Title: ACASA newsletter
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00103115/00012
 Material Information
Title: ACASA newsletter newsletter of the Arts Council of the African Studies Association
Alternate Title: Newsletter
Physical Description: v. : ; 28 cm.
Language: English
Creator: African Studies Association -- Arts Council
Publisher: The Council
Place of Publication: S.l
Publication Date: Spring 1986
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).
 Record Information
Bibliographic ID: UF00103115
Volume ID: VID00012
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




ACASA membership has risen from 133 in 1985 to 209 in 1986,
a dramatic increase of nearly 57%. Membership categories
break down into: 156 regular, 36 special, 10 institutional
and 7 complimentary memberships (affiliated organizations
and African institutions). Based on responses on membership
application forms there are 94 males and 105 females.
Based on highest degree achieved there are 89 Ph.D.'s,
71 M.A.'s, and 19 B.A.'s. Art History is the declared
field of 105 members, followed by Anthropology with 34,
while "other" specializations were listed by 48 members.
College/university teaching was listed by 86 members as
their primary professional involvement, with 48 listing
museology and 47 research. Primary regional focus was
divided as follows: West Africa 128; Central Africa 29;
East Africa 13; South Africa 11; General 27; and Afro-
American 15 (several members listed more than one). The
1986 membership list is attached to this Newsletter.



Simon Ottenberg, Herbert M. Cole, and Joanne Eicher completed
their terms of office and were replaced by newly-elected
officers Philip Peek, Mary Jo Arnoldi, and Roslyn Walker.
They join Arnold Rubin (President), Doran H. Ross, (Secretary/
Treasurer), Paula Ben-Amos, and Henry John Drewal who continue
on the Board until the 1986 ASA meetings.


Since 44 people joined or renewed their memberships at
the Triennial in Los Angeles or shortly after, the data
below reflect this rather than the membership/financial
figures cited at the business meeting.

The past year's receipts and expenses are summarized below:

Beginning balance $2088.61
Renewals 1950.00
Postage copying (937.63)
Travel stipends (1000.00)
Awards (217.00)
Balance 5/19/86 $1,883.98

- 1 -


At the suggestion of the Board and by consensus of the
membership it was decided to invite the National Museum
of African Art to host the Eighth Triennial Symposium on
African Art (1989) in its new facility on the mall in
Washington, D.C. It was also tentatively approved for
successive Triennials to be hosted by the St. Louis Art
Museum (1992) and the UCLA Museum of Cultural History (1995).


Several bylaw revisions were discussed including: additional
membership levels, leadership and publication awards, extend-
ing Board of Director's terms to three years and scheduling
elections to coincide with the Triennials, and constituting
the Board of Directors as a Nominating Committee. Specific
revisions will be detailed in the Fall Newsletter (as dictated
by the current bylaws) prior to the ASA meeting in Madison,
Wisconsin (see below).

NOVEMBER 2, 1986

Various panel topics for the ASA meetings were discussed,
and as with the past two years ACASA is organizing the
art panels. The Preliminary Program for the meetings is
attached. While all ACASA panels will be scheduled into
the same room, the exact order of the panels and their
specific times will be determined by Linda Hunter, Program
Chair for the meetings.


Concern was expressed by Roy Sieber, Arnold Rubin, and
others about the meager representation (1 paper) of African
art in the "26th International Congress for the History
of Art," Washington, D.C., August 11-18, 1986. After initially
contacting Sieber for the ACASA mailing list, only a few
ACASA members actually received a "Call for Papers." Sieber
agreed to query the International Association concerning
this issue.


The periodic call for the publication of Triennial papers
was raised again. The problem of costs, combined with
the present scale of the Triennial, continue to make publication
prohibitive. The possibility of ASA distributing the papers
in a format comparable to the papers of their annual meetings
is being explored with John Distefano, ASA Executive Secretary.
The possibility of publishing select Triennial papers in
the ASA Review is also being pursued.

