts
and/or readers for courses on African art. A
second group was formed (Henry Drewal,
Barbara Frank, Ramona Austin, Eli Bentor, and
Monica Visona) to draft a letter to the editors of
H. W. Janson's History of Art, expressing
ACASA's concern that they reconfigure the way
in which African art is treated. Presently it is
confined to the first chapter with pre-historic art
suggesting, erroneously, its kinship to the latter.
Jackie Chanda announced her book in progress,
titled African Art and Culture, a text geared to
those in art education who teach K-12. Among
other things, it helps to dispel myths about
Africa.
Triennial Report. Maria Berns remarked that the
Triennial Planning Committee (Christopher Roy,
Allen Roberts, Bill Dewey, Marla Berns, Mary Jo
Arnoldi, and David Binkley) have met several
times. While pleased with so many panel and
paper submissions, the committee is distressed
that so many came without abstracts. The
results of a questionnaire given at the last
Triennial showed the strength of that conference
to be the diversity of panels and the weakness,
the way in which panel chairs and presenters
violated the time limit for speaking. Panel chairs
are urged to control the panel length by
imposing a page limit on papers a twenty


4 ACASA Newsletter / No. 32, December 1991








minute presentation with slides should le no
more than 10 pages (double-spaced). Panel
chairs are also encouraged to create ways to
generate lively discussion.
Allen Roberts reported on the Museum
Workshop (Wednesday, April 22nd). In the
morning session, Chris Geary will host a panel
on exhibiting historical and archival collections;
the afternoon will be devoted to contemporary
topics, particularly as they pertain to African
museums. Four African museum professionals,
including Joseph Adande from the museum in
Cotonou, Benin, will participate on this panel
along with a colleague from an American
museum. The main part of the Triennial
Symposium will be spread over three days
(Thursday-Saturday, April 23-25) with plenary
sessions scheduled for the mornings and
concurrent panels in the afternoons. Fuller
abstracts of proposed papers are still needed.
Panel presenters cannot serve as discussant on
other panels and vice versa. Panel chairs are
urged to control the format and content of
panels as well as encourage discussion.
Film/video presentations are welcome.
Bill Dewey reports that most of the conference
activities will take place at the University of
Iowa's Department of Art History and Museum
of Art. Hotel accommodations will be just across
the river, 200 yards away. Expect details of the
conference and registration materials to be
mailed in January.
Dana Rush reported on the PASALA
Graduation Student Symposium scheduled for
Sunday, April 26th, after the main symposium
(see page 18 for more information). Christopher
Roy remarked that the exhibition at the
University of Iowa Museum of Art will be
recent acquisitions in the Stanley Collection
along with pieces in the Museum's collection
obtained by Roy Sieber in the 1950s. A poster
announcing the exhibition and the Triennial is
selling for $10.00. Roy thanked the University of
Iowa students for their help with Triennial
planning. David Binkley announced that the
deadline for nominating titles for the Arnold
Rubin African Art Book Award is December
31, 1991; the award winner will be announced
at the Triennial banquet. As published in the
August 1991 ACASA Newsletter, submissions
must be scholarly monographs written by one
or two authors published in 1989, 1990 or 1991.


Regarding fellowship opportunities, ACASA will
be subsidizing travel for two Africans and up to
six U.S.-based students. Individuals wishing to
be funded must apply. Apart from ACASA's
own funds, efforts are being made to seek a
grant from USIA to bring 10-12 African scholars
to attend both the Triennial and the Society for
Africanist Archaeologists Conference scheduled
from March 26-29 at UCLA. This gives the
visitors time to visit American institutions. ASA
will be the umbrella organization and grant
submitter for this project.
College Art Association (CAA) Report. There
will be three panels at the February 1992 CAA
meetings in Chicago "New World Art
History Hegemony in the Americas," Chair,
Henry Drewal (six speakers); "Open session on
African Art," Chair, Paula Ben-Amos; "Yoruba
from Africa to the New World," Chair, Ronnie
Hartfield, Director of Museum Education
Department, Chicago Art Institute.
ASA Report. The 1992 ASA will be in Seattle
from November 20-23, the weekend before
Thanksgiving. Panel proposals should be
submitted to David Binkley, ACASA Programs
Chair, who will then forward them to the ASA
National Program Committee. The theme for the
conference is "Africa, Africans, Advocates, and
Critics: Rethinking Perspectives and Policies."
ACASA's Affiliation with ASA. Ideally, ACASA
should be an ASA-sponsored organization, the
advantages of which are that ACASA could use
ASA's name, apply to ASA for publication
subventions, use ASA for funding applications,
use ASA's non-profit tax status, and have AV
usage at meetings without charge. To be an
ASA-sponsored organization, two-thirds of
ACASA's members must also be members of
ASA. Doran Ross suggested that if ACASA
membership goes below the two-thirds level
that ACASA's budget pay the difference to
cover the balance. Barbara Blackmun moved,
Rosalind Wilcox seconded, and ACASA voted
unanimously that ACASA support becoming a
sponsored organization. Edna Bay suggested to
the ACASA Board that ACASA join ASA's
endowment campaign. Under an NEH
Challenge Grant, $375,000 raised would be
matched by $125,000 from NEH (NEH
contributes one dollar for every three raised).
This would generate endowment monies to help
finance publications, outreach projects, and
travel for African scholars. To participate,


ACASA Newsletter / No. 32, December 1991 5








ACASA would have to raise $60,000 to provide
enough annual interest to support one visiting
scholar from Africa to attend ASA meetings.
Enid Schildkrout moved, Monica Visona
seconded, and ACASA voted unanimously that
we explore the feasibility of raising such funds.
The timeframe for this fundraising effort will be
presented at the Triennial.
Announcements.
(1) Mikelle Smith Omari has resigned as
Member of the Board of Directors. The Board
nominated Rowland Abiodun to fill the
unexpired term.
(2) Job announcements: University of Vermont,
tenure-track position as Assistant Professor
beginning August 1991 to teach
African-American and African art. Major
research should be in the area of
African-American art. Contact John Seyller,
Chair, Search Committee, Department of Art,
304 Williams Hall, Burlington, VT 05405
[deadline was December 31, 1991 editor];
Kathy Curnow announced a one-semester
position (spring 1992) at Stanford University to
teach one course in African art history. Contact
Kathy Curnow at (216) 687-2105 for further
information.
(3) ACASA will encourage African artists living
in the US. to come to Seattle for the 1992 ASA
meetings.
(4) Jean Borgatti urged that the ACASA
By-Laws be distributed and, if possible, read at
the ACASA Business meeting during the
Triennial in April.
(5) Phil Peek announced that Drew University
has taken over Parson's program in the C6te
d'Ivoire (see page 8 for more information). It
will remain under the directorship of Jerry
Vogel.
(6) Enid Schildkrout announcement that those
interested in belonging to the Council of
Museum of Anthropology may join either
through AAA membership or as a supporting
member at a cost of $22.00 (see page 17 for
more information).
Respectfully Submitted, Lisa Aronson, ACASA
Secretary/Treasurer.


ACASA Board Nominations
The ACASA Board of Directors has nominated
the following individuals to fill the four Board
positions that will become vacant in April after
the Triennial: Rowland Abiodun, Raymond
Silverman, Frieda High Tesfagiorgis, and Nancy
Nooter. The Board of Directors has also
nominated Barbara Frank to serve as the next
ACASA Secretary/Treasurer. Elections will be
held at the ACASA Business Meeting during the
Triennial.
The By-Laws, excerpted below and published in
full in the November 1986 ACASA Newsletter,
provide the following procedure for new
nominations and elections:
Article VI: Elections:
New officers shall be nominated by the
Board of Directors at least two months prior
to the election meetings with the
nominations set forth in the ACASA
Newsletter preceding those meetings. Officers
may also be nominated by written petition
of: (a) ten or more members, filed with
Secretary/Treasurer not less than twenty
days prior to the Annual Meeting or (b)
twenty or more members filed with the
Secretary/Treasurer at the start of that
Annual Business Meeting in order to have
their, names placed in nomination, but
nominators must provide the presiding
officer with a written statement of such
candidates' agreement to being nominated
and willingness to serve if elected. Those
nominees for Director and
Secretary/Treasurer receiving the highest
number of votes will be held in case of a tie
vote. Vacancies occurring on the Board of
Directors through resignation will be filled
by majority vote of the Board of Directors,
with a replacement elected at the next
Annual Business Meeting to fill out the
remainder of the term in question.




