Title: ACASA newsletter
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00073
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: April 1999
Subjects / Keywords: Arts -- Periodicals -- Africa   ( lcsh )
Genre: periodical   ( marcgt )
Dates or Sequential Designation: Vol. 1, no. 2 (winter 1982)-
Numbering Peculiarities: Vol. designation dropped with no. 3 (spring 1983).
General Note: Title from caption.
General Note: Vols. for Aug. 1992- include Directory of members: addendum.
General Note: Latest issue consulted: No. 34 (Aug. 1992).
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Bibliographic ID: UF00103115
Volume ID: VID00073
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 09794003
lccn - sn 92017937
 Related Items
Preceded by: Newsletter of the Arts Council of the African Studies Association

Full Text



Vol. <54


AMRl 11999 1

ACASA IUard of Uirectors
Mary "Polly" Nooter Roberts, President
Vicki Rovine, Secretary-Treasurer
Kathleen Bickford Berzock, President Pro-tem
Daniel Avorgbedor, Editor
dele jegede, Past President
Martha Anderson
Eli Bentor
Michael Harris
Betsy Cogger Rezelman
Directors Retiring at the 1999 ASA Meeting:
Daniel Avorgbedor
dele jegede
Kathleen Bickford Berzock
Michael Harris
Membership Information (for residents of North America,
Europe, Asia) Vicld Rovine, ACASA Secretary -Treasurer,
University of Iowa Museum of Art, 150 N. Riverside Dr., Iowa City, IA
Email: victoria-rovine@uiowa.edu
Annual dues are $35.00 (see membership form in this issue),
payable in January. Checks are payable to "ACASA" and
sent to: Vicki Rovine, ACASA Secretary/Treasurer, University of
Iowa Museum of Art, 150 N. Riverside Dr., Iowa City, IA 52242-1789
Membership Information (for residents of Africa & the
Janet Stanley, National Museum of African Art Library
Smithsonian Institution MRC 708
Washington, DC 20560, USA
Tel.: (202)357-4600 Ext. 285
Fax: (202) 357-4879
E-mail: jstanley@ic.si.edu
The ACASA Newsletter is published three times a year:
April, August and December. The newsletter seeks items of

interest for publication. You can send
news about job changes, fieldwork,
travel, new publications, etc. The 1999
directory will appear in the August
issue Please send news items by July
17, 1999 to:
Daniel Avorgbedor, 110 Weigel Hall,
School of Music, OSU, Columbus, OH
43210-1170 USA
E-mail: avorgbedor.l@osu.edu
fax 614-292-1102 tel.: 614-292-9441



Presidential Notes A!
Mary (Polly) Nooter Roberts, ACASA President

Crosscurrents of ACASA: scholars,
students, and artists on the move


write this letter following a three-day conference
entitled "CROSSCURRENTS: Art and Power in
Eastern Africa," held in conjunction with the
opening at The University of Iowa Museum of Art of
a traveling exhibition curated by Christopher Roy
entitled "Kilengi!" The conference included more than
twenty invited speakers from Zanzibar to Bristol, who
brought diverse points of view to bear upon the
complex aesthetic and cultural milieux of east Africa.
The event was a remarkable blend of archaeology, art
history, film studies, history, anthropology,
ethnomusicology, and folklore. Truly exciting new
research was presented on a range of topics, once
again expanding our very definitions of both art and

Following the east African conference, nine
graduate students
from around the U.S.

in this issueooo
Presidential Notes
Art on the Internet
Noteworthy Publications
People & Places
ACASA Book Distribution

presented papers at
the 5th annual
Graduate Student
Symposium. Exciting
new research is
underway in our
fields, and African
art studies are
steadily widening.
Papers ranged them-


atically from adornment to performance, and
geographically from Ethiopia and Morocco to Florida
and Belize.

The College Art Association's call for papers has just
been issued for the Meetings to be held in New York
City in February, 2000. Please submit papers to
panels of all persuasions. African art has much to
contribute to the discipline of Art History, and
ACASA's presence is invited. Send in your abstracts,
not only to Africa-focused panels, of which there are
only a couple, but also to panels on thematic topics
that would benefit from an African case study.

ITriennial 2001 Updatel

A s mentioned in the December Newsletter, plans
are underway for the 12th Triennial Symposium,
in 2001, to be held overseas for the first time in
ACASA's history. We are delighted and honored that
the University of the Virgin Islands has offered to
sponsor this historic Triennial on the island of St.
Thomas, and a local Steering Committee has already
been formed under the guidance and initiative of our
colleague, Dr. Robert Nicholls.

During late April and early May, I shall undertake a
site visit in preparation for the 2001 Triennial. I will
meet officials of the University of the Virgin Islands,
and members of the Triennial Steering Committee.
Robert Nicholls and I will confer with various services
and organizations to negotiate contracts and initiate
logistical preparations. I will make public
presentations to the Art Club at a local high school,
and to the Colloquium on Educational Foundations at
the University of the Virgin Islands. I will be
interviewed by a local radio station about the
Triennial, and there will be press coverage. Free
lodging for the visit has been offered by the Marriott,
that has made the most impressive bid, and we will
investigate the seminar rooms, negotiate rates and
services, identify a site for the Awards Banquet, and
spread the word about this important and exciting
event. The visit will coincide with Carnival, as it will
the Triennial in 2001, so I will attend some of the
events that Triennial participants will have the
opportunity to witness two years from now, including
the Adult Parade and Jouvert.