- 2 -


In 1985, the ACASA Board of Directors proposed establishing
* a Leadership Award to be presented at each Triennial Symposium
on African Art. This proposal was ratified by the membership
at its annual meeting at UCLA on April 4, 1986. The award,
consisting of an appropriate memento and a citation, will
be conferred upon an individual whose accomplishments best
exemplify excellence in the study of African art. Future
recipients will be determined by a mail ballot of ACASA
members, whose votes will constitute a recommendation to
the Board of Directors. But on this occasion, there was
immediate consensus that the first award should be divided
between two distinguished leaders in the field, William
Fagg and Roy Sieber. At the celebratory banquet, on behalf
of the board, Henry Drewal read the testimonial for William
Fagg, and Simon Ottenberg read the one for Roy Sieber.
Their very justified encomiums follow.


In the ancient Yoruba tradition of praise poetry or oriki,
we gather to celebrate, as one Yoruba person put it, the
"FAMOSITY" of a man who has contributed greatly to our
field -- William Buller Fagg. Few people ever attain the
status of an oracle, especially in their lifetime, but
William Fagg is certainly one. Bill is what the French
might call an "eminence grise." His reserve combined with
a noticeable twinkle in his eyes give the impression that
he knows much more than he is willing to reveal and, in
Bill's case, it is true! No matter the area of African
art, Bill's insights, sensitivity, and encyclopedic knowledge
have helped us all see more clearly. And those of us who
work with Southern Nigerian and Yoruba material owe him
a special debt of gratitude, for his contributions have
been enormous.

Knowing Bill's reputation as an intrepid bicycle rider,
we shouldn't have been surprised that he was not content
to be an "armchair ethnologist." Beginning in 1949 and
continuing into the 1980s, he made several intensive trips
to Africa during which he systematically correlated field
data with African art objects scattered in the collections
of the world. His countless publications include such
major works as "De l'Art des Yoruba" (1951), Nigerian Images
(1963), "The African Artist" in Tradition and Creativity
in Tribal Art (1969), and Yoruba Beadwork (1980) -- works
which have provided a foundation for subsequent scholarship
in the chronologies for major traditions such as Benin,
the philosophical aspects of African art, and the problems
of attribution including the identification of named or
unnamed masters. This rich field data will soon be available
to scholars in the form of documented field photographs
(over 3000) at the Robert Goldwater Library of the Metro-
* politan Museum of Art and the National Museum of African

- 3 -

Bill's retirement hasn't been that at all. He has produced
contributions-that are even more ambitious and more frequent.
Using his storehouse of knowledge, he has transformed Christie
auction catalogs into scholarly (and witty) treatises on
African art, artists, and aesthetics, elevating connoisseurship
in the field to unimagined heights. More recently, in
conjunction with a number of Yoruba specialists in Africa,
Europe, and America, he is turning his energies to his
most ambitious project yet -- a comprehensive catalog of
Yoruba twin memorial figures (in 2 volumes, of course)
that will serve to document the regional, local, town,
workshop, and individual styles of Yoruba artists working
over approximately the last 150 years.

We offer this modest/inadequate brief tribute to one who
has enriched our knowledge and appreciation of African
art beyond measure and we look forward to the insights
yet to come.


When I first ventured into the field in 1949, I had not
received any specific training in the mysteries of field-
work. But I did have one tremendous asset in the British
Museum's great African resources with which I had familiar-
ized myself during the last three or four years since I
had been an Africanist.

At that time, our African collections possessed hardly
* any fakes of any kind -- a fact which stood us in good
stead, and will do so in future years as well. As luck
would have it, I speak with the aid of hindsight. I had
arrived just before the Revolution that ushered in a new
kind of spurious "authenticity."

I should here like to mention a qualification which I have
for fieldwork -- though some would consider it a millstone
around my neck -- I mean a love of minutiae, nurtured during
my studies in classical paleography at Cambridge under
the great Sir Ellis Minns. This is tied up with a pursuit
of irrelevancies, real or imagined.

In this, my first tour of fieldwork, I had the full support,
help and advice of three of the finest experts in the field,
and there was no way I could go wrong. First there was
Kenneth Murray, the Surveyor of Antiquities, whose life
and death were so movingly celebrated in the commemorative
issue of African Arts in 1975. He had spent much of the
past twenty-two years as an education officer, travelling
extensively in Yorubaland, Igboland, and other parts of
the South, studying the people and their art, and casti-
gating British and Nigerians impartially for doing nothing
about it, yet building the greatest art collection with
no resources, not to mention the fully fledged Archive
Sof the as yet non-existent museum.