Simon Ottenberg has been appointed Regents
Fellow at the Smithsonian Institution. Professor
Ottenberg, Emeritus Professor, Department of
Anthropology, University of Washington, will be
taking up this appointment at the National
Museum of African Art early in 1993.


6 ACASA Newsletter / No. 32, December 1991








Clarke Speed, a student of Simon Ottenberg, is
currently a Postdoctoral Fellow at the National
Museum of African Art. His research topic is
"African aesthetics as philosophies of power."
He will be at the museum until September 1992.
Tjako Mpulubusi, director of the National
Museum in Gaborone, Botswana, is currently
doing a graduate degree program in museum
studies at George Washington University in
Washington, DC.
Ezio Bassani was in Washington, D.C. in
October 1991 for the opening of "Circa 1492: Art
the Age of Exploration" at the National Gallery
of Art. He is the author of the Africa section of
the exhibition's catalog, which featured Benin,
Owo and Djenne works of art.
Sharon Patton will be taking up an
appointment in the Department of Art History
at the University of Michigan in January 1992.
She was formerly at the Studio Museum in
Harlem, Monclair Art Gallery and the
University of Maryland.
John Nunley returned recently from Trinidad
where he has been doing fieldwork on masking
traditions of Carnival.
Acha Debela recently participated in a group
exhibition "Computer Generations: Animation in
Mixed Media" at the Warwick Museum in
Rhode Island. On December 8, 1992, Acha
opened an exhibition of paintings and digital art
at the North Carolina Central University
Museum of Art, Durham, NC, where he is on
the faculty.
Vincent Boulord, a graduate student at the
Sorbonne, spent the summer at the National
Museum of African Art working on his
dissertation topic, masks of the Baule. See also
his essay "L'art Baoul6: une esth6tique de
I'jquilibre," pp. 86-92. In: De l'art negre A l'art
africain: l'6volution de la connaissance de l'art
africain des annees trente A aujourd'hui.
Arnouville: Collection Arts d'Afrique Noire, 1990.
Cornelius 0. Adepegba of the Institute of
African Studies, University of Ibadan, spent six
weeks at the University of Iowa in September
and October 1991. Dr. Adepegba has recently
published the article: "Intriguing aspects of
Yoruba Egungun masquerades," Nigerian field
(Ibadan) 55 (1 & 2): 3-12, April 1990.


Baba Fallo Keita, conservator at the Mus6e
National du Mali, was a Graduate Fellow at the
National Museum of African Art in the summer
of 1991, where he was developing a proposal
for establishing a West African regional museum
conservation laboratory. Baba Keita, an artist by
training, is also a member of the Bogolan group
of artists in Bamako, who are revitalizing the
bogolanfini textile tradition using the
established dyeing techniques to create a wholly
new imagery.


6;ITUARI


Philip Allison, 84, author of African stone
sculpture and Cross River monoliths, died in
September 1991.
Dumile Feni (1939-1991), South African artist in
exile and ANC activist, died in New York in
October 1991
Pierre Harter, author of Arts anciens du
Cameroun and several articles on the Cameroon
Grassfields, died last year. He had bequeathed
49 sculptures from his collection of
Cameroonian art to the Mus6e National des Arts
Africaines et Oc6aniens in Paris.
Jean Kennedy, 72, author of the forthcoming
New Currents, Ancient Rivers: Contemporary
African Artists in a Generation of Change
(Smithsonian Institution Press, May 1992), died
in San Francisco, November 30, 1991, following
a brief illness.
Michel Leiris (1901-1990), author of many books
including Afrique noire: la creation plastique
(1967), died in September 1990. For a late-life
interview with Leiris, see "A conversation with
Michel Leiris," Current anthropology (Chicago) 29
(1): 157-174, 1988.


I OPPORTNIT


Tucker-Boatwright Professorship in the
Humanities (Non-Western Art History),
University of Richmond. Applications are being
sought for a tenurable appointment to a newly
endowed chair. It will be made preferably at the
full professor level and is to begin August 1992.
The holder of this chair is to be a specialist in
some area of non-Western art history and to
have a record of distinction in both teaching


ACASA Newsletter / No. 32, December 1991 7









and scholarship. The teaching responsibilities
will be on all levels of the undergraduate
curriculum. Applicants should send a statement
of interest, curriculum vitae, a selection of their
writings, and the names and addresses of at
least three references to: David E. Leary, Dean
of Arts and Sciences, University of Richmond,
Richmond, VA 23173, USA.
African Art Historian, Northwestern University.
Assistant professor, tenure track. To commence
September 1, 1992. Required: Ph.D. in art
history or related field. Affiliated to
Northwestern's Program of African Studies. To
teach undergraduate and graduate courses.
Candidates should demonstrate interest in
theory and method as well as historical
investigation. Send letter of application with
research and teaching interests, representative
writing sample, curriculum vitae, three letters of
reference. Deadline: January 15, 1992. Hiring is
contingent upon eligibility to work in the
United States. Contact: Nancy J. T'oy, Chair,
Department of Art History, 1859 Sheridan
Road, #254, Evanston IL 60208- 2208, USA.
Cultural Anthropologist, Anthropology
Department, Cleveland State University.
Tenure-track position in cultural anthropology,
rank open. Ph.D. required at appointment.
Department offers BA; MA under development.
Appointment date negotiable, open until filled.
Teaching/research in two of the following areas:
ethnography of sub-Saharan Africa, New World
African-American studies, women's studies.
Participation in Black Studies curriculum
expected. Applicants should send materials as
soon as possible. Letters detailing qualifications,
research, courses, current vita, names/addresses
of three references to: Ronald Reminick,
Anthropology Search Committee, Cleveland
State University, East 24th and Euclid Avenue,
Cleveland, Ohio 44115, USA.
"Parsons in West Africa" has become "Drew in
West Africa." Drew University has taken over
the program formerly run by the Parsons School
of Design for study and travel in West Africa.
Jerry Vogel, who has directed this excellent
program for eight years, will continue as
director; the only change is the administrative
shift to Drew. Based in Abidjan, this unique
summer program provides an opportunity to
study Africa's traditions in ceramics, fibers and
metals, working directly with craftsmen in their
villages and workshops in C6te d'Ivoire and


Mali. Programs are also offered in the history of
African art and architecture, which emphasize
first-hand contact with sculpture, painting and
building in the villages of their origin. The
program runs July and August; application
deadline is April 15, 1992. Full brochures will
soon be available. For further information
contact: Office of Off-Campus Programs, Drew
University, Madison, NJ 07940. (201) 408-3438;
or Philip Peek, Department of Anthropology,
Drew University, Madison, NJ 07940. (201)
408-3383.
Partnership with African Museums. The
International Partnership Among Museums
(IPAM) is reopening the application process for
American museums interested in applying for a
partnership award with those foreign museum
applicants who have not yet formed a
partnership. The following museums in Africa
are still searching for American partners with
whom to develop a project proposal and apply
for an IPAM award:
National Museum of Rwanda
History and culture
Sierra Leone National Museum
Ethnographic and archaeology
Johannesburg Art Gallery, South Africa
South African Museum
Natural history, ethnography, archaeology
Uganda National Museum
Ethnography and archaeology
Moto Moto Museum, Zambia
Ethnography
For more information on the IPAM program,
any of the listed museums, and how to proceed,
contact: Department of International Programs,
American Association of Museums, 1225 I
Street, NW, Suite 200, Washington DC 20005;
(202) 289-9115.
The West African Research Association. The
West African Research Association (WARA) was
founded May 12, 1989, at a meeting of
interested scholars and representatives of
scholarly associations, museums, archives,
grant-making foundations, and federal agencies.
Its purpose is to enhance West African and
American scholarship. WARA is working to
establish the West African Research Center
(WARC) in Dakar, which will be administered
jointly by WARA and a West African