The Virgin Islands has a masquerading tradition of
some antiquity. An early report of masquerade-like
activities held at New Year's appears in the literature
in the middle of the 18th century, and by the early
19th century, masquerading was in full swing. Both
men and women wore masks during Danish West
Indies festivities held at Christmas and New Year's.
Masquerading declined in the 20th century as a result
of the Depression and the Second World War, but
there was a resurgence when Carnival became an
annual fixture in 1952. Carnival Clowns, "Wild
Indians," and the stilt-walking masquerade known as
Mocko Jumbie, are examples of genres that still

F or further information about masquerade
traditions in the Virgin Islands, see Robert
Nicholls' book, Old-Time Masquerading in the U.S.
Virgin Islands. The research for this book was
obtained form two major sources: a review of Danish
era literature (the U.S. acquired the islands in 1917),
and oral recollections of elders who remember the
masquerading activities of their youth. The book is
220 pages long, has 14 black and white photos, and an
appendix which lists, alphabetically, 50 masquerade
and costume-dance genres. It can be obtained by
sending sixteen dollars ($16.00) to the Virgin Island
Humanities Council, 5 & 6 Kongens Gade, St.
Thomas, VI 00802. Nicholls also has an article
forthcoming in African Arts, entitled "The Mocko
Jumbie of the U.S. Virgin Islands: Sources and

Reflections on Two Human Rights Artists:
Moustapha Dim6 and Ezrom Legae
"I dream only of light" (Moustapha Dim6)
"I think more with my eyes than with my mind" (Ezrom Legae)

T he deaths this past year of two prominent African
artists, Moustapha Dime of Senegal and Ezrom
Legae of South Africa, mark a watershed. Both artists
pushed the definitions of contemporary artistic
practice to a new level. I knew the two artists through
work-related encounters, and both were-to me-
people born into saintly secrets.

Moustapha Dim6 was not only a phenomenal sculptor
and visionary, but first and foremost, he was a talib6,
a devout Sufi of the Mouride Way. In works such as
"La voie divine," he combined used Koranic boards-

still bearing the marks of active devotion-with found
metal to reify his intense spirituality. His dreams and
concerns were urgent and deeply humanitarian, and
his life was living proof of art for humanity's sake.
Likewise, Ezrom Legae was never separate from his
representations. He lived his sculptural torment, for he
had witnessed firsthand the torture inscribed through
every twisted and distorted limb of his cast-bronze
sacrificial animals entitled "Dying Beast" and "In
Pain," powerful symbols of black South African
subjugation and brutality under the Apartheid regime.
These were men who never rested. Their life was a
mission, and their art was, and still is, imbued with
dire purpose and ardent hope.

E zrom Legae came to Senegal in 1996 when I
chose him to be the featured artist from southern
Africa for the Biennial of Contemporary African Art,
for which I served on the international selection
committee. It was the first time that he had ever
visited another African nation, due to the constraints
of Apartheid which prevented him from obtaining
international visas. Yet, he had been to America, and
had ventured through the streets of Harlem, savoring
American culture and lifestyle. During his visit to
Dakar, Senegalese participants in the Biennial were
enamored by him. He was so emotional and
intensively absorbed by the experience that it led him
to create an entire body of drawings from the window
of the Independence Hotel in Dakar, which were later
exhibited at Bill Karg's gallery in New York (one of
the handful of visibly-dedicated promoters of
contemporary African art in America).

During the conference that was held in conjunction
with the Biennial, I was asked to offer a presentation
of Ezrom's work, and to introduce him to the
audience. During the questioning period, Ezrom
described-with tears welling up in his eyes-his
cathartic encounter with Senegal as a place of
"origin," and his sense of himself as the "prodigal
son," returned to the land of his mothers and fathers,
his brothers and sisters. This was the Africa he had
always dreamed of since he was a child, but had been
prevented from ever knowing. Now, his pilgrimage
was complete.

In the same two week period, I had my first
encounter with Moustapha Dime. Al Roberts and I
went to his dramatic studio on the farthest point of
Gore Island overlooking the Atlantic Ocean, and spent

several hours sipping tea while listening to a man
charged with a mission to engender change in a world
that he felt had lost sight of its spiritual dignity.
Moustapha was more eloquent than any pastor or
minister I've ever heard; his words were like waves
rolling out to sea, in metered rhythms of heat and
passion, in flaming staccatos of anger and rage.
Moustapha left a permanent mark through his work,
his art, and especially, his faith.

D im6's growing international reputation led to his
invited participation in the Johannesburg
Biennial. It was during this historic event that he
began to experience stomach disorders that would lead
to his untimely death. I am not personally aware of
what emotional impact Dime's visit had upon him, but
the parallel of his visit to South Africa with Legae's to
Senegal as pilgrimage and polemic should not be
overlooked. Dime was too deep, clairvoyant, and
honest not to have been immensely changed by his
hejira to a place marked by extreme pain and
incalculable transcendence.

By 1998-99, both men had already set out on their
respective spiritual migrations, to cross the great
passage. Yet, these men crossed each others' paths
first, in ways that were oddly-though probably not
coincidentally-symmetrical. Their lives and work are
monuments to truth, not the kind of truth that says my
history is right and yours is wrong, but the kind that
sees through inhumanity and injustice, and cannot rest
without attempting to correct it, or at least to comment
on it in ways so powerful that the rest of us cannot
pretend not to see it. The crosscurrents of these two
artists' lives, and the works they produced, are
eloquent testaments to the ways that art can transcend
life, defy death, and admonish us to take a harder look
along the way.
"Those who go out in search of knowledge will be in the path of
God until they return." (al-Tirmidhi, Sunan, 39:2)0

Tourist-reproart from Ghana
See Tyi Ware (Bambara) headdress
for original. From the editor's collection

(Recent and current)

* DEC 4, 1998 18th Street Arts Complex
(Santa Monica, CA) is very pleased to announce the
debut exhibition of African artist Victor Ekpuk in the
United States. Victor is the first Nigerian
International visiting artist in residence at 18th Street.
Utilizing Nsibidi, an ancient art of pictographic
writing which uses combinations of symbols to
represent concepts, Victor's intent is to "bridge the
communication gap between different peoples of the
world." His painting reveals the fragility of the human
milieu, while communicating contemporary social
experiences. For further information, contact: 18th
Street Arts Complex, Main Gallery, 1639 18th Street,
Santa Monica, CA 90404.

