Title: ACASA newsletter
ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
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Permanent Link: http://ufdc.ufl.edu/UF00103115/00074
 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 1999
 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).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00074
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













AC A S A


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in this issue o
Presidential Notes
Committee Reports .
Call for Panels . .
Minutes . . . .
Exhibitions . . .
Conferences . . .
Jobs & Interns . .
Publications . . .
...Of People & Places
Obituary . . . .


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ACASA Board of Directors
Martha G. Anderson, President
Rebecca L Green, Secretary-Treasurer
Vicki Rovine, President Pro-tern
Daniel Avorgbedor, Editor
Mary (Polly) Nooter Roberts, Past President
Ell Bentor
Michael Conner
Emily Hanna
Babatunde Lawal

Membership Information (for residents of North America,
Europe, Asia): Rebecca Green, Non-Western Art and Culture,
1010 Fine Arts, Bowling Green State Unlversity, Bowling Green, OH
43403 Email: rlgreen()bgnet.bgsu.edu (419) 372-8514

Annual dues are $35.00 (see membership form in this issue),
payable in January. Checks are payable to "ACASA" and
sent to: Rebecca Green, Non-Western Art and Culture,
1010 Fine Arts, Bowling Green State University, Bowling Green, OH
43403
Membership Information (for residents of Africa & the
Caribbean):
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 next
ACASA newsletter will be in
December 1999. Please send news
items by March 31, 2000 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


ACASA
NEWS

Presidential Notes e
by
Martha G. Anderson, ACASA President


BT t-LATE SAD NEWS:
BETSY COGGER REZELMAN PASSES
AWAY

The President of ACASA and the entire Board
membership regret to announce the sudden death
of our beloved colleague and Board member, Betsy
Rezelman. Betsy died of a stroke on January 27,
2000. A full memorial will be published in the
next issue of the newsletter.



GET READY FOR THE TRIENNIAL OF THE
MILLENNIUM!


in this issue
Presidential Notes
Committee Reports
Call for Panels .
Minutes . .
Exhibitions . .
Conferences . .
Jobs & Interns . .
Publications . .
...Of People & Places
Obituary . . .


*I before becoming
o o 0 President of ACASA
. . 2 in November, I felt
. . 4 that I knew many
. . 5 ACASA members.
S. . . 6 Now I realize how
. . 7 many I do not know,
. . . 9 especially among the
11 hundreds who live in
S. . 12 Africa and the
s . . 13 Caribbean. During
.. 14 my term, which will
conclude at the 2001


Triennial, I hope to get to know many more of you.


Vol. 56








Even if I can't possibly meet you all in person, I'd like
to hear your ideas for ways to improve ACASA.

Our outgoing President, Polly Nooter Roberts, has left
very big shoes to fill. In addition to spearheading a
number of initiatives, including a fund-raising
campaign and an education outreach committee, she
finalized plans to hold the 12th Triennial Symposium
on African Art in the Virgin Islands, the first ACASA
venue outside the continental United States. She
continues to serve as Past President, a post dele
jegede, who guided ACASA through the New Orleans
Triennial as President, recently relinquished. I will
rely heavily on their advice throughout my term.

PT o valued board members, Kathleen Bickford
J. Berzock and Michael Harris, retired at the
African Studies Association Meetings in Philadelphia
after serving ACASA in a variety of important roles
during their three year terms. After performing the
heavy duties of Secretary-Treasurer for the past year-
and-a-half, Victoria Rovine stepped down to serve as
President Pro-tern. Rebecca Green, who joined the
board along with Babatunde Lawal and Emily Hanna,
volunteered to take over from her as Secretary-
Treasurer. Fortunately, Daniel Avorgbedor has agreed
to continue serving as Newsletter Editor.

bTravel to the spectacular Virgin Islands for
Triennial 20014
I feel like a bit of a travel agent, but for the next
sixteen months or so, much of the board's energies
will be directed toward planning the 12th Triennial
Symposium on African Art to be held at St. Thomas
in the U.S. Virgin Islands from April 25-29, 2001.
Dr. Robert Nicholls, our tireless local organizer and
ACASA liaison, reports that he and his collaborators
in the Virgin Islands are just as excited about hosting
the Triennial as ACASA members are about travelling
to the Virgin Islands. Eli Bentor, the Program Chair,
eagerly awaits your panel and paper proposals. We
have set an early deadline so that we can publish the
tentative program a year from now. This should allow
ample time for participants--particularly overseas
visitors-to make travel arrangements.

Please do not wait until next year to send your hotel
reservations to the Marriott Frenchman's Reef.
We need to determine whether ACASA will meet the
95 room minimum necessary to guarantee free access
to meeting rooms and the banquet hall. In addition,


we have only a limited window to reserve more rooms
if it looks like demand will exceed this number. St.
Thomas will be somewhat more expensive than New
Orleans, but the board is working hard to secure the
best possible rates. (The Marriott offered us a heavily
discounted 1999 rate for 2001, for example.) As
ACASA members agreed in 1998 and affirmed in
1999, this venue not only fulfills ACASA's
longstanding commitment to hold the meetings in the
Caribbean and/or Africa (where two-thirds of our
members live), but with Carnival events interwoven
with the program, promises to be well worth the
expense.

WGiving Back4
Years ago, I was surprised to learn that a colleague
who had once trained as world class gymnast was
coaching young athletes at a small local YMCA.
When I asked her why she would take on a job she
didn't need in an organization that showed little
promise of producing Olympic level competitors, she
responded that she was "Giving back to the sport," a
concept her own teachers had instilled in her youth. If
a sport could inspire this sort of dedication, the simple
phrase, slightly altered (to "to the discipline" or "to
the field," perhaps), could serve ACASA well. Our
mission, which involves giving knowledge,
understanding, expertise, and support-among other
things-is a way for us to reciprocate, to give
something back.

At the risk of sounding preachy (which I don't
wish to be) and smug (which I have no right to
be) in my very first newsletter, I feel that this is an
important issue to address. I say this only partly
because I want to emphasize the importance of the
recent fundraising campaign. You all know that the
Endowment will help secure ACASA's future, and that
the Symposium fund will guarantee that graduate
students as well as African scholars and artists can
join us in the Virgin Islands next year. I also want to
remind those of you who do not have money to give,
that there are other ways to "give back," and to let
those of you who have already given money know that
writing a check isn't enough. ACASA is not a bank
account; we are ACASA. Many of us have already
given extensively, but ACASA will keep asking us to
give again. "Giving back" need not be costly or
onerous, and can be greatly rewarding.








Now I will get to the real point, and I hope you are
still with me. Our presence within the College Art
Association has always been problematic, and the
board is now concerned about our participation in the
African Studies Association. Does a low turnout in
Columbus, disappointing attendance in Chicago, and
less-than-expected numbers at Philadelphia-a
"between-Triennials ASA" held in a major East Coast
city-mean that some members feel they have
outgrown ASA and/or ACASA? Can ACASA do
something to bring them back? (I should add that
those who did come to Philadelphia were treated to a
wonderful series of panels organized by ACASA
members).