8 ACASA Newsletter / No. 32, December 1991








counterpart currently being organized by the
Comit6 d'Initiative in Dakar.
The objectives of the reciprocal program in art:
to provide American and West African scholars
access to research resources and expanded
opportunities; to create a point of contact for
American and West African researchers which
will allow the intersection of respective research
traditions and foster collaborative efforts; to
address the isolation of American scholarship,
on the one hand, and the balkanization of
African scholarship on the other; to reinforce
institutions on both sides and supplement
documentation resources on West Africa.
To achieve these objectives, WARA/WARC will:
provide a place of contact and interchange
among American and West African researchers;
grant fellowships to American and West African
researchers; offer scholars institutional affiliation
thereby obtaining access to research resources;
sponsor collaborative conferences and research
projects; assist other scholarly exchange
programs by offering facilities, accommodations,
and support services; maintain relations with
research facilities, libraries and specialists in the
host country/region and liaison with relevant
officials; create and maintain a documentation
center and current periodical collection
complimenting existing archival and library
collections in Dakar.
WARA invites applications for fellowships for
study in West Africa or the United States made
possible by support from the Fulbright Program
of the United States Information Agency.
Eligibility: Doctoral candidates and established
scholars from American and West African
universities. Fields of Study: All areas of
Humanities and Social Sciences. Affiliation:
Fellows will be affiliated with WARC, Dakar. In
the United States, affiliation may be with any
sponsoring academic institutions(s) on African
or African Diaspora-related topics.
Fellowships in West Africa for American scholars.
Small grants not exceeding $4,000 are available
for travel and partial support. Fellowships in
the U.S. for African scholars. One award of up
to $5,000 will be offered to West African Ph.D.
candidate or post-doctoral scholar to conduct
research at a U.S. academic institution on
African or African Diaspora-related topics.
Application should be made jointly by the
scholar, who should be resident in Africa at the
time of application, and a faculty member of the


sponsoring American institutionss. The
application deadline is March 1, 1992. All
applicants should be sent to: Joseph E. Harris,
Box 682, Howard University, Washington, D.C.
20059, USA.


O O ; O

"Royal Art of Benin from the Perls Collection:
Treasures from an African Kingdom,"
Metropolitan Museum of Art, Michael C.
Rockefeller Wing, January 16 through September
13, 1992.
The Metropolitan Museum has acquired a major
gift of Benin bronze and carved ivory sculptures
from the collection of Klaus G. and Amelia Perls
of New York. Klaus Perls is a prominent
Madison Avenue dealer of modem art who
began collecting Benin art as a complement to
the modem art but without a view to dealing in
it. The 153 objects include carved elephant
tusks, musical instruments, small decorative
masks, pendants, and bracelets, representing the
full range of Benin royal art. Of particular note
is a group of 20 bronze plaques depicting
figures of chiefs and court attendants that
decorated the pillars of the palace in Benin in
the 16th and 17th centuries.
Bronze heads of kings and queen mothers in the
Perls collection include several made in the 18th
and 19th century which portray coral-beaded
collars and crowns. There are also three
complete elephant tusks that would have been
placed in the top of the bronze heads on the
royal ancestral altars. A free-standing bronze
figure made in the 17th century depicts a
participant in annual royal rituals, wearing a
wrapped skirt of richly patterned textiles, one of
which has heads of Portuguese traders as its
motifs.
A section of the collection is devoted to the
bronze and ivory arts of the Yoruba kingdoms
of Owo and ljebu. A ceremonial sword is carved
completely in ivory. This, and ivory pendants
depicting ram, crocodile, and leopard heads
were worn as part of the festival attire of the
Owo ruler, dating from the 17th and 18th
centuries. There is also an ivory cup on a
pedestal whose carved base and lid show
complex composite images merging human and
animal forms.


ACASA Newsletter / No. 32, December 1991 9









Kate Ezra has written the 320-page catalog for
the Benin exhibition. There will be a one-day
symposium on April 3, 1992 on "Approaches to
Benin Art: Past, Present and Future." Panelists
are Barbara Blackmun, Joseph Nevadomsky,
Philip Dark, Irwin Tunis, and Rowland
Abiodun. For more information contact Kate
Ezra at the Department of the Arts of Africa,
Oceania, and the Americas, Metropolitan
Museum of Art, 1000 Fifth Avenue, New York,
NY 10028-0198. Telephone: (212) 879-5500. FAX
(212) 472-2872.
"Purpose and Perfection: Pottery as a Woman's
Art in Central Africa," a collection of Central
African pots will open January 15, 1992 at
National Museum of African Art, Washington,
DC. Among the fired-clay vessels featured are
bowls, bottles, pitchers, cups and jars from four
Central African nations Zaire, Congo,
Rwanda and Angola. Most were collected
between the turn of the century and World War
II by colonials and missionaries. Archaeologist
Raymond Lanfranchi's short film (15 minutes)
will be shown continuously in a theatre within
the gallery. The film, shot in Zaire, reveals the
mastery of a Sundi potter as she forms moist
clay to produce a perfect pot.
"The Art of the Personal Object," went on
view September 25, 1991 in a new permanent
installation at the National Museum of African
Art. More than 100 utilitarian objects,
principally from Eastern and Southern Africa,
are featured including stools and chairs,
headrests, snuff containers, bowls, and baskets.
Philip Ravenhill, the curator of the exhibition,
has written a 32-page booklet with 15 color
illustrations.





Mande Pottery
Barbara Frank (Department of Art, SUNY Stony
Brook) undertook research in early 1991 in Mali
on "Mande potters and pottery traditions" with
the aim of better understanding not only the
traditional role of women in the Mande caste
system but also how particular individuals are
responding to the demands of modern life. She
reports:
"One of my aims was to explore the identity of
these women as both individual artists and


social actors. I spent part of my time with
potters in the Malinke town of Kangaba,
southeast of the capital towards the border with
Guinea [and north of Bamako in the] Bamana
town of Kolokani... Potters from these two
towns provided a kind of rural baseline against
which to measure adaptation and change on the
part of potters in the urban setting of the
nation's capital.
"Another goal of this study was to begin to
establish a framework for reconstructing the
history of relationships between different craft
traditions. Particularly important from this
standpoint was a ceramic collection and
documentation project in the region of Kadiolo
(near the border with C6te d'lvoire) undertaken
in collaboration with a team from the National
Museum of Mali, funded by the Fowler
Museum of Cultural History of UCLA and the
West African Museums Project in Dakar.
Comparing the results of my own research in
the core Mande region to that from the
borderland sheds some light on the relationship
between Mande and Senufo artistic traditions.
Although often considered within the sphere of
Mande influence, craft specialization in the
region of Kadiolo contrasts sharply with the
blacksmith-potter model that dominates iron
and ceramic production in the Mande heartland.
While potters in this area are identified as
Mande, they are not the wives of blacksmiths ...
Weighing the claims to Mande origins stated by
the potters' husbands against the technological
evidence, I suggest that pottery production in
this area reflects a distinct and possibly
southern (i.e. Senufo?) origin. I would argue
that the discrepancy lies in differences in the
origins of the women versus those of the men,
highlighting the need to collect not only the
official (i.e. male) histories of families and
villages, but individual and collective histories
of the women as well."
Barbara will be returning to Mali in January
1992 for five months.