- 4 -

The second of my guardian angels was my younger brother,
Bernard, a man of action if ever there was one, who, starting
as an administrator, had spent ten years discovering the
Nok Culture, and the vastly more ancient Rock-Gongs Complex,
and was even then (having learned the building trade in
double-quick time) putting up the finest building in the
north -- the Jos Museum -- using only an untrained labor
force. Yet he found ample time to teach me the essentials
of northern ethnography and even some archaeology, including
that of Ife. It was in Yorubaland, too, that I met my
third mentor towards the end of my trip. Father Kevin
Carroll supplied a vital and incalculable ingredient of
philosophy and also art history.

Such were the beginnings of my fieldwork -- a sheltered
enough existence. Later came Roy Sieber, Willett, and
the greatly lamented Bradbury.

But now I am glad that Hank Drewal has alluded to my "archives,"
for it enables me to say a few words of thanks to my dear
friends Paul Tishman and Jeffrey and Deborah Hammer. The
Metropolitan Museum of Art, New York and the National Museum
of African Art, Washington, D.C., are the recipients of
the prints, and the negatives are housed in the photographic
Institute, Queen Anne Street, London, from which prints
may be ordered. I hope these will be seen as some of the
least controversial aspects of fieldwork.


I am honored to be asked to present this award to Roy Sieber.
Mary Douglas, the anthropologist, once wrote that it was
scholars and intellectuals who were doing the most to destroy
rituals. But as Arnold Rubin has just said, this is the
beginning of a new ritual. I like rituals and I am pleased
to take part in this one. It is also typical of Africans
to honor their seniors.

Over the past three decades you have profoundly influenced
-- largely determined -- the form and direction of African
art studies in the United States.

Coming out of the wilds of Shawano, Wisconsin, you found
your way to African art via Medieval Europe at a time when
conventional art historical wisdom held that all that was
worth knowing about traditional African art was embodied
in the Demoiselles d'Avignon. In 1985, you were the first
American art historian actually to carry out field research
in Africa, and became an indefatigable advocate of the
necessity of such experience for serious and responsible
research. As an inspired -- and inspiring -- teacher,
you have guided three generations of students in art history
and related disciplines -- frequently outside as well as
within the usual formal or conventional academic relationship.

- 5 -

This multitude now staffs museums and universities throughout
the United States and Africa. In your patient, discriminating,
and devoted development of the African collection at Indiana
University, you have created a resource whose richness
and splendor transcends the brilliance of the individual
pieces. Now embarked upon a comparable work on a vastly
grander scale at the National Museum of African Art, you
are clearly the right person in the right place at the
right time.

You participated in the establishment of the Arts Council
of the African Studies Association and served as its first
President. You have been involved in a succession of trail-
blazing exhibitions, and were instrumental in the appearance
of scholarly publications on African art at the highest
professional level. Never yoked to a narrow disciplinary
or theoretical perspective, you have consistently advocated
and embodied a multifaceted, eclectic approach. In your
research, teaching, and writing, you weave together an
appreciation of formal qualities with an understanding
of cultural meanings and historical relationships. Tran-
scending all of these is your unerring aesthetic sensibility,
your infallible critical instinct, and your unfailing

As teacher, researcher, curator, advisor, and advocate
you have been instrumental in planting African art studies
as a feature in the cultural landscape of the United States.
We value and esteem your enthusiasm for African art, African
culture, and Africa; your boundless energy; your generous
encouragement of, and accessibility to, students, curators,
and collectors; your intellectual resilience and openness
to new ideas and new approaches; the sense of delight,
of adventure, of discovery which pervade all your activities;
and above all, the crafty sense of humor which beguiles
all who come under your spell.

In closing let me add a few personal notes. Most of what
I know about history and aesthetics in art I have learned
from Roy and his students. I was not trained in these
aspects of anthropology at Northwestern University. And
over the years I have met Roy and two years ago stayed
in his home in Washington. Always, I have found him inter-
esting to talk with, full of grand ideas and plans, and
always I have felt like a friend when being with him.
He has such a fine sense of the object, such an excellent
eye for its aesthetics, its style, its meaning and its
cultural setting. It is the quality of the understanding
of the object which I so admire and wish I had. I congrat-
ulate him on this occasion.