* The Watts Towers Arts Center presented a solo
exhibition of the work of Boston-based artist
Christopher Gosey. Ethiopia Shall Raise Her
Hands to God opened on December 5, 1998 with a
reception for the artist at 1727 East 107th Street, Los
Angeles. The exhibition ran through January 17,
1999. In the explanation of his artwork, Gosey says,
"The Ethiopian Icon invests us to contemplate its
image and poise ourselves for revelation and the
experience of God's presence. Once we are in its
presence, the icon's work begins. The viewer is no
longer just an observer, but very much part of the
sacred drama depicted." Gosey started painting icons
in 1990. After graduating from Texas A&M
University in 1985, he spent five years working in the
area of historic preservation/adaptive reuse and
church design. He made the transition from Intern
Architect to Iconographer's Apprentice and began
studying the classical Moscow School tradition under
the internationally renowned Russian master Ksenia
Pokrovsky. The Watts Towers Arts Center is a
facility of the City of Los Angels, Cultural Affairs
Department. from Wendy Belcher 4

E JAN 22 MARCH 26, 1999 Routes was the
title of an exhibition held in the Brunei Gallery
(SOAS, London) that featured sculptures, paintings,
and drawings by artists from five continents who
currently live in Britain. The artists are: Godfried
Donkor, Juginder Lamba, Hew Locke, Johannes
Phokela and Frances Richardson. The exhibition

was dedicated to Philip L. Ravenhill. For inquiries,
contact the curator, Rose Issa (tel.: [0] 171-243-8111).

* FEB 5 APRIL 1, 1999 Crossroads &
Confluences was the title of an exhibition featuring
works by Michael D. Harris (proudly remembered as
our former ACASA interim Secretary-Treasurer);
Michael also presented a special lecture in conjunction
with the exhibit, which was hosted by the DIGGS
Gallery at Winston-Salem State University. In an
Eternity of Forest was the subject of a second
exhibit featuring paintings by Mbuti women and
curated by Vanessa Moraga. David Wilkie presented
a supportive lecture titled, "Forest Foragers? Life and
Change in the Mbuti of the Ituri Forest, Zaire."

1FEB. 14 JULY 4, 1999 Wrapped in Pride:
Ghanaian Kente and African American Identity,
UCLA Fowler Museum of Cultural History. This
traveling exhibition of approximately 700 objects
traces the roots of kente in Ghana and Togo, and its
widespread use in Africa as garment and ceremonial
cloth. It also explores kente as a meaningful document
of dress, art and identity in American cultures,
specifically within African-American communities in
the United States. The exhibition was organized by the
UCLA Fowler Museum of Cultural History and the
Newark Museum in New Jersey, and was co-curated
by Doran H. Ross, director of the Fowler Museum,
and Anne Spencer, curator of the Newark Museum.

* MARCH 21 JUNE 20, 1999 Sokari Douglas
Camp: Church Ede, A Tribute to her Father at
the National Museum of African Art-
Smithsonian. Sokari Douglas Camp (b.1958) has
sculpted works in steel that evoke memories of her
youth in southeastern Nigeria. In 1984, on the death of
her father, she created Church Ede, a monumental
kinetic sculpture reminiscent of a Kalabari funeral
bed, as a tribute to her father, Chief Ngogo Obene,
who died in 1984. "Ede" is a Kalabari word meaning
"bed for lying in state" and "church" in the title
indicates this is a bed for a Christian wake. Three
additional works by Douglas Camp are also on view
in the pavilion.

* MARCH 27 AUG. 15, 1999 Heritage of
Peace and Reconciliation opened at the Nairobi
National Museum. This exhibition is a result of four
years of learning experiences focusing on Eastern

Africa's "Cultures of Peace" by a team led by Sultan
Somjee of the division of Ethnography, National
Museums of Kenya. Over 200 artifacts, which refer to
a diversity of reconciliation rituals and events among
pastoralist groups of Eastern Africa, are supported by
texts, photographs, slides, and videos. The exhibit is
accompanied by the publication, Honey and Heifer,
Grasses, Milk and Water: A Heritage of Diversity
and Reconciliation. For details, contact:
biodive@tt.gn.apc.org. Tel. (02)742131/4.

* MAY 15 -- AUG 18, 1999 Self-Taught Artists of
the 20th Century: An American Anthology
Lectures, tours, workshops, and discussions
complement this traveling exhibition of works by
American artists who developed their styles without
formal artistic graining. Spanning more than a
century, the exhibition offers over 250 paintings,
sculptures, drawings, and installations. Featured
artists include Grandma Moses, Howard Finster,
Nellie Mae Rowe, Elijah Pierce and William Hawkins.
The Wexner Center for the Arts (Columbus, OH
614-292-3535; http://www.wexarts.org) is currently
hosting the exhibition.

* JUNE 4 SEPT 4, 1999 Kuumba: Paintings by
Synthia Saint James at the DIGGS Gallery,
Winston-Salem State University, will premiere a one-
woman show of work by Synthia Saint James (b.
1949) during the National Theatre Festival, a project
of the North Carolina Black Repertory Co.
Forgotten Heritage: Slavery from the
Motherland to the New World. Sculptures by
Augie N'Kele is a work-in-progress of over 150
sculptures divided into four chapters: Life in Africa,
Capture & Enslavement, Life in the New World, and
Civil Rights. N'kele is a Congolese contemporary
Zairian artist who obtained his painting degree in
Belgium. He later moved to the Dallas, Texas area,
where he met and was heavily influenced by Robert
Gilen, a sculptor who created a mustang sculpture at
Las Colinas.

* JUNE 20 SEPT 25, 1999 Claiming
Art/Reclaiming Space: Post-Apartheid Art
from South Africa will be on view in the Sylvia
H. Williams Gallery of the National Museum of
African Art. The exhibition is being organized in
conjunction with the 1999 Smithsonian Folklife
Festival, which will focus on South Africa. Visit the

National Museum of African Art's website at:

* 1999 (all year) ALL THAT JAZZ Exhibits,
performances, and activities that focus on the history
of jazz. Four exhibits provide highlights: The Jazz
Age in Paris, 1914-1940; JazzOhio; Photographs of
the Golden Age of Jazz; and Stephen Longstreet's
Jazz Art. The events are organized by the Ohio
Historical Society; the exhibits are located at The
Ohio Historical Center, 1982 Velma Avenue,
Columbus, OH 1-800-686-1545.