Baga Art
Frederick Lamp, Curator of the Arts of Africa,
the Americas, & Oceania at the Baltimore
Museum of Art, has been awarded a Fulbright
grant to conduct research on the art of the Baga
people in Guinea. Fred Lamp is returning to
Guinea to complete work begun in 1985,
leading toward a major traveling exhibition on


10 ACASA Newsletter / No. 32, December 1991








the art of the Baga. This will be the first
exhibition ever produced on Baga art, known
worldwide for its outstanding and monumental
forms. The exhibition will include two of the
finest examples of Baga art: a Nimba female
headdress and a Banda composite animal
headdress, both from the Baltimore collection.
His research in 1991-92 will focus on
representations in art relating to a conception of
the Supreme God. Fortuitously, the Baga people
are renewing interest in their traditional culture,
which had been suppressed for four decades
under a previous government. This research
comes at an exciting time of artistic renaissance,
all of which will be documented in video,
photographs, audiotapes, and text for the
exhibition.


NEWS RUNDUP


News from Benin
The Mus6e Honmb of Porto Novo, which is
located in the ancient palace of the
Hogbonou-Adjatch6 kings, was inaugurated in
1988. The museum covers a surface area of
some 2.5 ha and its made up of the King's
private domain, the guest-house, the attics, the
court, the temples, and the altars of the dead
kings. The museological project comprises
videos, the regular organization of royal
festivities, and close collaboration with schools
and universities. Alain Godonou, Curator,
would very much like to contact museums,
associations or institutions who are interested
by this kind of museum. Address: Musie
Honmi, B.P. 299, Porto Novo, Benin.
Telephone: 21 35 66.

News from Cameroon
Dr. Aboubakar Njiasse Njoya, historian and
grandson of King Njoya, would like to hear
from those who are interested in research in the
Fumban region of the Cameroons. He is
currently translating into French and English the
works of King Njoya written in the Bamum
script. These works recorded history of the
kingdom and developed a philosophy blending
Islam and Christianity. Dr. Njoya has already
translated into French the work on traditional
pharmacology and some short stories. There are
thousands of pages, already on microfiche. Dr.
Njoya is seeking collaborators in this work.


Those interested in the Bamum people or in
computerization of indigenous scripts, write to
Dr. Njoya at P.O. Box 5890, Yaounde,
Cameroon; or at the Royal Museum, P.O. Box
50, Foumban, Cameroon.

News from Cuba
"Cuarta Bienal de la Habana 1991." The Fourth
Havana Biennial (November 15-December 31,
1991) presented a panorama of 150 different
artists from 40 countries of Africa, Latin
America, Asia, the Caribbean, the Middle East,
and artists belonging to minority groups from
other regions. The Havana Biennial is one of the
most significant events of contemporary art and
offers an exceptional opportunity to witness
what is happening in Africa and elsewhere. The
Havana Biennial is organized by the Wifredo
Lam Center. For information contact: Mr. Josk
Luis Ayala, Wifredo Lam Center, Oficios No.
420 esquina Acosta, La Habana Vieja, C. P.
10100, Cuba. Telephone: 61 2096.

News from Ethiopia
Society of Friends of the Institute of Ethiopian
Studies has been reactivated, writes Richard
Pankhurst from Addis Ababa. The Society,
founded in 1968 to support the Institute of
Ethiopian Studies of Addis Ababa University,
runs a large ethnographical museum, a gallery
of traditional Ethiopian art, and a specialized
library on Ethiopia and the Horn of Africa. The
Society organizes lectures, film shows, and other
events monthly throughout the academic year.
Scholars from the U.S. planning to visit Addis
Ababa who may wish to deliver or attend
lectures are invited to correspond with the
Chairman of the Society, Professor Richard
Pankhurst, Institute of Ethiopian Studies,
Addis Ababa University, P.O.B. 1176, Addis
Ababa, Ethiopia. Fax (251) 552688. The Society
welcomes members from the United States
(regular members $50 per annum, or $1,000 life
membership). Members' subscriptions are used
to purchase antiquities which would otherwise
be lost for scholarship.


News from France
The first guide to contemporary African arts
will soon be published under the patronage of
the French Ministry for Cooperation and
Development. It will include for each country in


ACASA Newsletter / No. 32, December 1991 11








sub-Saharan Africa lists artists with addresses,
the African artists working abroad and their
addresses, the specialists in African
contemporary arts, the museums having
collections of contemporary African arts,
specialized institutions, and art galleries having
organized exhibitions of African contemporary
art. Nicole Guez, who is compiling the guide,
hopes that it will help to facilitate contacts
between the African artists from different
countries, to provide the cultural institutions
involved in the promotion of African
contemporary art a tool for a more efficient and
easy work, and to inform the museum curators
and gallery owners about the collectors in
contemporary African art.
This guide is one of several initiatives being
undertaken by the French Ministry of
Cooperation and Development. Pierre
Gaudibert, in an interview in La revue noire,
outlined other initiatives of the Ministry in
promoting modem African art:
* The image bank: French Cultural Centres in
French-speaking Africa are collecting images
by living artists. A video disc will be
produced and distributed to African
museums and institutions as a first priority.
* Major exhibitions in prestigious show-places in
Paris such as the Grand Palais and the Arche
de la Defense with published catalogues.
* A centre for African creative art whose role will
be to house and initiate temporary
exhibitions, to inform and to train and
educate critics, cultural centre staff
management, and museum curators, and to
set up exchange workshops for African and
European artists.
* A program of six-month workshops in Africa
and in Europe and of twinning French and
African art schools.
* A project to set up contemporary art sections in
African museums. ICOM and its President
Alpha Oumar Konar6 have decided to hold
a conference in Africa on this subject.
Louis Perrois writes that he and Jean-Paul
Notu6 are collaborating on a work on the arts
of West and North-West Cameroon due for
publication by Karthala in 1992.


News from Germany
War Booty. About 45,000 ethnographic objects
have recently shown up in the warehouse of a
museum in Leipzig. This remarkable discovery
represents items from the Museum fur
V61kerkunde in Berlin that disappeared during
World War II. They will soon be returned to
Berlin. The collection had been placed for
safekeeping in Schrabsdorf Castle in Silesia
during 1943 and 1944. They were removed by
the Russian Red Army to Leningrad where they
were stored at the Academy of Sciences. There
Africanist Sinaida Petrowna Akischiwa spent
seven years inventorying the objects. In 1978,
the collection was moved to Leipzig. At that
time there was no official contact between East
German and West German museums, but
unofficial reports reached the West that the
collection was still in existence.
There are numerous packages, bundles and
crates, and it is believed they contain roughly
9,000 American objects, 7,000 Asian, 3,000
Oceanic, and 23,000 African. Of the last there
are numerous items from the kingdom of Benin:
when they are finally returned to Berlin, they
will be part of what will become the largest
collection of Benin objects in the world. Berlin
Museum Director, Klaus Helfrich, anticipates
that it will take until next spring to unpack
everything. [culled from: Primitifs: art tribal, art
moderne (Paris) no. 2, January-February 1991].
For a fuller account of this remarkable odyssey,
see Christian Feest's "Coming home at last:
reunification and repatriation in Germany,"
Museum anthropology 15 (2): 31-32, May 1991.
The cultural center Iwalewa-Haus in Bayreuth
celebrated its tenth anniversary with a series of
exhibitions, concerts, music and dance
performances, and workshops from June to
August 1991. Nike Davies was one of the
featured artists, and a Yoruba art exhibition
opened the anniversary events. See 10 Jahre
Iwalewa-Haus-Haus Bayreuth; Begegnungen mit den
Kulturen Afrikas, Asiens und des Pazifik, a 34-page
booklet on the philosophy, programs and
activities of Iwalewa-Haus. Address:
lwalewa-Haus, Zentrum fur Moderne Kunst
Afrikas, Universitit Bayreuth, PF 101251, D-8580
Bayreuth, Federal Republic of Germany.