- 6 -


This award, which I most deeply appreciate, does have some-
thing of the obituary about it. It is lightened, however,
by an opportunity that the subject of an obituary does
not have: to say a few words.

One of the great attractions of African art studies when
I entered thirty-five years ago was its essential innocence.
As a discipline it barely existed. Research was based,
with few exceptions, on museum studies and on the field
reports of other than art historians. The "literature"
consisted primarily of bits and pieces in anthropological,
missionary, or colonial reports, a few museum catalogues,
and style studies focused essentially on Kjersmeierian
tribal designations. Art history offered some areas that
seemed approachable and others that posed serious problems.
Form and style studies seemed possible, but not change
over time; in the absence of field data, studies in symbolism
seemed unapproachable; the studies of artists seemed buried
in the concept of anonymity; context studies were all but
unthought of; aesthetic studies were limited to Western
estimates; there were no field studies of the African
audience. Earlier studies on the art of Africa were
essentially studies in connoiseurship; Western quality
estimates attached to a note on the tribal origin.

In some ways much has changed -- witness these meetings
-- in others little has changed. Thank goodness that some
anthropologists, archaeologists, and historians continue
to devote time, energy, and thought to African arts. Art
historians have used their conclusions and borrowed from
their disciplines and will, no doubt, continue to do so.
Yet there are areas that are the concern of art historians,
that are, and should be, among their primary objectives.

I do feel that among much that needs to be done, art
historians have yet adequately to address three concerns:
one is style studies, particularly with an emphasis on
change over time, i.e., history; a second is form -- morpho-
logical studies relating again to history; the third is
iconography -- the penetrating studies of symbols. Certainly,
some recent works address these, again witness these
meetings, yet much remains to be done.

Also we have yet to sort out the relationship between theory
(or, more properly, theories) and data accumulation. The
latter is a requirement wherein, despite our accomplish-
ments, much remains to be collected. I am suspicious of
data collected according to theoretical needs. Rather,
more like an archaeologist, I consider the "excavation"
of data as a great responsibility. Unlike archaeologists
we do not actually destroy our data base in the process

- 7 -

of collecting that data. However, a given art historical
field researcher may prove to be the only one to study
the arts of a particular group, the only researcher to
* interview one particular informant. Thus the responsibility
for objectivity, completeness, and caution is considerable.
I am suspicious of field studies that attempt to prove
(or disprove) theories. Data should not be tested by theories;
theories should be tested by data.

Further, I think it must be kept in mind that a multifaceted
view of art is valuable, indeed essential. Many aspects,
theories, points of view, or modes of attack can be brought
to bear upon a particular problem. At times it is most
tempting to consider one's point of view as exclusive,
as an end in itself. But in fact it never is.
Several views -- however contradictory they may seem --
combine to create a fuller view, to allow for the creative
cross-fertilization that leads to a deeper understanding
of the problem.

My final point is that unlike many other disciplines,
art history ultimately, perhaps finally, is tied to the
object, the work of art. The art historical must begin
with the work of art -- then as we have seen in the meetings
-- may go almost anywhere in exploring its ramifications
and implications. In the end however, the art historian
must return to the starting point, the work of art.



Concerned about the widespread destruction of archaeolog-
ical sites and the consequent loss of the early history/art
history of Africa, a group of ACASA members recently dis-
cussed the establishment of a nonprofit foundation to provide
support (funds as well as personnel) for archaeological
excavations of key sites in Africa. Projects would be
carried out by international research teams with the approval
and participation of the African governments concerned.
Our efforts might focus on fund-raising and personnel (pro-
fessional archaeologists, archaeology graduate students,
and nonprofessionals such as undergraduates and volunteers).
African participation might include professional and non-
professional staff and, where possible, basic equipment
and some support services.

At this point, we are seeking your initial reactions and
suggestions concerning this proposal (e.g., names of others
who might be interested, sources of funds, etc.) as a first
step in preparation for a full discussion at the forthcoming
ACASA meeting at ASA in Wisconsin. Please write or call
Henry Drewal or Kate Exra, D.P.A., The Metropolitan Museum
0 of Art, New York, N.Y. 10028 (212) 879-5500x3061/3057).