BThe Art Museum Network {AMIN):
htltp//www.excalendar.nel has created a WEB site
for locating information on current exhibitions.
Current African related exhibitions in the major
museums can he quickly identified by simply using
the keyword Africa in your search

>'http://h-net2. msu. edu/~artsweb/
resources/links/links, html
Links dealing with African expressive culture are now
annotated with informative, yet concise, summaries of
what may be found at these sites. Lea-Ann Bigelow,
the new Links Editor, will appreciate hearing from
anyone who has some new links. Send your address
(URL) to Lea-Ann at lbigelow@downer.com.

http://www.uiowa. edu/~africart/ is devoted
to African art and has extensive lesson plans for
secondary-school teachers; ethnic maps; country
studies including histories, etc. Modified excerpts
from the main CD-ROM project Art and Life in
Africa (see under Publications) are also available-
these include "Chronology of African art," "Issues in
African art history," and "Key moments in life."

* The Ralph Proctor Gallery's eighth on-line exhibit
of traditional ceremonial African art is titled, Yoruba
Art and is available February 1 through April 30,
1999. You can view the exhibit online at

mThe.Garden of Dreams: Tribute to Baya has
been online since January 9, 1999. Visit the exhibition
at the usual address: http://www.tamarin.com.

* Artistry of African Masks: An Exhibition Text
artintro.html). Items include 20 masks from different
parts of Africa. Harlemm network provides a voice
and place for the Afrocentric community; it also helps
individuals with free personal homepages. For details,
contact: info@harlemm.com; or, Joseph Akpan, The
Harlemm Network P.O. Box 995, East Brunswick, NJ

* Source Africa currently features selections from
the Douglas Fraser collection of African sculpture:
http://www.sourceafrica. com/index. html and
http://www. sourceafrica. com/afrfineart. htm

Source Africa was created to provide visitors with the
most complete and up to date information about
Africa. African countries, safari adventures, travel
planning, business opportunities, current news,
international trade, and unique African products, etc.

* Kingdoms of the Medieval Sudan
http://www.xula. edu/-jrotondo/Kingdoms
An academic site authored by Jonathan Rotondo-
McCord, Associate Professor of History, Faculty-in-
Residence, Center for the Advancement of Teaching
Xavier University of Louisiana and Ms. Gayna
Stevens-Credle, CAT Instructional Software Designer.

Kingdoms of the Medieval Sudan is an electronic
exploration of the history of the African states of
Songhay, Kanem-Bomu, and Hausaland. Kingdoms
is a component of "Sacred and Secular in the African
Americas," an electronic project devoted to the
African American humanities, and produced at Xavier
University of Louisiana with the generous support of
the Andrew Mellon Foundation. This site provides a
narrative historical overview of Mali, Songhay,
Kanem-Bomu, and Hausaland before the modem era,
a hyperlinked glossary with pronunciation, and
interactive self-tests on the history of these regions.
The text is also accompanied by the photographs of
Lucy Johnson. The unique glossary links embedded in
the text of this site make heavy use of JavaScript; the
recommended browser is Netscape Navigator (version
4.0 or higher), with Java and JavaScript enabled.


m JULY 12-14, 1999 National Museums:
Negotiating Histories is a conference exploring the
negotiation of diverse histories in contemporary
national museums, particularly those in settler
societies such as Australia, New Zealand, Canada, the
United States and South Africa. These institutions
have been working through complex and often
controversial questions of how to interpret and
communicate varied understandings and perspectives
of histories and nations. The conference will address
dimensions of this process such as the presentation of
indigenous histories and cultures, settler and migrant
histories and cultures, and environmental histories and
human-environment interactions. It will address not
only issues of display and exhibition, but also how
histories are negotiated in the contexts of acquisition,
custodianship, and repatriation issues, and the
production of public programs and educational
materials. Registration information is available from:
Ms Arwen Blackwood Ximenes
Centre for Cross-Cultural Research
Australian National University
Canberra, ACT, 0200, Australia
Ph (61 2) 6249 2434; Fax (61 2) 6249 2438
Email: arwen.ximenes@anu.edu.au

* JULY 15-17, 1999 Encounters with
Photography: Photographing People in
Southern Africa, 1860 to 1999 will be held at
the University of Cape Town, in association with the
South African Museum (Cape Town). Papers and
discussions will focus on "Colonial Encounters"
(Elizabeth Edwards, keynote speaker), "Aesthetic and
Commercial Encounters" (Christopher Pinney,
keynote speaker), "Documentary Encounters" (Martha
Rosler, keynote speaker), and "Curatorial Encounters"
(Christaud Geary, keynote speaker). For proposal and
paper inquiries, contact:
Prof. M. Godby, History of Art Department
University of Cape Town, Private Bag
Rondebosch, 7700 SOUTH AFRICA;

* AUGUST 3 SEPTEMBER 4 Pan African
Anthropological Association will hold its ninth
annual conference in Yaoundr, Cameroon. Under the

theme, "The Anthropology of Africa and Challenges
of the Third Millennium." For details, contact:
Conference Secretariat, PAAAAnnual Conference
ICASSRT, B.P. 1862, Yaound6, Cameroon;
tel.: 237-23-42-27.

* OCTOBER 19-23, 1999 World Carnival
Conference The Tourism and Industrial
Development Company of Trinidad and Tobago
(TIDCO) and The National Carnival Commission
(NCC) will host the 3rd Annual World Carnival
Conference in Port of Spain, Trinidad. For details,
contact: e-mail wcc@tidco.co.tt

* OCTOBER 28-30, 1999 Belgium's Africa:
Assessing the Belgian Legacy in and on
Africa: The Social Sciences. University of
Ghent, Belgium. http://africana.rug.ac.be/belgiumsafrica
For details, contact:
University of Gent, African Languages and Cultures
Conference Secretariat, Rozier 44, B-9000, Gent Belgium
tel. 32-9-2643705, fax 32-9-2646180
e-mail: jan.blommaert@rug.ac.be; or,

* OCTOBER [TBA], 1999 Whither Bantu
Studies: Investigations of an African Identity
is the theme of an interdisciplinary symposium
organized by the Department of Art History and
Archaeology at the University of Maryland, College
Park. Proposals are welcome from professionals and
graduate students in anthropology, archaeology,
history, art history, and linguistics. Send abstracts by
June 30, 1999. Symposium proceedings will be
published. Contact:
Ekpo Eyo, Department of Art History and Archaeology
University of Maryland, College Park, Art/Sociology Bldg.
College Park,MD 20742; tel. 301-314-1485; fax: 301-314-9652.