12 ACASA Newsletter / No. 32, December 1991








News from Ghana
Ghana Natural Resource Conservation/Historic
Preservation Project: This project has been
designed for USAID-Ghana by several public
and private organizations (including the
Midwest Universities Consortium for
International Activities and the Smithsonian
Institution) for the purpose of preserving two of
Ghana's most important assets: its natural
resources and its world class historic buildings.
Focused on Ghana's Central Region in the area
of Kakum/Assin Attandanso, where 22 of the
remaining 32 European fortifications built on
the west coast of Africa are located, the project
will permanently reverse the deterioration of
these "World Heritage" sites and make their
importance clear to an increasing number of
Ghanaian. and international visitors. These sites
contribute to an understanding of the
interaction between European and African
economies, culture, and political systems; the
introduction of Christianity into Africa; and, the
enslavement and forced migration of millions of
Africans to the Americas. The three most
historically important of these sites are Elmina
Castle, Cape Coast Castle and Fort St. Jago.
The Project Consortium will form a
three-member advisory team, representing the
conservation/preservation,
educational/interpretive, and tourist promotion
aspects of the project. The historic preservation
team will be headed by US/ICOMOS. The
historic preservation component of the project
will concentrate on (1) preservation studies and
planning; (2) stabilization and restoration; (3)
interpretive and marketing services for visitors;
(4) maintenance and future development.
The project coordinator is Dr. Donald R.
Jackson, Midwest Universities Consortium for
International Activities (MUCIA), University of
Wisconsin, 240 Agriculture Hall, 1450 Linden
Drive, Madison WI 53706-1562. Telephone:
(608) 635-4071 and (608) 262 1271. The
interpretive services coordinator is Dr. Vera
Hyatt, International Center, Smithsonian
Institution, Washington, DC 20560. Telephone:
(202) 357-4281.
Dr. James Anquandah, archaeologist at the
University of Ghana, Legon, has been appointed
acting director of the Ghana Museums and
Monuments Board.


News from Great Britain
Jeremy Coote, Area Editor for Africa, Pacific
and Caribbean of the Macmillan Dictionary of
Art, writes that he is now steadily working his
way through the African material. He is
enjoying reading (and editing!) everyone's
contributions. He is, however, finding that in
the past a number of contributors have been
asked to make revisions to their entries, but
have not yet done so. While Jeremy will
eventually get around to chasing everyone in
person, he'd be delighted if those who are
meant to be revising their entries would do so
without being chased. Jeremy also points out
that while he is happy to be addressed as
Doctor or even Professor he cannot in fact
claim any other title than 'Mr.' He's happy to be
addressed as Jeremy.

News from Mexico
The Central Cultural Arte Contemporaneo in
Polanco, Mexico will be hosting two exhibitions
of African art, the first time African art will
have been shown there: "Africa Hoy," an
exhibition of contemporary African works
previously exhibited in the "Magiciens de la
Terre" (February-May 1992) and "Shoowa
Textiles" (February-May 1992).

News from Namibia
Annaleen Eins of the Namibian Arts
Association writes that the Association will
officially become the National Art Gallery of
Namibia in 1992. She goes on: "Unfortunately
on Namibian African art no research has ever
been done except by archaeologists. Since our
own art was very much influenced by
neighbours like Angola, Zambia, Botswana and
Zimbabwe, all research done concerning these
regions have direct and indirect value. How
about sending some of your researchers to do
research in the forgotten cultures of Namibia?
We have a small library which is mainly used
by scholars and students and we would love to
have more periodicals, research theses and of
course books." (October 28, 1991). The address
of the Namibian Arts Association is Box 994,
9000 Windhoek, Namibia.


ACASA Newsletter / No. 32, December 1991 13








News from Nigeria
The Lambo Foundation is donating its African
art collection to the National Museum,
Abeokuta. Ms. Umebe Onyejekwe, Assistant
Chief Curator at Abeokuta, writes that the
Lambo Foundation collection, now in Geneva, is
comprised of art works from different areas of
Africa. In 1986 it was said to have a value of 5
million. Professor Adeoye Lambo, a native of
Abeokuta and now the chairman of the Board
of Trustees of Lambo Foundation, is a renowned
psychiatrist who was formerly with the World
Health Organization. He is the first Nigerian to
donate so many objects to a museum.
'Ieasure Hunt. "The Oba of Benin, Omo N'Oba
Erediauwa, has launched a strong campaign for
the recovery of about 250,000 art treasures taken
to Britain from the ancient kingdom in 1897. In
this connection, he is collecting as many as one
million signatures from important personalities
worldwide. According to reports, the drive is
being coordinated by the Pan African
Movement of Nigeria (Pamon), a branch of an
international organization committed to a
revival of African culture. Previous efforts by
Unesco to recover the treasures, removed after a
punitive expedition, had failed. The renewed
campaign comes in the wake of the discovery of
at least 101 other Benin artefacts in Italy only
last month." [Source: West Africa (London) no.
3870, November 11-17, 1991].
"Sculpstaff '91": An Exhibition of Sculptures,
April 29th 1991. Jacob Jat Jari, art historian and
painter, who currently teaches in the Fine Arts
Department, Ahmadu Bello University, Zaria,
Nigeria, writes of a faculty sculpture exhibition
held recently at Ahmadu Bello University
(ABU), Zaria. It brought together the finest
sculptors resident in Northern Nigeria, all
trained at the foremost art school in the country,
the Fine Arts Department of ABU, and included
works by both academic and non-academic
staff. All have been actively involved in recent
years in numerous exhibitions and in doing
public and private commissions. The works
were in wood, steel, welded metal, brass,
concrete, stoneware, and plastic and displayed a
variety of styles and expressive forms. Among
those participating were [first names not
supplied editor] Usman, Dosso, Onyilo, Agim,
Ajayi, Trimnell, Ehizele, and Okpe. "Sculpstaff
'91" was a successful show probably because it
was organized as an academic exercise rather


than as a commercial one, thus allowing the
artists to remain truthful to their art. However,
the exhibition could be faulted for not
distinguishing between craft and sculpture, as
some of the works, although skillfully executed,
could only qualify as craft works.
Jane Barbour, who edited the 1971 book on
Adire cloth in Nigeria, has written on the
demise of traditional adire in Nigeria. In Nigerian
field 55 (102): 65-69, April 1990, she notes that
since the 1960s the craft has almost died out.
She recently visited cloth markets in Lagos,
Ibadan and Abeokuta, where she found only a
handful of women traders selling adire. She
writes: "On the streets indigo adire cloth is
hardly ever seen... No one now wears it as a
wrapper." The influx of imported cloth during
the oil boom of the 1970s killed local demand
for the cloth. There is, however, a newer type of
adire made with synthetic dyes in pinks, greens,
and blues using a candle wax-resist technique.
A group called "Friends of Adire" is committed
to preserving the old tradition.

News from Somalia
Kathryn McMahon has prepared a document
called "The Former Museums of Somalia"
(November 1991), a copy of which has been
deposited at the National Museum of African
Art Library. She writes in the preface: "In
January 1991 the fighting in the Somali civil war
reached the capital city of Mogadishu. I knew
intuitively that the collections in the Garesa and
National Museums were gone, looted as was
the collection in the Provincial Museum in
Hargeisa in May 1988 when the civil war began
there. [Note: Kathryn McMahon had written on
the Hargeisa Museum in African arts, May 19881.
In April 1991 I spoke to Ahmed Farah Warsame
in Nairobi. Warsame was the former Director of
the National Museum, and later the Director of
the Museums of Somalia. He confirmed that the
collections and records of the museums in
Mogadishu were completely looted in January
1991. When he left Mogadishu in February 1991
the museum buildings were standing.
"Warsame presented this paper, then titled 'The
Museums of Somalia', at the 1989 Somali
International Studies Congress in Mogadishu.
As well as we could discern in April 1991, this
paper was the only manuscript that directly
pertains to the three former museums of
Somalia. As such it is a description and partial


14 ACASA Newsletter / No. 32, December 1991








catalogue of nonexistent collections and
buildings of indeterminate status. Perhaps
renamed 'The Former Museums of Somalia' lit]
may serve a purpose in the future of the Somali
people when the time comes for reconstruction.
Simultaneously with the looting of the
museums of Somalia this work was going
through the final editing. It was written in the
present tense and completed for editing in May
of 1989."