- 8 -

26 June 7 September, 1986

The Museum's collection of African art will be highlighted
in a special exhibition during the summer. Forty objects
from the Museum's holdings will be featured, including
new acquisitions and many works of art not previously on
view. The exhibition has been curated by Henry John Drewal.

The exhibition's title and interpretive wall panels for
each object underscore the exhibition's premise that African
art is essentially intellectual. It seeks to dispel the
misconceptions that African art is impulsive, emotional,
and "primordial." Both religious art, often experienced
in ritual performances involving visual, choreographic,
and musical arts, and nonreligious art will be displayed.

The exhibition is funded in part by a grant from the West-
chester Arts Fund of the Council for the Arts in Westchester
(South Gallery).


For the Tricentennial of the French publication of Olfert
Dapper's book "Description de 1'Afrique," the Dapper Founda-
tion organizes three exhibitions, which will open in Paris,
in May 1986.

* The first will show the diversity of African art. Approxi-
mately 40 African sculptures will be presented, accompanied
by 10 art works from other continents. This exhibition
will take place from May 13th to June 29th, 1986, at the
Musee des Arts Decoratifs and organized with the collaboration
of Mrs. Yvonne Brunhammer, Curator of the Musee des Arts
Decoratifs, and Mrs. Brigitte Hedel-Samson, Principal Art
Inspector of Delegation of plastic arts.

On May 14th, at the Foundation itself, located at 50 Avenue
Victor Hugo (Paris 16'eme), exhibition rooms and the documenta-
tion center will be inaugurated with two other exhibitions
that will be on display until September 30, 1986.

The theme for one of the exhibitions will be: "Knowledge
of African plastic arts at Olfert Dapper's time." African
art objects and engravings of this epoch will be on display.
Mr. Ezio Bassani, a well-known specialist, is responsible
for this exhibition.

The last exhibition, which will take place at the Foundation,
will show a "Panorama of Reliquary Guardian Figures of
the Bakota," and is organized with the collaboration of
specialists. Since there are excellent works already in
existence on the subject, by A. and F. Chaffin, as well
as books by Louis Perrois on the arts of Gabon, a catalog
has not been planned.

- 9 -

However, the first two exhibitions will present a catalog
with color photographs. The art objects that will be exhibited
originate from museums, private collections, and from the

Please contact: Christiane Falgayrettes
Secretary General


This museum is organizing a major exhibition and publica-
tion curated by Dr. Mikelle Smith Omari, Associate Professor.
The title of the exhibition is "Gender, Power, and Art
in Africa and the Diaspora." A symposium/colloquium will
accompany the simultaneous opening of the exhibition and
the dedication of the new CSULB University Museum in 1989.
The exhibition will explore the dynamic dimensions of art
associated with male vs. female power. For further informa-
tion contact: Dr. M.S. Omari, Associate Professor,
Dept. of Art, Bl/St, CSULB, 1250 Bellflower Blvd.,
Long Beach, California, 90840.


Please send information about publications,
exhibitions, symposia, research, dissertations,
travel, visitors, etc., for inclusion in the
ACASA Newsletter to:

Doran H. Ross
Secretary/Treasurer, ACASA
Museum of Cultural History
University of California, Los Angeles
405 Hilgard Avenue
Los Angeles, California 90024

Deadline for Newsletter #13 is
15 August with the issue scheduled
to be posted 15 September.

- 10 -


29th Annual Meeting of the African Studies Association
Concourse Hotel, Madison, Wisconsin
October 30 November 2, 1986


Panel I





Judith Perani (Ohio University)
Norma Wolff (Iowa State University)

Norma Wolff (Iowa State University)
"Theoretical Approaches to the Study of
Patron-Artist Transactions in African

Judith Perani (Ohio University)
"The Roles and Contributions of
African Patrons"

Barbara Frank (Wooster College)
"Continuity, Change and Reciprocity: Artists
and Patrons in the Western Sudan"


Panel II 10:30-12:30



Michael W. Conner (Indiana University)

Bill Dewey (Indiana University)
"Shona Snuffbottles"

Carolee Kennedy (University of California,
Los Angeles)
"Zulu Stone Hemp Pipes"

Roslyn A. Walker (National Museum of African
"Chokwe Tobacco Mortars"

Michael W. Conner (Indiana University)
"Nguni Snuff Containers: The Marriage
* Ceremony"