NSEPTEMBER 3 8, 2000 Thirtieth
International Congress of the History of Art
will be held in London under the theme, Time: Art
History for the New Millennium. A section of this
congress is devoted to "African Art Time." Proposals
are due 4 June 1999. Contact Christopher Slogar at

lThe Urhobo Art conference and Exhibition,
organized by the Fine and Applied Arts Department of
Delta State University, Nigeria, has been rescheduled

for December 15, 1999. The organizers regret the
inconvenience (see last issue for Aug. 1998 issue for
full announcement).

Noteworthy Publications I

HENDERSON, Amy and Adrienne L. KAEPPLER.
Exhibiting Dilemmas: Issues of Representation at the
Smithsonian. Washington, D.C.: Smithsonian Institution,
1999. 298pp. $17.95 (paper).

HILTON, Judin (chief editor), and Ivan VLADISLAVIC.
blank Architecture, Apartheid and After.
Nederlands Architectuurinstituut, 1998. Paperback, color
and black/white illustrations, 504 pages, text in English,
ISBN 90-5662-092-4, NLG 65,00. A catalogue
accompanying the South African exhibition (Dec 1998 -
March 1999) by the same name and sponsored by the
Netherlands Architecture Institute (NB: "blank_ in the
title is correct).

ISOLA, Akinwumi. Madam Tinubu. The Terror in
Lagos Heinemann Ed. Books (Nigeria), 1998.
$8.50/4.95. 978129390X 117pp. 978129390X 117pp.
1998. Directed by Wole Soyinka, this play was the 1979
convocation play of the then University of Ife. This is the
first time it has been published in book form.

VAN WYK, Gary. African Painted Houses: Basotho
Dwellings of Southern Africa. New York : Harry N.
Abrams, 1998.

>Getty Conservation Institute. History Told on Walls.
Los Angeles: Getty Conservation Institute. 43-min. VHS
format, color, $19.95; ISBN 0-89236-473-4 (English), 0-
89236-474-2 French. An award-winning documentary of
efforts to preserve the bas-reliefs that once adorned the
Salle des Bijoux ("Hall of Jewels"), part of the official
palace of King Glele in Abomey, Republic of Benin.

> New Directions: Readings in African Diaspora
Music (edited by Loma McDaniel). The first (1997) and
second (1998) issues of this annual are available from the
editor, 2006 Oklane Rd., Wilmington, DE 19803.
Subscription is $15.00, or $25.00 for both. For
subscribers from Africa the cost for each issue is $3, plus

* The Art and Life in Africa Project at the University
of Iowa announces the completion of its interactive CD-
ROM program, which consists of chapters, essays,

ethnographies, countries information, bibliography, and
images and media catalogues. Chapter titles include "Key
Moments in Life," "Human Abundance," "Art and
Education," "Governance and Social Order," "Death and
the Ancestors," and "Cultural Exchange," among others.
The program is based on images of art objects from the
Stanley Collection at The University of Iowa, the
collections at the Indiana University Museum of Art, the
Fowler Museum of Cultural History at UCLA, the Seattle
Art Museum, The Metropolitan Museum of Art, the
Detroit Institute of Arts, and others. Images of objects are
supplemented by field photos by prominent American,
European, and African scholars.

The CD-ROM includes 36 essays, 10,000 images of 600
objects, 750 field photographs and over 1400 pages of
text. There are also video clips of art being used in
performance, and several samples of African music
provided by the Archives of Traditional Music at Indiana
University. A fully searchable Index and Slide Show
Maker allow teachers to assemble objects, text, videos,
and music to create their own presentations.
http://wvww.uiowa. edu/-africart.

CD-ROM price: $50; teacher's guide: $10 (this will also
be available for free electronically on our web site); S/H:
$5 for 1-4 copies, $10 for 5+ copies. Order 10 or more
CDs and receive a 20% discount (brings the cost down to
$40/CD). Send check, money roer, or University/School
Purchase order to:
Art and Life in Africa Project, 100 Oakdale Campus, Rm N151
OH, The University of Iowa, Iowa City, IA 52242-5000, Attn:
Order Department (tel.: 319-335-4098; fax: 319-335-4097).

>Rakumi Arts Newsletter is an occasional publication
with news about African music and culture published by
Douglas Paterson, a cultural anthropologist and
ethnomusicologist with a geographic specialization in
Kenya and Tanzania. He has also produced a number of
CDs and LPs of East African popular music. Rakumi
Arts International is a non-profit cultural arts
organization based in Seattle, Washington presenting
music, film, literature, and art from Africa. To subscribe
to the newsletter, contact Douglas Paterson at
Dpaterson@aol.com; http://members.aol.com/dpaterson/

[We encourage members to send news items about
grants, jobs, research, etc.]

* UCLA's School of Arts and Architecture is pleased
to announce two new appointments. Dr. Allen F.

Roberts will serve as Professor in the
interdisciplinary World Arts and Cultures
Department, and Dr. Mary Nooter Roberts will be
Chief Curator of the Fowler Museum of Cultural
History, to begin July 1st, 1999. Allen received his
Ph.D. in Anthropology from the University of
Chicago, and has taught at Albion College and the
University of Michigan; for the past eleven years he
has held a joint appointment at the University of
Iowa's Department of Anthropology and African-
American World Studies Program. He has been
Director of the African Studies Program for the last
four years, and Co-Director of the Project for the
Advanced Study of Art and Life in Africa (PASALA)
since its founding in 1989. He is author of numerous
publications, including The Rising of a New Moon:
A Century of Tabwa Art and Animals in African
Art: From the Familiar to the Marvelous.