As much as we want a good turnout in St. Thomas
in the spring of 2001, we need as many of you as
possible to attend the ASA meetings in Nashville,
Nov. 16-19th, 2000. In this case, ACASA members
will also be supporting the efforts of the National
Panels Chair, our very own Patrick McNaughton. It
may be a lot to ask, but please find a way to get to
Nashville. *



Fund-Raising and Endowment
Committee
(Chair: Polly Nooter Roberts, Past President)

On behalf of the entire ACASA Board of
Directors, I wish to extend sincere thanks to all
of you who have responded to our recent fund-raising
campaign, and contributed to the Triennial and/or
Endowment Funds. We greatly appreciate your
commitment to ACASA, as reflected through your
generous gifts.

We hope that those of you who have not yet made a
contribution will still consider a donation toward the
critical causes outlined in the letter that was sent out
last November. Please see the the membership form at
the back of this Newsletter for information on how to
make a donation toward the Triennial Fund for
Visiting African Scholars and Graduate Students,
and/or the Endowment Fund for Long-Range Planning
and Programs. ACASA depends upon the ongoing
support of it members and has exciting plans for the
future. Z U


Triennial Symposium Program
Committee Report

(Chair: Eli Bentor, Triennial Program Committee)

rhe committee published a first call for panels and
I papers and began deliberation on the program. At
the ASA meeting in Philadelphia, the ACASA Board
decided to appoint Eli Bentor as chair of the
committee. Martha Anderson and Judith Bethelheim
will serve as a member. The final committee
membership will be announced soon. The last call for
panel proposals appears elsewhere in this newsletter.
The deadline for panel proposals is March 31.
2000. The committee encourages all members of
ACASA to suggest ideas for innovative panels and
other elements of the program. We are particularly
interested in panels that cross traditional boundaries
between Africa and the Caribbean and between
academic discussions and performance. Please
contact:
Ell Bentor, Department of Art,
Appalachian State UniversitU, Boone, NC USA
Tel. 828-262-2579, Fax 82B-262-6756
E-mail: bEntore@a ppstate.edu.


Outreach and Museum Day Committee
(Chair: tBetsy Cogger Rezelman; submitted by
Veronika Jenke)

"ohis committee's efforts are aimed at giving
I something back to communities that host
Triennial Symposia. The program for the upcoming
Triennial will focus on teaching African and
Caribbean culture through the visual arts,
performance, and music, as well as the role of the
internet and museums in the curriculum. Committee
members, including Veronika Jenke and Robin Poynor,
are now talking with resource people in the Virgin
Islands to fine tune the program so that is serves
Virgin Island audiences.








V
FINAL CALL FOR PANEL PROPOSAL
A
12th Triennial Symposium on African Art
St. Thomas, Virgin Islands
April 25-29, 2001

TRANSITIONS, PASSAGES, and CONFLUENCES

T he 12 Triennial Symposium on African art is
Organized by the Art Council of the African
Studies Association (ACASA). Hosted by the
University of the Virgin Islands, the conference will
coincide with the carnival and carnival events will be
built into the schedule.

This is the first ACASA triennial symposium of the
new millennium and is also the first to be held outside
of the United States. The setting of the conference in
the Caribbean inspired its theme: Transitions,
Passages, and Confluences. It is an inclusive theme
that encourages the investigation of transformations in
the arts of the African continent and the African
diasporas. This is the final call for panel
proposals.

Panel proposals should include:
JoTitle
OUp to two-page proposal describing the premise
and scope of the panel
DA one-paragraph abstract to publish in the
Newsletter
3 A one-page CV of the panel chair
DContact information including mailing address,
phone and fax numbers, and email address (if
available).

The deadline for panel proposals is March 31, 2000.
A list of panels will be published in the ACASA
Newsletter with a deadline for paper proposals in
August 2000. Electronic submissions are encouraged.
Please submit proposals to Eli Bentor, Chair,
Program Committee:
WEli Bentor, Department of Art
Appalachian State University
Boone, NC 28608 USA
teL: 1-828-262-2579 fax: 1-828-262-6756
e-mail: bentore@appstate.edu


CAA: ACASA-SPONSORED PANELS

Zoe S. Strother is chairing an ACASA-sponsored
panel on "Iconoclasm in Africa" at the 88' College
Art Association meeting (Feb. 23-26, 2000) in New
York. Panel presenters include Ikem Stanley Okoye,
Annie E. Coombes, and Elisabeth L. Cameron.

Dana Rush will also be chairing a sponsored session
at the 89th CAA Annual Conference to be held in
Chicago (Feb. 28-March 3, 2001). The theme of the
session is, "The 'Unfinished Aesthetic' in African
and African Diaspora Arts." Members are highly
encouraged to submit paper proposals (see website
given below for deadlines).

Twenty-five years ago, Arnold Rubin proposed the
concept of "accumulation" as a critical component of
African artistic expression stressing that an object
might just "begin" rather than "end" when the basic
form is defined. If arts, as such, are perpetually
changing form, assembling themselves, and
accumulating more "stuff' (items and meanings) then
they are eternally "unfinished." For much African and
African diaspora art, "completion" is not the point.
This panel invites papers addressing "accumulation"
(literal, conceptual, philosophical and/or theoretical)
in African and African diaspora arts. What are the
implications of this "unfinished aesthetic"? Is this a
conceptual transatlantic link? The fluidity of this
"unfinished aesthetic" challenges the logic of what an
"aesthetic" is. What tools do we have to deal with
artistic expression that is anything but static, in terms
of form and meaning? How do we celebrate the
flexibility of aesthetic systems that thrive on flux?
This panel will explore ways to address arts that defy
Western logic with topics ranging, transatlantically,
from "traditional" to contemporary performance and
installation art. Send submissions to: Dana Rush,
Department of the History of Art and The Center for
Afroamerican and African Studies (CAAS), The University
of Michigan, Tappan Hall, Ann Arbor, Ml 48109-1357 Tel.
734-994-9709; fax: 734-647-4121;
danarush(umich.edu.
NB: Visit the CAA website for deadline information:
http://www. collegeart org

10









Minutes-ACASA Board Meeting
ASA Philadelphlas Friday, November 12, 1999

Present: Martha G. Anderson, Daniel Avorgbedor,
Kathleen Bickford Berzock, Eli Bentor, Michael Harris,
Mary "Polly" Nooter Roberts, Betsy Cogger Rezelman,
Vicki Rovine
Absent: dele jegede

President Mary "Polly" Nooter Roberts opened by
presenting the report Bill Dewey submitted to ASA on her
behalf on Nov. llth. She then asked for committee
reports.