- 11 -


Panel III 1:30-3:30

Chairperson: John Povey (University of California,
Los Angeles)

Panelists: Elizabeth Schneider (University of Witwatersrand)
"Malagatane. Artist of the Revolution"

Jean Kennedy (California College of Arts
and Crafts)
"Modern Art from Nigeria"

Amin Nour
"The Development of an Ethiopian Artist"

Jusef Grillo
"Art Education and the Continuing Tradition"

Discussant: Peter Mark (Wesleyan University)

Panel IV 3:30-5:30

Chairperson: Enid Schildkrout (American Museum of
Natural History)

Participants: Victoria Ebin (Brooklyn Museum)

Mary Kujawski (University of Michigan)

Philip Ravenhill (West African Museums Project)

Doran H. Ross (UCLA Museum of Cultural History)

Jerome Vogel (Parsons School of Design)

Susan Vogel (The Center for African Art)

Roslyn A. Walker (National Museum of African

- 12 -


Panel V 8:30-10:30

Chairperson: Christraud Geary (Boston University)

Panelists: Pamela Blakeley (Brigham Young University)
"Escort Others and So Shall You Be Escorted"

Christraud Geary (Boston University)
"Burying 'mothers of crops:' Funerals of
Prominent Women in Weh (Cameroon Grassfields)"

Carlyn Saltman (Somerville, Massachusetts)
Film: "A Bamileke Woman's Funeral"

Mikelle Smith Omari (California State University,
Long Beach)
"Women's Funerals in Candomble"

Discussant: Robin Poyner (University of Florida)

Panel VI 10:30-12:30

Chairperson: Christraud Geary (Boston University)

Panelists: John W. Nunley (The St. Louis Art Museum)
"Beautiful Women Mourning Beautiful Women
in Sisala Funerary Traditions"

Fred T. Smith (Kent State University)
"Art and Performance in Frafra Female Funerals"

Christine Mullen Kreamer (Cincinnati Art
"Honoring the Female Dead: Mortuary Rituals
for Women Among the Moba of Northern Togo"

Discussant: Robin Poyner (University of Florida)

- 13 -


* Panel VII 1:30-3:30

Chairperson: Allen F. Roberts (Albion College and
University of Michigan)

Panelists: Mary Kujawski (University of Michigan)
"Tracking an Unidentified Object: The Case
of a Bamana(?) Shamanic Costume"

Allen F. Roberts (Albion College and
University of Michigan)
"Crooks' Crooks: Dogon Yo Dommolo and the
Origin of Culture"

Joseph Nevadomsky (University of Benin,
"Bronze Cocks and Wooden Hens In Benin Art"

Moyo Okediji (University of Ife)
"The Frozen Plumage: Stasis in Yoruba Avian

Panel VIII 3:30-5:30

Chairperson: Arnold Rubin, President
Arts Council of the African Studies Association


- 14 -


Panel X




Arnold Rubin (University of California,
Los Angeles)

Sidney Littlefield Kasfir (Dartmouth College)
"Royal Masks and the Iconology of Sacred
Kingship in Southern Idoma"

Marla Berns (University of California,
Los Angeles)
"Elegant Relief: Ga'anda Scarification
as a Conceptual Paradigm"

Arnold Rubin (University of California,
Los Angeles)
"Yokes, Siamese Twins, and the Elusive Eloyi:
Some Conundra in the Study of Benue Valley


- 15 -


Panel IX 8:30-10:30

Chairperson: Jean M. Borgatti (Clark University)

Panelists: Dolores Yonker (California State University,
"Icons of the Invisible: Portraying the
Vodou in Haiti"

Ed Lifschitz (National Museum of African
"Beyond Looking: Imaging Spirits In Sound"

Ray Silverman (University of California,
Santa Cruz)
"Dress for Success: Adorning the Gods of
the Akan"

Marilyn Houlberg (School of the Art Insitute
of Chicago)
"The King of Thunder: Sound and Symbol
in Shango Imagery"



Panel XI 1:30-3:30

Chairperson: Sidney Littlefield Kasfir (Dartmouth College)

Panelists: James Fernandez (University of Chicago)
"The Problems of Collection and Classification:
Fang Masks"

Rene Bravmann (University of Washington)
"The Use of a Sufi Text to Explain Islamic
Influence in Asante Art"