News from Switzerland
The Rietberg Museum in Ziirich is hosting
"Yoruba: Art and Aesthetics," a modified
version of the Yoruba art exhibition which
recently completed a successful tour of the
United States. The Rietberg exhibition includes
some Yoruba art works from European
collections which were not in the original
version of the show. A new 103-page catalog
was published on the occasion of the Zuirich
exhibition: Yoruba: Art and Aesthetics by Henry
John Drewal, John Pemberton, and Rowland
Abiodun; edited by Lorenz Homberger
(published jointly by the Center for African Art
and the Rietberg Museum, Zurich, 1991). A
symposium on "The Yoruba Artist," scheduled
for January 17-19, 1992 in Zuirich, will feature
Frank Willett, Omotosho Eluyemi, Hans Witte,
Roslyn Walker, Margaret Thompson Drewal,
Karin Barber, Marilyn Houlberg, Akin Euba,
Robert Faris Thompson, Ezio Bassani, J.
Stroter-Bender, Labiyi Yai, Rowland Abiodun,
Henry Drewal, and John Pemberton.

News from Tanzania
Dr. Fidleis T. Masao, formerly of the National
Museum in Dar es Salaam, now teaches
archaeology at the University of Dar es Salaam
and has recently established a private consulting
firm, Bottomline Kultur-Natur Konsult. Amongst
other specialties, he will be working on cultural
resource management, socio-cultural appraisal of
rural economic projects, archeological survey,
and salvage operations, and the appraisal of
anthropological research proposals so that they
meet Tanzanian government requirements. He
also plans to host lecture tours of Tanzania's
renowned archaeological sights, such as Olduvai
Gorge, Laetoli, and Kondoa/Singida rock
paintings. Dr. Masao has written on the rock
paintings: The Rock Art of Kondoa and Singida
(National Museums of Tanzania, 1982). Visitors


to Tanzania are invited to contact him at:
Bottomline Kultur-Natur Konsult, P.O. Box
70566, Dar es Salaam, Tanzania. Telephone:
051-72306.

New from the United States
African Archives and Museums Project
announces winning proposals. The African
Archives and Museums Project of the Social
Science Research Council and the American
Council of Learned Societies supports efforts to
invigorate, strengthen, and make more
accessible the work of archives and museums in
Africa, thereby enabling these cultural
institutions to broaden their constituencies and
bases of support. With funds provided by the
Ford Foundation, the Project awards small
grants up to $15,000 to archives and museums
in Africa for projects that will preserve and
augment significant but especially endangered
collections; document, catalogue, and exhibit
social holdings; and enhance public and
scholarly use of archival and museum resources.
During its first year (1991-1992), the Project
awarded six grants to archives and museums in
West, Central, Southern, and East Africa. Grant
recipients include: (1) the Archives du Centre
Aequatoria, Zaire, for a project administered by
Honore Vinck to microfilm archival holdings; (2)
the Arquivo Historico Nacional, Cape Verde, for
a project administered by Jose Maria Almeida to
transfer and process the papers of the Secretaria
Geral do Governo; (3) The Lamu Museum,
Kenya, for a project administered by Mohamed
0. Balahmar to install climate control
equipment; (4) The Natal Museum, South
Africa, for a project administered by Graham A.
Dominy to assemble an exhibit objects and
visual images of the struggle against apartheid;
(5) the National Museum Library Department,
Nigeria, for a project administered by Victoria
0. James to preserve a collection of Arabic
manuscripts housed in the National Museum
Library in Jos; and (6) the Livingstone Museum,
Zambia, for a project administered by Flexon
Moono Mizinga to initiate exchange visits with
document conservators from The National
Archives of Zimbabwe.
The call for proposals for the 1992-93
competition will be available in January 1992
from the African Archives and Museums
Project, Social Science Research Council, 605
Third Avenue, New York, NY 10158, USA.


ACASA Newsletter / No. 32, December 1991 15









Olowe to Washington and Thomas Ona to Los
Angeles. A carved wooden bowl by the Yoruba
sculptor Olowe dated 1925 has been bequeathed
to the National Museum of African Art from the
estate of William McCarty-Cooper's, while a
group of Thomas Ona's colon figures from the
1930s are going to the Fowler Museum of
Cultural History, UCLA. (See Connoisseur
December 1991 for an account of the Douglas
Cooper William McCarty-Cooper story).




From Europe and America
Art and healing of the Bakongo, commented by
themselves: minkisi from the Laman collection /
Kikongo texts translated by Wyatt MacGaffey.
Stockholm: Folkens Museum-Etnografiska;
Bloomington, IN: distributed in North America
by Indiana University Press, 1991. viii, 184pp.
illus., maps. ISBN 9185344249.
Art from the frontline: contemporary art from
Southern Africa: Angola, Botswana, Mozambique,
Tanzania, Zambia, Zimbabwe. London: Frontline
States/Karia Press, c1990. 128pp. illus. OCLC
24476216.
An Introduction to Traditional Nigerian Architecture
by Zbigniew Dmochowski, first announced in
1983, has finally been published by
Ethnographica in London. The complete
three-volume work is priced at 70 per volume
or 225 for the set. Dmochowski's monumental
survey of Nigerian vernacular architecture
carried out over many years (1958-1965 and
1972-1981) under the auspices of the
Department of Antiquities was uncompleted
and unpublished at the time of his death in
1982. The survey had become legendary among
those interested in the architectural history of
Nigeria, and it is through the efforts of several
devoted scholars that the work is now
published post-humously. An outline of sacred
and secular building types in Nigeria based on
Dmochowski's elevations, plans, and field
photographs was published in 1988. It covered
architecture of the Igbo, Bini, Yoruba, Nupe,
Central Plateau and Hausa with an overview
essay by editor J. C. Moughtin.
Style, Classification and Ethnicity: Design Categories
on Bukuba Raffia Cloth / by Dorothy Koster
Washburn. Philadelphia: American Philosophical


Society [Box 40098, Philadelphia, PA 19106],
1990. xi, 157pp. illus. (Transactions of the
American Philosophical Society, vol. 80, pt. 3).
$20.00. ISBN 0-87169-803-X.
Tellem Textiles: Archaeological Finds from Burial
Caves in Mali's Bandiagara Cliff; [exhibition held
in Leiden, September 20, 1991 through January
27, 1992, followed by Amsterdam and Bamako
in December 1992] / by Rita Bolland.
Amsterdam: Koninklijk Instituut voor de
Tropen, 1991. Text in English. 320pp. This
detailed catalogue, illustrates and describes
around 500 textiles excavated in the Tellem
burial caves by a Dutch research team between
1964-1974. These unique textiles date from the
11th to 18th centuries, a period for which
scarcely anything is known about weaving and
garments in sub-Saharan Africa. Tellem Textiles
makes this research available both to experts
and those interested in traditional weaving and
garments, and places it in the context of African
archaeology and African textiles. Contributions
are from Rogier M.A. Bedaux and Ren6e
Boser-Sarivax6vanis. The catalogue includes a
brief report on the conservation and analysis of
fibers and dyes. Tellem Textiles is co-production
of the Tropenmuseum, Royal Tropical Institute
and the Rijksmuseum voor Volkenkunde in
Leiden, the Netherlands; the Mus6e National
and Institut des Sciences Humaines in Bamako,
Mali.
Thirty Years of Oshogbo Art / by Ulli Beier.
Bayreuth: Iwalewa-Haus, 1991. 90pp. illus.