Secretary-Treasurer: Following Rovine's report on
ACASA finances, Nooter Roberts reminded the board that
Endowment funds should be transferred to a separate
account and that Symposium and Endowment funds
should be distinguished. Discussion centered on finding a
bank with branches across the country so that the money
did not have to be moved each time a new Secretary-
Treasurer took office.

After serving for 1 1/2 years, Vicki Rovine asked to step
down as Secretary-Treasurer. Board members agreed to
reevaluate the position to make the workload less onerous.
Harris recommended hiring a professional agency to
handle triennial registration. Nooter Roberts announced
that ACASA member Rebecca Green has offered to take
over the duties. Because ACASA by-laws are unclear as
to whether or not Secretary-Treasurer needs to be elected,
the board agreed to add her name to the ballot. Rovine,
who was elected at the New Orleans Triennial, will serve
as a regular board member until the Virgin Islands
Triennial, when ACASA will elect three new board
members.

Triennial 2001: Nooter Roberts addressed the recent on-
line discussion of Triennial costs for members, noting that
the hotel contract was disclosed and discussed at the
General Business Meeting at ASA in Chicago in 1998,
where hotel costs were similar. The Marriott
Frenchman's Reef has offered ACASA discounted 1999
rates for 2001. In response to her request for further
reductions, the hotel is offering 57 rooms at a reduced rate
to the first ACASA members to request them. Nooter
Roberts noted that ACASA must fill 95 rooms in order to
get free meeting rooms and the banquet hall, and that it is
important to get some sense of the number of participants
as early as possible to determine if demand will meet or
exceed the number of rooms reserved.

The board discussed possible funding sources and the
need to offer support to graduate students. Members
agreed to form a committee to facilitate participation by


African colleagues. Further discussion involved the hotel's
$50/day surcharge for people who use hotel amenities but
do not stay there. Nooter Roberts emphasized that the
money would actually go to ACASA to cover extra hotel
services. Others recommended that ACASA cover those
costs. Bentor added that Robert Nicholls has asked
ACASA to offer a per-day charge to local residents who
wish to participate in some sessions.

Fundraising: Nooter Roberts reported that letters have
gone out to ACASA members and recommended that
ACASA establish an annual giving pattern. The board
agreed to accept the help of a member who is an
experienced fundraiser in approaching the business
community and decided to add a check-off line for
voluntary contributions to the membership form.
Subsequent discussion centered on funding sources for the
Triennial.

Program committee report: Bentor and Anderson noted
that they have not received any panel proposals, but that
Nicholls has suggested a number of panels by Caribbean
scholars. The president noted the need to blend
Caribbeanists and Africanists in order to have broad
appeal. Bentor inquired whether the committee should
take a more active role in creating panels and proposed
creating honorary awards for people instrumental in the
arts in the Caribbean as a way to obtain funds to bring
them to the Triennial. The board also discussed
possibilities for a keynote panel or address.

Education Outreach committee: Betsy Rezelman
announced that she has been working with Veronika Jenke
and Robin Poynor to develop a series of panels involving
elementary and secondary school teachers in the Virgin
Islands. Nooter Roberts suggested that the panels focus
on teaching about African and Caribbean culture through
the arts in order to encourage a dialogue.

Voting committee: Nooter Roberts noted that the board
agreed to look at ways to involve more members in voting
on important issues at the 1998 meeting. The new board
should consider whether changes in the by-laws are
needed to accommodate voting by mail or e-mail. The
board decided to delay further discussion until the next
Triennial, when more members will be present.

CAA/ASA committee: Bickford Berzock reported that
ACASA did not take advantage of its sponsored panel for
CAA 2000, but will use its meeting time for a panel. The
boarded added the committee last year to assure that
ACASA meets the ASA/CAA deadlines.

Newsletter report: Avorgbedor announced that he is
working on improving the layout, and added that several
artists have submitted artwork for possible inclusion.









Minutes-ACASA Board Meeting
ASA Philadelphias Sundau, November 14, 1999

Present: Martha G. Anderson, Daniel Avorgbedor, Eli
Bentor, Michael Conner, Rebecca L. Green, Betsy Cogger
Rezelman, "Mary" Polly Nooter Roberts, Vicki Rovine
Absent Emily Hanna, Babatunde Lawal

The President opened the meeting with discussion of
fundraising. Rovine will keep a list of contributors and
transfer funds to Rebecca Green. The new president will
respond to donors. Rovine and Green will investigate
switching to another database program. Nooter Roberts
stressed the need to isolate Endowment funds and
recommended that the board needs to look into the
possibility of acquiring a credit card for ACASA.

Nooter Roberts then noted that ACASA has been behind
on the newsletter and that the new president needs to
make every effort to keep them on schedule. She advised
that incoming board members be informed that they must
attend ASA meetings.

Michael Conner reported that H-Afrarts is now more
integrated into ACASA and announced an initiative to
start an electronic journal, similar to African Studies
Quarterly, which might provide a route for publication of
Janet Stanley's African Art bibliography. Bentor added
that the Triennial site now on web. Others suggested
adding links to sites on the Caribbean and to the ASA
home page.

The election of officers and appointment of committee
chairs followed: Anderson will take over as President,
Rovine as President Pro-tern, and Green as Secretary-
Treasurer. Roberts will serve as Past President. Bentor
will continue as chair of the Program Committee, and will
designate others outside the board to work on travel
stipends for participants. Hanna will work on the
book/video/film display area, with Conner's help.
Rezelman continues to chair the Education and Outreach
committee, and will work with Veronika Jenke, Robin
Poynor, Edward Lifschitz, and Conner. Conner will chair
the Leadership Award Committee and Rovine the Book
Award Committee (Lawal will be asked to serve as well).
PNR will continue to help on fund raising, with which
Anderson will become involved.

The meeting ended with discussion of ideas for the
Triennial, including finding host families in the Virgin
Islands, providing honorary awards for people in
Caribbean, and sponsoring a reception for African
visitors. The board agreed that it was important to
integrate Africanists and Caribbeanists to prevent the


isolation of panels. PNR advised Anderson on the
transfer of records. Noting the use of a registration agent
for the New Orleans Triennial, she recommended hiring a
registration agent in the Virgin Islands. She also advised
the board to determine registration costs (which may be
different for Virgin Islands residents) and equipment
needs, and to look into travel packages.




[EXHIBITION S


* SEPT 12, 1999 JAN 2, 2000 Wrapped In Prides
Ghanalan Kent* and African American Identity
opens at the National Museum of African Art,
Washington, D.C. The Smithsonian exhibition is a
collaboration between the National Museum of
African Art and the Anacostia Museum and Center
for African-American History and Culture. The
history and traditional use of kente in Africa will be
the focus of the National Museum of African Art's
exhibition, while Anacostia will emphasize the
contemporary aspects of kente.