Mary Nooter Roberts holds a Ph.D. in Art History
from Columbia University and was Senior Curator at
the Museum for African Art in New York for over a
decade, where she conceived and curated the
acclaimed exhibitions "SECRECY: African Art that
Conceals and Reveals," "EXHIBITION-ism:
Museums and African Art," and "MEMORY: Luba
Art and the Making of History." The book
accompanying this latter, co-authored with Allen, won
the College Art Association's Alfred J. Barr Award
for Museum Scholarship. Dr. Nooter Roberts is
currently President of the Arts Council of the African
Studies Association, and a Consulting Editor to
African Arts magazine. Together, the Roberts' have
co-authored The Shape of Belief and A Sense of
Wonder: African Art from the Faletti Family
Collection. For the past six years, they have
conducted research which will lead to an exhibition at
UCLA's Fowler Museum of Cultural History in 2001,
entitled "Passport to Paradise: Senegalese Sufi Arts on
the Move." They have also begun comparative visual
research in India.

* American colleagues may not be aware that recent
decisions by the French government (jointly by Chirac
and the Socialists) place in danger the continued
existence of the Mus6e de I'Homme and, perhaps too,
of the Mus6e National des Arts d'Afrique et
d'Oceanie (MNAAO/ Mus6e de Vincennes).

The government has voted to establish a new museum,
Mus6e des Arts et Cultures ("big MAC") at Quai

Branley. This museum would theoretically be
empowered to expropriate holdings from the other two
museums, for its own collection. It is unclear exactly
what would happen to the old Mus6e de l'Homme.
There is a likelihood that another arm of government
(perhaps the Mus6e de la Marine) will attempt to take
over the old quarters of the M. de l'Homme. Where
this leaves the extensive holdings of the M. de
I'Homme-its reserves and ethnographic archives and
photos-is far from clear.

The situation should cause alarm for all African
scholars. The Mus6e de l'Homme-despite its rather
long-in-the-tooth exhibition space-houses a
collection of West African materials (especially from
Mali, thanks to Griaule and his followers) unequalled
in the world. What would happen to this material if
the museum were to be closed, or moved into less
spacious quarters?

The newly appointed Directeur de Service at the
Mus6e de l'Homme, Prof. Serge Tomay, is fighting an
uphill battle to preserve the collections. Under his
aegis, an exhibition devoted to the history of the
Griaule expeditions (1928-1956) offered perhaps the
first truly self-critical show at the Museum, including
its role in the French colonial empire. Such a critique
offers real hope that the museum has moved beyond
being simply a repository for the remnants of past
colonial glory. But is it too late?

Interested colleagues may wish to contact H-West
Africa, or Peter Mark, by email. Certainly it is to be
hoped that the international scholarly community can
exert some moral suasion on the French government,
to preserve (and where necessary to update and
transform) the Mus6e de l'Homme. Cross-post from
H-Africa from Peter Mark and Odile Goerg

* The project of architectural images on the World
Wide Web (http://www.washington.edu/ark2) which
now consists of over 4,000 photo images from
Europe, North and South America and from Asia, is
looking for unpublished photos from the African area,
which is very poorly represented in the photographic
archive. Simon Ottenberg (otten@u.washington.edu)
is consultant for Africa. Photos of buildings in rural,
urban, nomadic, settled, old and new settings,
including photos of religious structures, among other
are being sought. Copyright will be retained by the

photographer. The project's director is Meredith
Clausen (mlc@u.washington.edu), Art History,
School of Art, Box 353440, Seattle, WA 98195.
Please contact Ottenberg or Clausen if you are willing
to provide images.

* Nettie K. Adams is cataloguing a collection of
burial wrappings from two Christian cemeteries in
Sudanese Nubia. She would be interested to learn of
parallels from the Nile River or elsewhere. The graves
range in date from c. 700 to c. 900 AD. Among the
468 pieces are three plain weave mats, two of whose
dimensions are complete. They are: L 106 x W 69 cm.
and L 135 x W 77 cm. The third mat has an
incomplete length of 86 cm. and a complete width of
126 cm. All three are made entirely of S-spun human
hair. Many of the cords, strings and braids used to tie
up the body bundles are also made of human hair.
Please send any information to Nettie K. Adams,
Webb Museum of Anthropology, University of
Kentucky, Lexington, KY 40406-0024; email:
wadams@pop.uky.edu; tel.: 606 257-2710.

* African Artifacts Missing in Buffalo-Seven
more African artifacts are missing and presumed
stolen from the Buffalo Museum of Science. Museum
President Michael J. Smith noted that the stolen
items were to have been the centerpieces of an
upcoming exhibition recognizing the African Village
and its people as part of the Pan-American
Exposition centennial in 2001.

The total value of the missing items now stands at
$95,000 to $125,000. The museum has posted a
reward of up to $5,000 for information leading to the
recovery of the items. For details, see news items in
The Buffalo News, January 28, 1999; February 9,
1999; February 13, 1999). Visit:

*The Mead Art Museum of Amherst College has
recently received over 250 works of art and ritual
artifacts from the estate of Barry D. Maurer (Class of
1959). The gift was made possible through the
Discretionary Fund of Amherst College and funds
from Axel H. Schopf (Class of 1957). The Maurer
Collection focuses upon ritual artifacts used in
divination among Central and West African peoples.
A portion of it is on the Amherst College website,
http://www.Amherstcollege.edu. Access is through
"Campus Resources," then "Mead Art Museum," then

"Past Exhibitions The Artist's Eye, The Diviner's
Insight." A forty-three page exhibition catalogue of
the same title is available from the Mead Art Museum
for $10. Several pieces from the collection will be
part of the exhibition "Art and Oracle" which will
open at the Museum Rietberg Zurich in November
1999 and at the Metropolitan Museum of New York
in June 2000 ) John Pemberton III 4

EMBIRA is a new non-profit organization
devoted to the dissemination and preservation of
traditional music of Zimbabwe, including mbira
music. MBIRA holds workshops and supports
research or educational travels to Zimbabwe.
Contact Erica Azim for your suggestions,
donations, etc. at erica@mbira.org; tel.: 510-548-

* Individuals interested in becoming members of the
Institute for Benin Studies are encouraged to write to
the Coordinator, Institute for Benin Studies, P.O. Box
12708, Benin City. Members receive the Benin
Studies Newsletter.