Peter Weil (University of Delaware)
"Theoretical and Methodological Problems
with Public Art Forms: A Senegambian Mask"

Discussant: Jan Vansina (University of Wisconsin)

Panel XII 3:30-5:30

Chairperson: Martha Anderson (Alfred University)

Panelists: Jean M. Borgatti (Clark University)
"Northern Edo Brass and Iron Work"

Martha Anderson (Alfred University)
"The Funeral of an Ijo Shrine Priest"

Susan O. Michelman (University of Minnesota)
"Kalabari Male and Female Aesthetics: A
Comparative Visual Analysis"

Peter Mark (Wesleyan University)
"History and Function of the Diola
Ejumba Mask"



- 16 -

May 1986

Monni J. Adams
Peabody Museum
Harvard University
Cambridge, Massachusetts

Mary Jo Arnoldi
Dept. of Anthropology, NHB 112
Smithsonian Institution
Washington, D.C. 20560


African Studies Association
Attn: John Distefano
University of California, Los Angeles
405 Hilgard Avenue
255 Kinsey Hall
Los Angeles, California 90024

African Studies Center
Attn: Michael Lofchie
University of California, Los Angeles
405 Hilgard Avenue
10244 Bunche Hall
Los Angeles, California 90024

African Studies Library
Attn: Gretchen Walsh
Mugar Memorial Library
Boston University
771 Commonwealth Avenue
Boston, Massachusetts 02215

Africana Museum
Cuttington University College
Box 277
Monrovia, LIBERIA

James De Vere Allen
P.O. Box 116, Kwale
Nr. Mombasa, KENYA

Dianne Almendinger
3688 Gooding Road
Marion, Ohio 43302

Martha G. Anderson
113 North Main Street
Alfred, New York 14802

Bernice S. Anfuso
1326 North Fairfax Avenue
Los Angeles, California 90046

Claude-Daniel Ardouin
s/c Musde National du Mali
B.P. 159, Bamako
MALI, West Africa

Simon P.X. Battestini
1416 Hopkins Street, #4
Washington, D.C. 20036

Edna Bay
1649 Springbrook Drive
Decatur, Georgia 30033

Barbara Beall
2716 Via Anita
Palos Verdes Estates,

Dr. Paula Ben-Amos
3405 Longview, #11
Bloomington, Indiana

Anne Marie Benezech
11 rue d'Arcole
Paris, FRANCE 75004

Eli Bentor
Banta 106
Bloomington, Indiana




Judith Bettelheim
Art Department
San Francisco State University
1600 Holloway
San Francisco, California 94132

David Aaron Binkley
The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, Missouri 64111

Barbara W. Blackmun
9850 Ogram Drive
La Mesa, California


Pamela Blakely
Brigham Young University
Dept. of Anthropology
700 Kimball Tower
Provo, Utah 84602

- 17 -



Arthur P. Bourgeois
Fine Arts Department
Governors State University
University Park, Illinois


Jean-Louis Bourgeois
151 Avenue A
New York, New York 10009

Lisa Bradley
32 East 57th, 10th Floor
New York, New York 10022

M.T. Brincard
The African-American Institute
833 United Nations Plaza
New York, New York 10017

Karen Hull Brown
639 North College, #4
Bloomington, Indiana


Dr. Eugene C. Burt
P.O. Box 15453
Seattle, Washington 98115-0453

Bob Cabeen
322 South Cloverdale, #3
Los Angeles, California 90036

Thomas D. Blakely
Brigham Young University
Dept. of Anthropology
700 Kimball Tower
Provo, Utah 84602

Melonee Blocker
2627 South Hobart Blvd.
Los Angeles, California 90018

Jean M. Borgatti
295 Maple Avenue
Shrewsbury, Massachusetts 01545

Rende Boser-Sarivaxevanis
Museum of Ethnography
Augustinergasse 2

Jean-Paul Bourdier
Department of Architecture
232 Wurster Hall
University of California
Berkeley, California 94720

Herbert M. Cole
Department of Art History
University of California
Santa Barbara, California

College Art Association
Attn: Rose R. Weil
Executive Secretary
149 Madison Avenue
New York, New York 10016