"Wrapped in Pride" is a collaborative exhibition
organized by the UCLA Fowler Museum of Cultural
History and The Newark Museum, N.J. This traveling
exhibition will complete its circuit in the year 2002
with the following sites: The Charles Wright Museum
of African-American History, Detroit (May June,
2000); The Anchorage Museum of History of Art
(Nov. 19, 2000 Feb. 25, 2001); The Field Museum,
Chicago (April 15 July 15, 2001); The Oakland
Museum of California, Oakland (Oct. 15, 2001 Jan.
15, 2002); and Michael Carlos Museum, Emory
University, Atlanta (Feb. June 15, 2002).

* OCT 1999 JULY 2000 The Heritage of
African Music is the theme of three exhibitions
simultaneously on view at the California African
American Museum, the Los Angeles County Museum
of Art, and the UCLA Fowler Museum of Cultural
History. The exhibitions focus on 32 musical
traditions across Africa, honoring the monumental
contributions that African and African-American
music and musicians have made to the world musical
landscape. A series of public programs, concerts,
festivals, children's events and symposia will
supplement the exhibitions.








The celebration began in October, with the opening of
the exhibitions "Rhythms of the Soul: African
Instruments in the Diaspora" at the California
African American Museum (on view Oct. 16 through
June 11, 2000); "Music for the Eyes: The Fine Art of
African Musical Instruments" at the Los Angeles
County Museum of Art (on view through May 14,
2000); and "Music in the Life of Africa" at the
UCLA Fowler Museum (on view through July
16, 2000).

For details on "Rhythms of the Soul," contact: (213)
744-7432; http://www.caam.ca.gov. For "Music for
the Eyes," contact: (323) 857-6000, (or TDD (323)
857-0098); http://www.lacma.org. For "Music in the
Life of Africa," contact: (310) 825-9672;
http://www.fmch. ucla.edu.

* JAN 23 OCT, 2000 A Concrete Vision:
Oshogbo Art in the 1960s will be on view in the
Sylvia H. Williams Gallery of the National Museum
of African Art, Smithsonian. dele jege (Indiana State
University) will speak on "Oshogbo Art in
Retrospect," Feb. 20 at 2 p.m.

* JAN 29 MAY 21, 2000 Elvehjem Museum of
Art, Madison, WI. Beads, Body, and Soul: Art and
Light In the Yoruba Universe An exhibition
organized by the UCLA Fowler Museum of cultural
History, Los Angeles, is the result of twenty-five years
of fieldwork in Africa and the Americas by Henry
Drewal and John Mason. The exhibition features
examples of Yoruba beadwork from Africa and the
Diaspora. For details, contact: tel. 608-263-2246.

* FEB 1 MARCH 4, 2000 Distinguished
Identities: Contemporary African Portraiture
University Art Gallery, Staller Center for the Arts,
Stony Brook, N.Y. This exhibition focuses on
representations of the individual in contemporary
African art, from conscious presentations of self, to
more enigmatic images that reflect the artists
interactions with and interpretations of others. The
exhibition is being mounted in conjunction with a
symposiun titled, Self and Other: The Individual
in Contemporary African Art (Wednesday,
February 23, noon 4:00 p.m.) on the campus of the
State University of New York at Stony Brook. The
symposium seeks to challenge the common perception
that African art is primarily a collective enterprise in
which "tribe" or "ethnicity" serves as the primary


marker of artist identity, and the creation of cultural
archetypes as the primary result.

African artists, like those elsewhere in the world, are
artists and individuals first. Speakers will address the
extent to which portraiture figures in the work of
contemporary artists (or in their own work), and
explore how artists have used this particular genre to
communicate both the personal and the political.
[Please note: the symposium is scheduled to coincide
with the College Art Association meetings in New
York city beginning later in the day. The Long Island
Railroad (LIRR) provides service between Penn
Station and Stony Brook]. For information, please
contact Barbara Frank (516-632-7264;
bfrank@notes.cc.sunysb.edu).

SFEB 3 APRIL 1, 2000 White Box gallery, 601
West 26th Street, New York, NY Translation/
Seduction/Displacement An exhibition of
photographic and postconceptual art by artists from
Southern Africa. Curated by Lauri Firstenberg and
John Peffer "Translation/Seduction/Displacement"
features major work dating to the early 1980s by two
internationally prominent artists: photographer Santu
Mofokeng (a retrospective of metaphorical landscape
studies) and conceptual artist Willem Boshoff
(recontextualizations of his visual poetry titled
"kykafrikaans"). The exhibit traces representational
practices related to those of Boshoff and Mofokeng in
recent art by Siemon Allen, Gordon Bleach, Abrie
Fourie, Kim Lieberman, Senzeni Marasela, Zwelethu
Mthethwa, Rudzani Nemasetoni, Joachim Schonfeldt,
Marlaine Tosoni, Andrew Tshabangu, and Hentie van
der Merwe.
The exhibition will be accompanied by a catalogue
produced by the Artists Press in Johannesburg, which
includes essays by Rory Bester and the curators on the
visual archive of Apartheid and the history of
conceptual art in South Africa.

The show will travel to the University of Maryland,
Maine College of Art, and Hope College Michigan.
During 2001 it will be hosted by the Sandton Civic
gallery in Johannesburg. For further info on
participating artists, venues, and public programs
contact John Peffer (jmpl2@columbia.edu).

* FEB 27, 2000 The North Carolina Museum of Art
opens a new installation of its African collection,
which will include a video footage of masquerade








performances. Objects on loan from other museums
and from private collections supplement works of art
from the permanent collection. Collaborators and
consultants for the new installation include Richard
Powell, Michael Harris, and Eli Bentor.

A gala opening will be held Saturday evening, Feb.
26, 2000. Susan Vogel will present a lecture on Feb
27 at 3 p.m. titled, "Projections: Film, Fear, Desire,
and African Art." Contact Rebecca Martin Nagy,
associate director and curator of African Art at:
rnagy(ancmamail.dcr.state.nc.us (tel. 919-839-6262


ext 2147)


* MARCH 12 JULY 23, 2000 The Artistry of
African Currency features a variety of objects that
have been used across Africa to facilitate trade and
measure wealth. This exhibition is located the
museum's Point of View Gallery. For details, visit
http://www.si.edu/nmafa.

*MARCH 20 APRIL 21, 2000 Richard F. Brush
Gallery, St. Lawrence University. The Spirit of
West African Textiles More than 50 objects from
private collection private collections are included in
this exhibition of traditional designs. The techniques
represented range from embroidery, crochet and loom-
weaving to mud-painting, resist dyeing and applique
and derive from the indigenous cultures of Ghana,
Cameroon, C6te d'Ivoire, Zaire, etc.

For the academic year 1999-2000 St. Lawrence
University is sponsoring a program that will celebrate
achievements in African Arts, with emphasis on four
artists/poets/playwrights: Ulli Beier, Okwui
Enwezor, Chinua Achebe, and Wole Soynka.