From Africa
Contemporary Bushman art of Southern Africa; an
exhibition of the Kuru Cultural Project of D'Kar,
Botswana in association with the Namibian Arts
Association. [Botswana]: Kuru Cultural Project,
1991. (16]pp. illus.
Directory of cultural conservation bodies in South
Africa. [Pretoria]: Department of Environment
Affairs, 1990. (Pamphlet, 427).
Hand crosses from the IES Collection / by
Dorothea Hecht, Brigitta Benzing & Girma
Kidane. Addis Ababa: Institute of Ethiopian
Studies, Addis Ababa University, 1990. 191pp.
illus.
"Know Your Country" Series (Handbooks of
Nigeria's Major Culture Areas), by Oshomha
Imoagene is published by New-Era Publishers


16 ACASA Newsletter / No. 32, December 1991








[P.O. Box 27720, Agodi, Ibadan, Oyo State,
Nigeria], 1990: volume 1: The Hausa and Fulani of
Northern Nigeria; volume 2: The Yoruba of
South-Western Nigeria; volume 3: The Ibo of
East-Central Nigeria; volume 4: The Edo and their
Neighbours of Mid-Western Nigeria; volume 5:
Peoples of the Niger-Benue Confluence and Plateau
Areas; volume 6: Peoples of the Cross River Valley
and the Eastern Delta. ISBN 978-2853-00-3 (series).
$10.00 per volume.
A social history of Ethiopia / by Richard
Pankhurst. Addis Ababa: Institute of Ethiopian
Studies, Addis Ababa University, 1990. 384pp.
ISBN 1-85450-040-6. $29.95 + shipping.


I JO R A 0O E


Museum Anthropology is published quarterly by
the Council on Museum Anthropology, a
division of the American Anthropological
Association, and is edited by Enid Schildkrout.
It contains articles, commentary, exhibition and
book reviews relating to the world of museum
anthropology. Contributions are welcome and
contributors should contact Enid Schildkrout at
the Department of Anthropology, American
Museum of Natural History, Central Park West
at 79th Street New York, NY 10024-5194.
Telephone: (212) 769-5432. FAX (212) 769-5334.
To subscribe, write to the American
Anthropological Association, 1703 New
Hampshire Avenue, NW, Washington, DC 20009.
$22.00 per annum. Back issues are also available
at $5.00 each.
Crossmend, newsletter on historical archaeology
in and around Cape Town, is published by the
Historical Archaeology Research Group,
University of Cape Town. It will appear twice a
year and contain summaries of research carried
out by the Archaeological Contracts Office at
UCT. The newsletter will be sent free of charge
to libraries of institutions conducting research in
historical archaeology. Subscription rates for
individuals are $10.00 per annum (overseas) and
should be sent to: Kathy Rubin, Historical
Archaeology Research Group, Department of
Archaeology, University of Cape Town,
Rondebosch 7700, South Africa.
Nieuwsbrief (Vereniging Vrienden van Ethnografica)
is a twice-yearly newsletter of the Friends of
Ethnography published in Otterlo, Netherlands;
it contains articles, exhibition and book reviews,


and news of the African art scene in Europe.
Contact: Dr. I. Vogelzang, Trompenbergerweg
57-C, 1217 BD Hilversum, The Netherlands.
We understand that Nigeria Magazine has
resumed publication with volumes 56 and 57.
The last volume before publication was
suspended was volume 55, 1987. Write: Nigeria
Magazine, Department of Culture, P.M.B.
12524, Lagos, Nigeria.
West African Journal of Archaeology, Volume 20,
1990 has now been published. This volume
contains the papers on cultural resource
management presented at the conference in
honor of Professor Thurstan Shaw, in November
1989 at Ibadan. It is titled "Cultural Resource
Management: An African Dimension." Volume
21, 1991 of West African Journal of Archaeology is
targeted to be out by December 1991 and will
also contain a section devoted to papers from
the Thurstan Shaw Conference. A festschrift for
Thurstan Shaw entitled "African archaeology:
some fifty years after" is also in preparation and
will be out in 1992.
All orders should be sent to: West African Journal
of Archaeology, Department of Archaeology &
Anthropology, University of Ibadan, Ibadan,
Nigeria. Institutional rate: $44.00 per volume;
individual rate: $32.00 per volume; postage:
$4.20 per copy. Back issues of WAJA are also
available. Checks should be made payable to
"West African Journal of Archaeology."
Lucien Stephan offers a sharp rejoinder to
Coquets' article ["Qui proquos. A propos
d'esthetique africaine" in Journal des africanistes
60 (2): 53-64, 1990] in Arts d'Afriuqe Noire no. 79,
autumn 1991, pp. 10-13.
Alma Guillermoprieto in a "Letter from Rio,"
in the New Yorker, December 2, 1991 (pp.
116-131) writes that the Umbanda religion in
Rio de Janeiro is facing growing competition
from new evangelical churches.


VISE OTE


* "Demonstration of Iron Smelting at Isundunrin,
Yorubaland, Nigeria." Produced by David A.
Aremu, University of Ibadan. videocassette. PAL
format. 120 minutes.
Synopsis: Iron smelting at Isundunrin was
carried out inside a domed furnace sited over a


ACASA Newsletter / No. 32, December 1991 17









shallow basin in which the bloom formed. The
center of the basin had a 4cm tap-hole passing
down into an almost man-high underground
slag pit with a separate access 1.8 meters away
at ground level. The slag was collected in the
pit during reduction of the ore. The furnace
door was sealed with tuyeres through which
iron ore was charged alternatively with
charcoal. White-heat intensity was reached after
some hours.
The video costs $60.00 including shipping. Send
money orders to: Dr. David A. Aremu,
Department of Archaeology & Anthropology,
University of Ibadan, Ibadan, Nigeria.
* "Nagayati: Arts and Architecture among the
Gabra Nomads of Kenya." Produced by Peter
Oud, Film and Photography for Development
Work for the National Museum of African Art.
Consultant: Labelle Prussin. 50 minutes. color.
VHS format. 1991.
Synopsis: "Nagayati" ("Be in Peace") explores
the arts and architecture of the Gabra nomads
in northern Kenya, East Africa. The film
documents a Gabra marriage ceremony, during
which a new house and its furnishing are
created. By integrating the art and technology of
building and transport, women fulfill the roles
of designers, builders, owners, and users.
"Nagayati" is available for loan without charge
from the Department of Education, National
Museum of African Art. Telephone: (202)
357-4600.
* "Weapons for the Ancestors." Produced by
William Dewey, University of Iowa.
videocassette. VHS format.
Synopsis: Shona metal arts "the weapons of
the ancestors" belong to an ancient tradition
of iron smelting and iron working, processes
which are re-created in this film. Ceremonial
knives and axes remain important in Shona
society, as documented by contemporary
weapons used in the context of Zimbabwe's
struggle for independence.
The pre-release price is $120.00. Contact: The
University of Iowa Audiovisual Center, C215
SSH, Iowa City, IA 52242, USA. Telephone:
1-800-369-IOWA. FAX (319) 335-2507.
* "Magicians of the Earth." The Film Society of
Lincoln's Center's Walter Reade Theatre, New
York City, will present "The Magic of Art: The


Films of Philip Haas," a complete retrospective
his documentary work, February 14-21, 1992.
The retrospective will include the New York
premieres of the "Magicians of the Earth," a
four-film series on artists from traditional
cultures around the world. (See the August 1991
ACASA Newsletter for descriptions of these films).