* AfroCubaWeb is organizing a September/October
'99 US workshop and performance tour of the
Matanzas All Stars-9 master percussionists,
dancers, and singers accompanied by an
ethnographer. A chief purpose of the tour is to deepen
the knowledge in the United States of the African
continuities in Cuba.

The group is looking for sponsors and settings in
cultural centers and universities, both for workshops
and performances. Departments and area studies
focusing on music, dance, religion, African Studies,
African American Studies, Africana Studies,
literature, and anthropology are encouraged to
consider this opportunity. Interested parties should
contact paul@afrocubaweb.com. Visit AfroCubaWeb
at http://afrocubaweb.com for full details.

* Highlights from Spring 1999 Kennedy Center for
the Performing Arts African Odyssey Interactive
Online Chat Session can be reached online at:
http://artsedge.kennedy-center.org. For
further information, contact: 202-416-8642 OR,
email: intspprog@mail.kennedy-center.org

>"How to Participate in Kennedy Center African
.... Odyssey Online Chat Sessions
I Go to http-//artsedge.kenned) -center org
2. Give yourself 15 nunutes to Register
3 Go to the AnsEdge homepage at
htip.//artsedge.kennedy-center org
4. Click on
5 Scroll down to
upcoming chats and cybercasts
6 Click on
to participate for the first time
7 Download your plugin b) choosing HTML Cl-ntS

EThe US Information Agency (USIA) is pleased to
announce its new Web page featuring International
Cultural Property Protection:
http://www.usia.gov/education/culprop/index. html.
The page provides background on the problem of
international pillage of artifacts and the US response;
information about relevant laws, bilateral agreements
and US import restrictions; recent news stories and
magazine articles, and much more. High-resolution
images of classes of artifacts protected by the US will
be added in the near future.

Those interested in these important matters might
want to look at the Fall 1998 issue of Museum
Anthropology: Journal of the Council for Museum
Anthropology, in which there are comments by
Chapurukha Kusimba and Bennet Bronson, both of
the Field Museum in Chicago, about "The
Recommendations of ICOM Working Groups 1 and 2
Concerning the Protection of African Heritage." The
complete ICOM recommendations are reprinted on the
CMA website, http://luna.cas.usfedu/curtis/cma.html.
) extract from Allen Robert's post 4

* Drew in West Africa is a unique summer study
program in Cote d'Ivoire which allows participants to
explore the rich cultural and artistic traditions of
West Africa. Under the directorship of Jerry Vogel,
the program includes courses in African culture and
history of African art and architecture. Students are
able to work directly with African artists in their
villages and workshops in the areas of ceramics,
fibers, and metals. Program dates: July 10 to August
7, 1999. Cost: $4,150 (includes 8 credit tuition, air
fare, lodging and some meals). Deadline: April 1,
1998. For further information, contact: Drew in
West Africa, African-American/ African Studies,

Drew University, Madison, NJ, 07940, SA.
Telephone: (973) 408-3383. Email: ppeek@drew.edu.

0 B I T U A R Y

The Africanist community of scholars regrets to
announce the sudden death of Allen Wardell, who
died of a heart attack on March 1 while skiing in
Colorado. Wardwell was former director of the Asia
Society Galleries in New York (1974-1984) and also
head of the primitive art department of the Art
Institute of Chicago from 1960 to 1973. Jean Borgatti

Allen worked with me on the Portraiture in African
Art exhibit in the early 1990s-- helping to locate
objects and negotiate loans. Someone asked me how
I could bear entrusting this to someone else, but I was
greatly relieved to have someone with Allen's
connoisseurship skills working in this capacity. I can't
say that I knew Allen well, but I enjoyed his
collegiality and appreciated his puckish sense of
humor and quiet competence. I was most grateful for
his assistance. Jean Borgatti. 4

* EZROM LEGAE (1939-1999)
The South African artist Ezrom Legae passed away
on Tuesday, January 5 in his Meadowlands, Soweto
home after a long battle with throat cancer. He was 60
years old.

Ezrom Legae began as an artist at a time when he had
few peers among the young African men and women
in Johannesburg. During the 1950s the full
dimensions of Apartheid were just becoming apparent,
and the only access to modem art training allowed for
Black students was through a handful of teacher-
training institutes and mission schools, and through
informal night and weekend classes at the Polly Street
Recreation Center in downtown Johannesburg. Polly
Street itself was at first meant as a way to keep the
Black youth off the streets and out of the unions, but it
took on a very different form as a meeting ground,
along with the Bantu Men's Social Centre, for a
generation of Black artists and intellectuals. Legae

studied sculpture and drawing under Sydney Kumalo
and Cecil Skotnes at Polly Street from 1957 to 1964.
After the departure of Skotnes, and then Kumalo,
Legae took over in 1968 as head instructor at the
Jubilee Art Centre, the new location for the Polly
Street facility, in Eloff Street near the Bantu Men's
Social Centre. He was director of the African Music
and Drama Association at Dorkay House during the
early 1970s-among his students there was the
painter Helen Sebidi. He is today considered one of
the founding figures in South African modem art, as a
teacher and through the example of his art, by several
subsequent generations of Black South African
modem artists and by the larger art community in
South Africa.