* MARCH 24 MAY 25, 2000 Renewing
Tradition: The Revitalization of Bogolan in Mall
and Abroad The University of Iowa Museum of Art.
Contemporary African art often lies at the intersection
of tradition and modernity, the local and the global,
both challenging and broadening conceptions of the
continent's histories and cultures. "Renewing
Tradition" presents a contemporary west African
artistic movement that encompasses paintings, tourist
art, and fashion. The artists, designers and
entrepreneurs whose work will be featured in the
exhibition have for the past decade worked to revive
bogolan, a traditional Malian textile known as


"mudcloth" in English. Though the textile is likely
familiar to most

In its original form, bogolan is characterized by
intricate patterns and earthy colors. It is profoundly
embedded in traditional Malian practices, worn during
women's initiation ceremonies and used by hunters as
spiritually charged protective garments. The cotton
cloth is woven by men and painstakingly decorated by
women using symbolic patterns that make reference to
local history and mythology. Today, bogolan dyes
(made of carefully prepared mixtures of earth, leaves
and bark) are used to paint elaborately detailed
canvases displayed in galleries. "Renewing Tradition"
is the first exhibition of contemporary African art to
present all of these markets, each a reflection Mali's
current economic, political, and social circumstances.
"Renewing Tradition" also features North American
adaptations of bogolan, documenting the
popularization of an African textile in this country.

*MARCH DEC 2000. Reversing the Trend for
the 21st Century is the theme of quarterly
exhibitions and lectures in Benin City, Nigeria. The
exhibition artists for the 4th through the 7h quarter,
2000 are: Abraham Uyovbisere (painter, March 23),
Augustine Bardi (June 22-28), J. Ehigiamusoe
(sculptor, Sept 21-27), and J.N. Tubonim (textile
technology). The exhibition series was officially
opened by Dr. A. 0. Izevbigie, High Commissioner
for Information, Youth and Culture on June 24, 1999.
For further information, contact M.E. Imonikebe:
ononemee(@)uniben.educ.ng.


* FEB MAY, 2000 Blues-and-Border Music: A
Workshop of the AAASRP Focused Research
Group on Popular Art and Music is the theme of
the workshop to be held at San Diego Campus of the
University of California. Workshop participants will
discuss the boundaries of genres, styles, and forms;
African retentions in African-American music; the
cultural relationship between music and migration;
and the role of music as a form of cultural
transmission and preservation. The events will take at
the Price Center, Galleries A and B. Guest speakers
include Cynthia Schmidt, Christopher Waterman,


ICONFERENCE
1 --- A








Joann Ball, Jessie Mills, and others. For details,
contact Bennetta Jules-Rosette, AAASRP coordinator
at biulesro@ucsd.edu.

* FEB APRIL 9, 2000 The Art Institute, Chicago
In Context Yoruba Art and the William B. Fagg
Photographic Archive. A symposium on the
exhibition will take place on February 29 (Morton
Auditorium of the Art Institute of Chicago) and will
assess Fagg's research in West Africa and celebrate
the legacy of his work in its contribution to the field of
Yoruba art history. Symposium participants include
Rowland Abiodun, Andrew Apter, Margaret
Thompson Drewal, Christraud Geary, John Picton,
Roy Sieber, and Roslyn Walker. For details, contact:
Dept. of Museum Education, Art Institute of Chicago;
tel. 312-443-3680.

* FEB 23-26, 2000 College Art Association
88* Annual Conference, New York. The conference
will include over 160 program sessions in all areas of
studio art and art history. For details on this and the
2001 (Feb. 28-March 3) Chicago events, visit the
CAA website at: http://www.collegart.org

* MARCH 23-26, 2000 Shadow of the Past is the
theme of the First Annual Conference of the Middle
States African Studies Association to be held at the
Cultural Center, Charleston, West Virginia. There will
be special highlights on "A slave Ship Speaks: the
Wreck of the Henrietta Marie: Exhibition of Tangible
Artifacts." Panels and papers will be accepted from all
disciplines. For details, contact: Dr. C. Stuart McGehee,
Chair, Department of History, 307 Hill Hall, Campus Box
162, West Virginia State College, Institute, West Virginia
25112-1000 Tel. 304-766-3240 Fax 304-766-5186;
E-mail: mcgehest@wvsvax.wvnet.edu:
http://www.wvsc.edu.

* APRIL 6-8, 2000 The Department of Africana
Studies, and the United Africa by 2000 are
cosponsoring a conference on Garvey, Malcolm,
Nkrumah And the Millennium. The venue is the
Campus Center, State University of New York at
Albany. The objective of the conference is to facilitate
scholarly discussions of the Pan-Africanist visions of
Garvey, Malcolm and Nkrumah, and the relevance of
these visions in the Twenty-First Century. Proposals
should relate to any of the diverse aspects of the Pan-
Africanist visions. Submit a 200-word abstract to: Dr.
Kwadwo A. Sarfoh, Chair, Department of Africana Studies,
University at Albany (SUNY), 1400 Washington Avenue


BA 115, Albany, NY 12222. For details, contact:
is829(cas.albanv.edu or:
rms99@cnsunix.albany.edu.

* APRIL 24 -29, 2000 Political Economy of the
Media in Southern Africa is the theme of a seminar
organized by the University of Natal-Durban
Graduate Program in Cultural and Media Studies, in
conjunction with World Association of Christian
Communication. For details contact: Kenyan Tomaselli,
Program Director, Graduate Program in Cultural and
Media Studies, University of Natal, Durban 4041, South
Africa. Tel. 27-31-260-2505;
e-mail: tomasell@(ntb.ac.za.

* AUGUST 2000 Osun Osogbo International
Festival and Meeting (OSIAFEM) This festival is
dedicated to the wife of the founder of Osogbo town
and who became deified as a goddess of fertility. The
Osogbo festival, which includes as symposium,
workshops, performances, and exhibitions allows
participants to investigate and explore the rich cultural
diversity of Yoruba. For details, contact: Ogunsola
Kayode Oluremi, Office of the Co-ordinator, Box
5093 Shomolu Lagos Nigeria, L.C.H.E, Block 185
Flat 5, Oke-Afa Isolo, NIGERIA; fax: 234-01-
5455/69.

* SEPT 20-23, 2000 Crossing Boundariess The
African Diaspora in the New Millennium is the
theme of a conference to be hosted by the Schomburg
Center for Research in Black Culture and by New
York University. Panels and papers form diverse
disciplinary, cultural, and theoretical boundaries will
be considered and panel proposals that incorporate
gender and women as categories of analysis are
encouraged. The conference will also launch a new,
multi-disciplinary association, tentatively called "The
Association for the Study of the Worldwide African
Diaspora," or ASWAD. Proposals and inquiries can
be directed to: Michael Gomez, Dept. of History, 53
Washington Square South, New York University, New
York, NY 10012-1098 Tel. 212-998-8624 Fax 212-995-
4017; E-mail: Michael.Gomez@nyu.edu.