0ICJN.ERLN


Forthcoming Conferences
* "Incorporation or Annihilation: Repercussions
of Cross-Cultural Encounters on the Arts," Art
History Association Graduate Symposium,
Indiana University, February 29, 1992.
Cross-cultural influence occurs when groups of
disparate powers and traditions meet with the
result of altering both cultures in some way.
This transformation may be extreme or quite
subtle. This symposium will consider papers
that explore the consequences of such
encounters on artistic traditions. For more
information contact: Tavy Aherne, Symposium
Chairperson, Indiana University, Fine Arts
Departments, 123, Bloomington, IN 47405,
USA. Telephone: (812) 339-8837.
* "Development vs Tradition: The Cultural
Ecology of Dwellings & Settlements," the Third
International Conference of the International
Association for the Study of Traditional
Environments (IASTE), is the theme of the
conference to be held October 14-17, 1992 in
Paris. This forum will focus on the dialectic
tension and potential balance between
development and tradition in the built
environment. The impacts of globalization,
tourism, the commodification of culture, and
regionalism will be investigated given the
massive effects of development in traditional
societies. Scholars from all relevant disciplines
are invited to submit a 500-word abstract and a
brief curriculum vitae by February 1, 1992, to:
Nezar Al Sayyad, IASTE '92 Conference,
Center for Environmental Design Research,
University of California, 390 Wurster Hall,
Berkeley, CA 94720, USA. Telephone: (415)
642-2896. FAX (415) 643-5571.
* The Project for Advanced Study of Art and
Life in Africa (PASALA) at the University of
Iowa announces the Second Annual PASALA
Graduate Student Symposium to be held in
conjunction with the ACASA Triennial


18 ACASA Newsletter / No. 32, December 1991








Symposium in April 1992. It is open to graduate
students in all areas of African studies. Topics
should describe how specific African objects
serve at a particular moment in the life of an
individual or a community. The symposium will
be the morning of Sunday April 26, 1992.
Students interested in participating should
submit a one-page typewritten abstract for a
twenty-minute presentation to: PASALA
Graduate Symposium Committee, School of
Art and Art History, W-150 Art Building,
University of Iowa, Iowa City, IA 52242.
A cover letter (complete with name, address,
telephone number and title of presentation)
should accompany the abstract. Proposals must
be postmarked by January 20, 1992. Notification
of acceptance will be issued no later than
February 20, 1992. Some travel scholarships will
be available. For more information contact:
Dana Rush at (319) 335-1777.
* 'Diversity of Creativity in Nigeria,"
Department of Fine Arts, Obafemi Awolowo
University, Ile-Ife, June 20-25, 1992. Papers are
solicited in a several disciplines including Art,
Architecture, Cinematography, Philosophy,
Religious Studies, Theater, Languages and
Literature, Music, and Folklore. Titles of papers
and abstracts should be sent to: Agbo Folarin,
Head, Department of Fine Arts, Obafemi
Awolowo University, Ile-Ife, Oshun State,
Nigeria.
* "International Conference on Benin Studies:
The Centenary Years, 1892-1992," Benin City,
March 1992. To celebrate the centenary of the
Benin-British Treaty of 1892 by which British
colonial rule took root in Benin, and to assess
the impact on Benin of pre-colonial, colonial
and post-colonial developments. Subjects will
include Benin archaeology, art and architecture.
Contact: Dr. O.S.B. Omoregie, Osbo Academy,
108 Murtala Muhammed Way, P.O. Box 5589,
Benin City, Edo State, Nigeria.
* '"Women in Africa and the African Diaspora:
Bridges Across Activism and the Academy," a
multi-disciplinary conference to be held in
Nigeria in July 12-22, 1992, will have
contributions from scholars and from
practitioners and activists outside the academy.
For information, contact: Professor Obioma
Nnaemeka, The Organizing Committee,
Women in Africa 1992, Department of French,
The College of Wooster, Wooster, Ohio 44691,


USA. Telephone: (216) 263-2403 FAX (216)
263-2427.
* The International Conference on Mande
Studies, originally scheduled for February 1992
in Bamako, has been postponed until late 1992.

Conferences Past
* "Remembered, Recycled, Invented: African Art
in the 20th Century," a symposium organized by
the Center for African Art, was held on October
19-20, 1992 in New York City. It brought
together art historians and practicing artists
(several of whose work is on exhibit in "Africa
Explores") to explore what contemporary
African art is all about. The wide-ranging
discussions revolved around questions of "What
is African about African art?" and "Is there a
post-colonial art?" The participating artists were
queried about what "contemporary" meant to
them and how they saw there own practice of
art. Overall, the artists had less angst about
definitions than did the outside commentators.
Magdalene Odundo (Kenya) felt that
"contemporary" is a state of mind and that for
her works of antiquity can be quite
contemporary. Etale Sukuro (Kenya), whose
painting is pictorial tinged with symbolism,
feels a responsibility to record lost traditions
and to make social commentary. Eli Bentor
noted that "tradition" itself has become a
category in Africa and that the dichotomy
between "traditional" and "contemporary" is no
longer threatening.
For Cheri Samba (Zanre) and Trigo Piula
(Congo) the political aspects of popular art -
portraits of politicians, historical events
translated as allegorical scenes or overtly
religious scenes evoke a collective memory;
the pictorial (as the oral) serves to remind, e.g.,
Mami Wata, as a synthetic symbol of the
problems of urban life. Visually, very little is
expressed openly in revolt; most is expressed
subtly, but this does not mean lack of concern.
Overt non-coded art becomes mere propaganda,
as Johannes Fabian claimed, and on the whole,
fine arts do not handle propaganda well. Of
course, artists themselves resist being assigned
exclusively to either the "aesthetic" or the
"political."

Other artists participating in the symposium
were Sunday Jack Akpan (Nigeria), Fode
Camara (Sen6gal), Sokari Douglas Camp


ACASA Newsletter / No. 32, December 1991 19








(Nigeria), Dele Jegede (Nigeria), Veronica Ryan
(Montserrat), and Fred Wilson (U.S.A.). Among
the several non-artist commentators were
Bennetta Jules-Rosette, Grace Stanislaus,
Suzanne Blier, Tshikala Kayembe Biaya, Joseph
Cornet, Jack Flam, Ivan Karp, Jean-Hubert
Martin, and Simon Njami.
* "What Museums for Africa? Heritage in the
Future." The ICOM-sponsored workshops on
African museology took place in B6nin, Ghana,
and Togo on November 18-23, 1991. More than
70 museologists from virtually all countries in
Africa, from Europe and North America
attended these workshops. There are plans to
publish the proceedings of the workshops.




Alert: 1992 ACASA renewal notices will be sent
in January 1992 in a separate mailing. Note that
the annual dues are $25.00.


ACASA Newsletter seeks items of interest for
publication. Our newsletter reaches many who
are not able to attend meetings. Linking our
members via the newsletter is, therefore, crucial.
Suggested news items you can send: news of
members (job changes, new staff); activities
(fieldwork, travel, research in progress);
conferences; exhibitions; jobs openings;
fellowship opportunities. Mail, phone or FAX.
The next ACASA Newsletter will be April 1992.
Copy deadline for submitting news items is
March 15, 1992.





The Editors thank contributors to this December
issue of the newsletter including: David Aremu,
Jeremy Coote, Kate Ezra, Barbara Frank, Donald
Jackson, Fred Lamp, Mary Ellen Lane, Tonie
Okpe, Umebe Onyejekwe, and Richard
Pankhurst.




Editors
Janet L. Stanley
National Museum of African Art Library
Smithsonian Institution
Washington, D.C. 20560, USA
tel. (202) 357-4600, ext. 285
fax (202) 357-4879
and


Mary Jo Arnoldi
Department of Anthropology
Smithsonian Institution
Washington, D.C. 20560, USA
tel. (202) 357-1396


20 ACASA Newsletter / No. 32, December 1991




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