During the late 1960s, Legae exhibited along with
other members of the Amadlozi Group, whose name in
isiZulu roughly translates as "human spirits" or
"departed souls." That group was the brainchild of
gallerist Egon Guenther, one of the few early
promoters of Black artists in South Africa, who was
interested in artists who showed an engagement with
what he considered "the African spirit." Guenther was
instrumental in introducing artists like Legae to what
are for many Western art historians the "Classic"
forms of West and Central African sculpture. Other
members of the Amadlozi Group included Cecil
Skotnes, Sydney Kumalo, and Edoardo Villa-
collectively their art produced a synergy, in part the
product of making art across racial boundaries, which
had as much an influence on the future direction of art
in South Africa as did the informal instruction that
went on at Polly Street. Ezrom Legae's art never
shied away from the hardships faced by South
Africans under Apartheid, yet the psychological
intensity of his drawing and sculpture never
succumbed to cliches of the revolution or
sloganeering, nor did it fall into the trap of
commercializing "self-pity" images of the townships.
Characteristic of his work since the 1970s was the
motif of African sacrificial animals and beasts of
burden in horribly contorted postures: horses, cattle,
goats, mangy dogs. In the late 1970s Legae began a
poignant series of drawings protesting the brutal
beating death in detention of activist Steven Biko.
These took the form of crucified, crushed, and
confined sacrificial chickens. His most recent pen and
ink work consisted of images of what he considered to
some extent to be the "real Africa" (a reference to the
sort of cultural freedom denied to Black South


Africans until recent years) which he witnessed on a
trip to Senegal, as well as dark reflections on the state
of South African politics and society after Apartheid-
particularly the difficulties of transition to multiracial

Ezrom Legae is one of the few artists working in
Africa to have received some measure of international
recognition during his lifetime. He traveled the United
States on a USSALEP scholarship in 1970, and
visited again in 1972. His art has been included in
numerous international exhibitions over the past 25
years. Most recently his sculpture was selected for
the DAK'ART 95 festival in Senegal by curator Polly
Nooter-Roberts. He held a one-person show at Bill
Karg's Contemporary African Art Gallery in
Manhattan in 1997, and was included in the
"Contemporary African Art" show at the WorldSpace
gallery, Washington, D.C. this past fall. His work is
part of many important private and museum
collections in the U.S. and Europe, and will be
exhibited in the National Museum for African Art
show on South Africa this summer in Washington.
Perhaps Mr. Legae's proudest moment, though, was
his presentation of a bronze sculpture to South
African President Nelson Mandela when he stepped
down from the leadership of the African National
Congress last year. Ezrom Legae is survived by his
wife Lorraine, his daughters Patricia, Venetia, and
Sandra, by his son Cecil, and by his five
grandchildren. He was buried at Croesus Cemetery on
January 16.

South African art has lost a pioneer.
brother. Khotso! > John Peffer 4

Go well,

KING OF THE ASANTE [1910-1999]
The death is reported on February 23 of Otumfuo
Nana Opoku Ware II (born Jacob Matthew Poku,) the
traditional King Of the Asante. Born into a royal
family in Kumasi, the King attended Adisadel College,
trained as a surveyor and later studied law in London.
He was called to the Bar at Temple in 1972 and
practiced law in Ghana. He once served as
Commissioner of Communications. Otumfuo Opoku
Ware II was chosen to succeed the former king
Prempeh II, who died in 1970 (the film, A Great Tree
has Fallen, 1973, documents Prempeh's funerals).
Nana Opoku Ware was married to Lady Victoria, who

preceded him in death in 1996. He is survived by
five children.

Leroy Vail, Professor of African History at Harvard,
died on March 27. Leroy is survived by his wife,
Patricia, and daughter, Sharon.

ACASA Book Distribution
The following publications were sent to recipient
museums and libraries in the ACASA Book
Distribution Program between January and March
The Arts of Africa: An Annotated
Bibliography. Volume 6, 1992; by Janet
Stanley. Courtesy of the Smithsonian Institution

Old Africa, New Africa, Africa Observed.
Mulvane Art Museum, Topeka, Kansas.
Courtesy of Robert Soppelsa and the Mulvane
Art Museum.

Monumentality in miniature, August 8-
December 31, 1998. Courtesy of Vicki Rovine
and the University of Iowa Museum of Art.

Tinda Lwimba: A Contemporary Zairian
Painter, The University of Iowa Museum of
Art, March 8 to May 26, 1996; by Bogumil
Jewsiewicki. Courtesy of Vicki Rovine and the
University of Iowa Museum of Art.

Seven stories about modern art in Africa;
edited by Cl6mentine Deliss. London:
Whitechapel Art Gallery, 1995. Courtesy of
Catherine Lambert and the Whitechapel Art
Gallery, London and through the good offices of
Elsbeth Court.

African arts (Los Angeles) 31 (3) summer
1998. Courtesy of Doran Ross and the James S.
Coleman African Studies Center, University of
California, Los Angeles.



The Arts Council of the African Studies Association

March, 1999

With the April issue comes our annual request for your ACASA membership renewal, which must be
received before you can be included in the annual directory. Please complete the information below and
submit with a check or money order made out to ACASA. All payments must be in U.S. dollars. Members
outside the U.S. may also pay with postal orders.

Members receive the annual directory, the ACASA newsletter (3 issues), and opportunity to participate in
ACASA-sponsored programs and the Triennial symposia. For detailed information on membership
privileges, please contact me at the address below.

Thank you for your cooperation

Yours truly,

Vicki Rovine
ACASA Secretary-Treasurer
University of Iowa Museum of Art
150 N. Riverside Dr.
Iowa City, IA 52242-1789

Regular member $35.00
Special member (student, unemployed, retired) $15.00
Institutional member $35.00
Mailing address and phone numbers for Directory and receipt of the newsletter (PLEASE PRINT)
Name: Affiliation:

City: State: Zip:
Country, if not U.S.
Home Phone: _Work Phone:
Fax: Email:
Additional information please circle or complete
Specialization: Art History Anthropology Ethnomusicology Other
Current Memberships: ASA CAA AAA Other
Primary Profession: University teaching Other teaching Museology Research Student Other
Primary Regional Focus: W. Africa C. Africa E. Africa N. Africa Southern Africa Diaspora
Other Ethnic or Country Focus:
Education (highest degree): PhD MA MFA BA Other

Editor: ACASA Newsletter
(Attn: Avorgbedor)
110 Weigel Hall
School of Music, OSU
Columbus, OH 43210-1170 USA


Robert T. Soppelsa
1655 Illinois Street
Lawrence KS

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