* SEPT 21-23, 2000
Approaching Textiles, Varying Viewpoints is the
theme of the Seventh Biennial Symposium of the
Textile Society of America to be held at La Fonda
Hotel in Santa Fe, New Mexico.








Limited subsistence stipends, based on financial need,
may be applied for with proposal submissions. On a
separate page provide a concise statement of need and
how participation in the symposium relates to your
professional goals. Financial aid applications will be
reviewed by the selection committee. Requests for
financial aid will not figure in the selection process.
Recipients of aid must deliver a copy of their
symposium presentation to the program chair on
September 22, 2000. For details, contact:
Ann Lane Hedlund, The GFR Center for Tapestry Studies,
P.O. Box 3305, Tucson, AR 85722
Tel. 520-626-8364 Fax 520-621-2976 Or:
Margot Blum Schevill, San Francisco Airport Museum
Tel. 650-652-2767 Fax 650-652-2778
E-mail: tapestry@u.arizona.edu
http://www.interlog.com/~anu/tsahome.htm:

* OCT 12-15, 2000 "The End of Tradition?"'
Seventh Conference of the International
Association for the Study of Traditional
Environments (IASTE), Trani, Italy. IASTE is an
academic, non-profit association, based at the
University of California, Berkeley, concerned with the
cross-cultural study of traditional dwellings and
settlements. This conference will be concerned with a
specific historical moment, one where a seemingly all-
consuming late capitalism levels differences and
particularities, but where there is at the same time a
resurgence of localisms, populisms, and
fundamentalists. It is this paradoxical simultaneity
which necessitates the question: The End of Tradition?
The conference will investigate the following sub-
themes: Deterritorialization/Globalization, Tradition
as a Call to Arms, and Practice and the New
Technologies of Place.

Inquiries should be directed to IASTE 2000 Conference,
Center for Environmental Design Research, 390 Wurster Hall,
University of California, Berkeley, CA 94720-1839, USA. Phone
510.642.6801, fax 510.643.5571;
e-mail: iaste@uclink4.berkeley.edu; website:
http://www.arch.ced.berkeley.edu/research/iaste/iaste2000.html

* OCT 19-22, 2000 Playing with Identities in
Contemporary African Music is the title of an
international symposium organized by The Nordic
Africa Institute and the Department of Musicology
and the Centre for Continuing Education at Abo
Akademi, Turku, Finland. The symposium is part of
the research project "Cultural Images in and of
Africa" of the Nordic Africa Institute which deals with


cultural dynamics and questions of identities in
contemporary African culture. Deadline for abstracts
Feb. 29, 2000. Abstracts should be in English and no
more than 400 words in length. Final papers must be
in by August 31.

Paper presenters may apply for financial aid but
preference will be given to participants coming from
Africa. Send inquiries and abstracts: Mai Palmberg
(Ms), Research fellow The Nordic Africa Institute PO Box
1703, S-751 47 Uppsala, Sweden Tel. direct +46 (0)18-
56 22 39 exchange 56 22 00; fax +46 (0)18 56 22 90
E-mail: Mai.Palmberg@nai.uu.se
website: http://www.nai.uu.se/

U NOV 16-19, 2000 Convention Center, Nashville,
TN People and Power in 21st Century Africa is
the theme of the 43d annual meeting of the African
Studies Association. ASA is currently accepting
proposals for panels, individual presentations, poster
sessions, and video screenings of edited or unedited
work. The deadline for submissions is April 15, 2000.
Complete information about the theme, sub-themes,
and guidelines for submission is available at the
website:
http://www.sas.upenn.edu/African Studies/Home Pag
e/ASA Menu.html. Forms for proposals, pre-
registration, and membership are also available in the
newsletter and on the website.

Discounted rates are available at the following hotels:
Renaissance Hotel (800-327-6618, 615-255-8400)
and Doubletree Hotel (800-222-8733, 615-244-8200).
For details, contact the ASA office:
African Studies Association, Rutgers, The State University
of New Jersey, Douglass Campus, 132 George Street,
New Brunswick, NJ 08901-1400; tel. 732-932-8173;
fax 732-932-3394 e-mail: callasa(@rci.rutgers.edu


JOBS & INTERNs


a The Cantor Center for the Visual Arts at Stanford
University invites applications for the new position of
Associate Curator for the Art of Africa, Oceania,
and the Americas. Teaching opportunities may also
be available, depending on qualifications. For details
please write to Personnel Office, Iris & B. Gerald
Cantor Center for Visual Arts, Stanford University,








Stanford CA 94305-5060. For information about the
Center visit its web site at:
www.stanford.edu/dept/ccva

mTulane University is looking for an Art Historian
for African Art and African Diaspora Art in Latin
America or the Caribbean at the level of assistant
professor, tenure track. Position begins July 1, 2000.
Send letter of application, CV, 3 letters of reference to:
Prof. Elizabeth Boone, Chair, Newcomb Art Department,
Tulane University, New Orleans, LA 70118.

immediate opening at the Museum for African Art
for an experienced Museum Educator. Background
in education and knowledge of art history are required.
Experience with African art a plus. Opportunity to
work in creative, entrepreneurial environment. Fax
r6sume to: Radah Haper, Museumrn fr African Art, NY, NY 212 966 -
1432.

EThe History of Art Department, Center for African
and African American Studies, University of
Michigan (Ann Arbor) has an opening for a historian
of African art and visual culture. For details,
contact: Prof. Celeste Brusati at: tel: 734 764-5400;
fax: 734 647-4121.



S*N ote riyPublicadonI

BARKER, Emma, ed. Contemporary Cultures of
Display. New Haven : Yale University Press in association
with the Open University, 1999. 266 p. Includes an essay
by the editor Emma Barker on "Africa on Display:
Exhibiting Art by Africans."

GERDES, Paulus. Geometry from Africa:
Mathematical and Educational Explorations.
Washington, D.C.: The Mathematical Association of
America, 1999. 210p. ISBN 0-88385-715-4. $39.95,
MAA Member: $31.95

KUBIK, Gerhard. Africa and the Blues. (American
Made Music Series). Oxford, US: University Press of
Mississippi, 1999. 240p. Hardcover $45.00; paperback
$18.00

MULLER, Carol Ann. Rituals of Fertility and the
Sacrifice of Desire: Nazarite Women's Performance in
South Africa. Chicago: Univesity of Chicago Press, 1999.


272 p. (est.), 12 halftones, 1 map, 4 musical examples, 1
CD. Cloth $57.00tx 0-226-54819-8
Paper $26.00tx 0-226-54820-1

The Oxford Encyclopedia of Ancient Egypt. 3 vols.
New York: Oxford University Press, 1999. Donald B.
Redford, Editor-in-Chief. Over 600 articles. (212-726-
6442). httn://www.ouo.com

PRESS, Robert; photographs by Betty Press. The New
Africa: Dispatches from a Changing Continent.
Gainesville: University Press of Florida, 1999. 358p., 90
b&w photos. ISBN 0-8130-1704-1 Cloth $24.95.

STALCUP. Ann. Ndebele Beadwork: African Artistry.
Crafts of the World series. New York: The Rosen
Publishing Group's Powerkids Press, 1999. 24 p.
Glossary and index, Primary school, Ages 5-9 (K-4).
$18.00 (cloth), ISBN 0-8239-5336-X.

UZOIGWE, Joshua. Ukom: A Study of African Music
Craftmanship. Okigwe, Nigeria: Fasmen Education &
Research Publications, 1998. 161p. ISBN 978-2986-38-0
Focuses on the ritual and the musical ensemble that
accompany women's funerals as well as selective festivals.

>) Cultural Analysis: An Interdisciplinary Forum on
Folklore and Popular Culture invites submissions for
the first volume of an interdisciplinary, international,
peer-reviewed journal dedicated to expressive and
everyday culture. Submissions are encouraged from a
variety of theoretical standpoints and from different
disciplines, including (but not limited to)
anthropology, archaeology, architecture, art history,
cultural studies, folklore, etc. Submissions are also
welcome for the following sections: research
articles, reviews of works (books, films, exhibitions,
websites, etc.), and annotated bibliographies.

Authors should submit research articles of
approximately 20-30 pages in length in accordance
with The Chicago Manual of Style and include an
abstract of 100 words and a Works Cited section (not
a bibliography). Submissions should be in hard copy:
if accepted, an electronic version will be requested as
well. Deadline for submission of articles for the first
volume is May 1, 2000.

Please address all correspondence to: Cultural
Analysis, Editor JoAnn Conrad, Department of
Anthropology, Kroeber Hall, University of California
at Berkeley, Berkeley, CA 94720 U.S.A. OR:
caforum@(socrates.berkeley.edu.









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

* Jay Edwards is researching the earliest European
posts, factories, barracoons, etc. along the coasts of
West Africa from Senegal to Angola. The first part of
the project involves gathering historic contemporary
descriptions of such posts, including most importantly,
their construction. It seems local African builders
played a dominant role in the design and construction
of many of these posts, prior to the introduction of
formal European styling and forms. This implies that
European colonial domestic architecture was strongly
Africanized in its very earliest stages. Any
information that deals with the detailed historic
descriptions of such posts from the 15th through the
first half of the 18th centuries, other than those
published in the Astley (1968) and other compilers of
voyages and travels, will be greatly appreciated. Also,
any information as to the etymology of the term
"alpainter" will be helpful. Send information to him at:
Jay Edwards, Director, F. B. Kniffen Cultural Resources Lab Dept.
Geogaphy & Anthropology, Louisiana State University, Baton Rouge,
LA, 70803. Tel. 225 388-2566
fax: 225 388-4420.

EGreg Colgan is a researcher/writer with two
Australian-based film companies which are preparing
for a documentary series. One episode will deal with
the transition from colonialism to independent nations
in Africa during the 1950s-60s, and examine the
major events and personalities that engineered this
change. Subsequent episodes will focus on events
such as the Berlin Conference of the 1880s, the
Atlantic Charter, the growth of nationalist movements
in the wake of WW2, the Year of Africa, and the
unraveling of colonialism in key countries such as
Kenya, Ghana, the Congo and Algeria. Personalities
to be examined include Nkrumah, Kenyatta,
Lumumba, Macmillan and DeGaulle.

Individuals who have some kind of personal
involvement in any of the events or with any of the
individuals outlined above should contact Greg.
Others who can identify informants and participate in
interviews with people who have considerable
expertise in commenting on this topic are also
welcome. Please send suggestions to Greg at: Electric


Pictures Pty Ltd, Wildfilm Australia Pty Ltd. Tel.: + 61 89
339 11331; Fax:+ 61 89 339 1183 E-mail:
gc(@electricpictures.com.au
Or: colgan@q-net.netau

* Robin Poynor is looking for good photographs of
the Adjavon house in Benin Republic anOd the Ebun
House in Lagos. If you have photographs or know of
good photographs of the buildings, kindly contact him
by email at: rpoynor@ufl.edu or call 352-392-0201
ext. 223.

* Drew In West Africa is a unique summer study
program in C6te 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 areas of ceramics, fibers,
and metals. Deadline for applications is April 1, 2000.
For program dates (July August) and costs, contact:
Drew in West Africa, African-American/ African Studies,
Drew University, Madison, NJ, 07940. Telephone: (973)
408-3383. Email: ppeek(drew.edu.

* Kofi Dawson reports from Ghana the existence of
the following arts organizations there: Union of
Ghanaian Artists, Society of Contemporary Artists,
Ghana Association of Visual Artists, and the Art
Teachers Asociation. You can reach Dawson at 233-
21-222067 or 229167.

* Chika Obiajulu Okeke is doing a research on a
number of African artists and historians. Please
forward contact information about the following
individuals to him at cookeke@emory.edu: Papa Ibra
Tall (Senegal), Kan Si (Senegal), Kojo Fosu (Ghana),
Aferwek Tekle (Ethiopia), Gabzia Sirry (Egypt),
Ablade Glover (Ghana).

* The Institute of International Visual Arts (inIVA)
is a contemporary arts organization with a special
interest in new technologies, commissioning site-
specific artworks and international collaborations.
Working with artists, curators, designers and writers
from diverse cultural backgrounds, inIVA's projects
include exhibitions, research, publishing and
education ventures. The Institute's new address is:
6 / 8 Standard Place, Rivington Street, London. EC2A 3BE
UK Tel: +44 (0)20 7729 9616 Fax: +44 (0)20 7729
9509. Website: http:// www.iniva.org









* David Binkley, Chief Curator, National Museum
of African Art, Smithsonian Institution, Washington,
D.C. and Simon Ottenberg, anthropologist, are
planning an exhibition of children's masquerades in
Africa at the museum, which will probably also travel.
They are focusing on pre-initiation children of both
gender, roughly 4 to 14 years of age. The exhibition
will be in conjunction with a book of papers that they
editing. For the show they are trying to locate African
children's masks, headdresses and body costumes
which have been employed in children's masquerades,
whether made by children or adults. They may be
simple, apparently crude by Western aesthetics
standards or not, and produced of a great variety of
materials. They are also looking for musical
instruments made by and/or used by children in their
masqueraders, tapes of their music and videos of
children's masquerade activities and still photos. If
you possess any such material, or know where it is,
kindly contact either of these scholars at:
otten(@u.washington.edu or dbinkley@nmafa.si.edu.

* Neuberger Museum of Art (Puchase College,
SUNY) appoints Dr. Christa Clarke as its Curator
of African Art. In conjunction with the National
Museum of African Art in Washington, D.C. and the
Israel Museum in Jerusalem, Chrsita Clarke will be
oranizing an exhibition of 75 works of central
African art from the Gussman collection. The
exhibition will travel to all three venues beginning
January 2001.

The museum recently received a gift of over 130
works from sub-Saharan Africa from the collection of
Lawrence Gussman, a resident of Scarsdale, New
York. The core of the collection is from central Africa.
The Gussman collection of African art was formed
over a thirty-year period, beginning around 1965. For
further information, email Barbara Morgan at:
morgan@purchase.edu (tel. 914-251-6103).

* Rotizo Artistic Productions (specialists in fine
paintings and works of art) opens its new Rotizo Art
Gallery on May 1, 1999 at the Lekan Salami Bowl
complex, Adamasingba, Ibadan. The Artistis Director
is Isamuko Rotimi (tel. 02-241-2835).

E]


MOB I TUAR-


EGORDON BLEACH [1953-1999]
The Zimbabwean artist, art historian and
mathematician Dr. Gordon Bleach, passed away in
Gainesville on Monday, September 20 after a brief
battle with cancer; he was 46. Gordon was on the
faculty of the Department of Art at the University of
Florida. Gordon moved to South Africa in the 1970s
and studied applied mathematics at the University of
Cape Town, where he received his first Ph.D. in 1989
with a dissertation on "The Propagation and Growth
of Acceleration Waves in Constrained Thermoelastic
Media." He moved to the United States in the 1980s
and taught at various institutions, including SUNY
(Binghamton), and Rochester Institute of Technology,
where he obtained an MFA in photography; he joined
the University of Florida faculty in 1996, where he
succeeded Jerry Uelsman in directing the photography
program there.

Gordon participated in the Guggenheim Museum
exhibition of African photographers, In/sight in 1996
and his work was featured in many museum and
gallery exhibits, He was awarded a second Ph.D
posthumously by the State University of New York,
Binghamton, December 1999.

* JULIUS KAMBARAGE NYERERE [1922-1999]
The former, retired President of Tanzania, Julius
Nyerere died of leukemia on October 14, 1999. The
former president ruled Tanzania from 1961 to 1985
(he retired and handed over to Hassan Ali Mwinyi)
and was noted for his 1967 UJAMAA (Arusha
Declaration), an ideology of African socialism.
Nyerere, the first Tanzanian to study in Britain,
formed the Tanganyika African National Union and
became leader of the opposition. He was appointed
Prime Minister in 1961. He continued to support Pan-
African efforts (together with Kwame Nkrumah and
Kenneth Kaunda) after his retirement. His writings
include Essays On Socialism (1969) and Freedom
And Development (1973).


* ABRAHAM DUMISANI MARAIRE [1943-1999]
The Zimbabwean musician Abraham Dumisani
Maraire died of a stroke in Zimbabwe on November
15, 1999. Dumsani was a well-known master of the








mbira (plucked keyboard instrument referred to in the
early literature as "thumb piano") and brought this
music to many audiences in the United States. He
served as a visiting professor at the University of
Washington (1968 to 1972) where he taught the
instrument, drumming and dancing.

Dumisani returned home in 1982 to develop an
ethnomusicology program at the University of
Zimbabwe. He later returned to the U.S. to teach and
also pursue doctoral studies at Seattle from 1986 to
1990. He again went back to Zimbabwe after earning
his Ph.D. He is credited with many CD recordings of
mbira music.

* FRANK GILLIS
The Program of Ethnomusicology and the Archives of
Traditional Music at Indiana University announce the
death of Frank Gillis in Grand Marais, Minnesota on
September 17, 1999. Fank Gillis was Director of the
Archives of Traditional Music and retired 1981. He
was an accomplished jazz musician and performed with
The Faculty Five in Bloomington, IN. Frank once
served as President of the Society for
Ethnomusicology.


Cover credit, from shetchings li Kok Dawson (Ghana) Juring a 1998 exhibition anJ workshop on shedching


'ii










HOTEL RESERVATION FORM
Arts Council of the African Studies Association (ACASA)
12m TRIENNIAL SYMPOSIUM ON AFRICAN ART
St. Thomas, U.S. Virgin Islands, April 25 29,2001
The ACASA Board of Directors would like to alert potential travelers to the 2001 Virgin Islands Triennial that we have
secured a special room rate of $150 a nite for a limited number of rooms at the Marriott Frenchman's Reef, the conference
hotel. These rooms have no water view but are otherwise exactly the same as the rooms with a water view for $170 a nite.
Only 57 of these rooms will be available at the lower price, and they will be given on a first come/first serve basis. When
you submit your reservation form in writing (see form below), please specify that you are reserving a Palms Court Room

*SINGLE OCCUPANCY: $150.00 (see note above) plus Service Charge & Tax*
*DOUBLE OCCUPANCY: $160.00 (see note above) plus Service Charge & Tax
($40.00 extra person charge for persons 19 years or older. Children 18 years and under stay for free in the parents' room)


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Special ACASA group rates will be in effect for the dates of April 23- May 1 (subject to availability at the time of booking).
A deposit amount of $340.00 is required for guaranteed reservations. Cancellation of any individual reservation within 30 days
prior to arrival will be subject to forfeiture of advance deposit.
Please note that you have been provided a special group rate that includes meeting facilities, other services and amenities.
Should you reserve accommodations at other than the contracted group rate, you will be subject to a surcharge for the use of our
facilities.

For final payment of account, Marriott Frenchman's Reef accepts all major credit cards, traveler's checks and cash (USD).

/Please guarantee my room deposit to my Credit Card:

AMEX: VISA: DISC: DC: CB:
Card #: Exp. Date: __ Signature:
NAME: (As it appears on credit card):
(Charge will be posted against credit card, once reservation is received)

Reservation to be reserved under the name:
CompanylOrganization:
Address:
City: State: Zipcode:
Phone (day): (evening):_
Arrival date: Departure date:
Arrival Flight: Departure flight:
Number of rooms: Number of adults:
Number of Children: Ages of Children:
Marriott Reward #

TO MAKE RESERVATION BY MAIL:

IMake checks payable to FRENCHMAN'S REEF. Please allow ten (10) days for mail to reach St. Thomas. Mail this form along with
check or credit card guarantee to:

Marriott Frenchman's Reef
Attn: Group Reservations
P.O. Box 7100
St. Thomas, USVI 00801-
0100



ITO MAKE RESERVATION BY FAX:
Please fax this form with credit card guarantee information to:
Attn: Group Reservations
FAX: 340-716-6191

*These rates are competitive and reflect significant discounting, based on anticipated 2001 hotel rates




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