Michael Conner
821 West Sixth Street
Bloomington, Indiana 47401

Justine M. Cordwell
437 West Belden Avenue
Chicago, Illinois 60614

Kellie Cosho
531 Warm Springs
Boise, Idaho 83712

Louis Cosho
531 Warm Springs
Boise, Idaho 83712

Chester R. Cowen
2805 Willow Creek Drive
Norman, Oklahoma 73071

Eve L. Crowley
726 Peach Lane
Davis, California


- 18 -

Elisabeth Cameron
148 North Catalina, #9
Pasadena, California 91106

Jeanne Cannizzo
267 Major Street
Toronto, Ontario

Arthur Carraway
2062 Grove Street
San Francisco, California 94117

Garth Claasen
639 North College Avenue, #4
Bloomington, Indiana 47401


EAC Newsletter
c/o Susan V. Nelson
141 Calle Mayor
Redondo Beach, California


Victoria Ebin
Brooklyn Museum
200 Eastern Parkway
Brooklyn, New York 11238

Ima Rose Ebong
Brown University
Box 7066 Graduate Center
Providence, Rhode Island 02912

Joanne B. Eicher
University of Minnesota
240 McNeal Hall
1985 Buford Avenue
St. Paul, Minnesota 55108

Ellen F. Elsas
3408 Bethune Drive
Birmingham, Alabama 35223

Kate Ezra
444 Central Park West, #7C
New York, New York 10025

Charles Cutter
Dept. of Political Science
San Diego State University
San Diego, California 92182

Catherine Daly
1265 West Roselawn Avenue
Roseville, Minnesota 55113

Ahmed Dawelbeit
National Museum of Guinea-Bissau

Dave DeRoche
"Lost Art" Gallery
3464 Sacramento Street
San Francisco, California 94118

Louis de Strycker
17 Avenue de l'Yser, bte 17
1040 Bruxelles, BELGIUM

William J. Dewey
3322 Valleyview Drive
Bloomington, Indiana 47401

Henry Drewal
28 Martin Avenue
Hempstead, New York 11550

Margaret Thompson Drewal
28 Martin Avenue
Hempstead, New York 11550


William Fagg
8 King Street
St. James's, London SW1Y 6QT

Mrs. Jennifer Farnan
9782 56th Street
Riverside, California


Francine D. Farr
The Brooklyn Museum
Dept. of African, Oceanic,
and New World Cultures
Eastern Parkway
Brooklyn, New York 11238

Marc Felix
Ethnographic Arts
20 Avenue Marie Clotilde
1170 Brussels

Foundation Dapper
Attn: Christiane Falgayrettes
191, Avenue Charles de Gaulle
92521 Neuilly S/Seine

Alan D. Frank
Claridge House II, 11-JE
Verona, New Jersey 07044

Barbara Frank
600 Cedar Street,
Washington, D.C.


Ruth K. Franklin
2870 Pacific Avenue
San Francisco, California

Valerie Franklin
9601 Wilshire Blvd., Ste.
Beverly Hills, California



- 19 -

William A. Fagaly
915 St. Philip Street
New Orleans, Louisiana


Phyllis Galembo
125 West 16th
New York City, New York 10011

Bernard Gardi
Museum fuer Voelkerkunde
P.O. Box 1048
4051 Basel

Mona Gavigan
3340 Sheffield Court
Falls Church, Virginia

Dr. Christraud Geary
Boston University
African Studies Center
270 Bay State Road
Boston, Massachusetts

Norma Geisler-Pothier
11609 Hi Ridge Road
Lakeside, California

J. Werner Gillon
101 Century Court
Grove End Road
London NW8 9LD

Anita J. Glaze
1812 Cypress Drive
Champaign, Illinois


Jill Hellman
942 Willow Avenue
Hoboken, New Jersey 07030

Dr. Priscilla Hinckley
251 Central Street
Concord, Massachusetts

Rachel Hoffman
P.O. Box 1315
Culver City, California



Honolulu Academy of Arts
Attn: George Ellis
900 South Beretania Street
Honolulu, Hawaii 96814

Hoover Institute
Stanford, California




Periodicals Department
J.W. Jagger Library
University of Cape Town
Rondebosch Cape

Reinhild Janzen
Kauffman Museum
Bethel College
North Newton, Kansas


Dale Gluckman
929 Micheltorena
Los Angeles, California 90026

Francine Goldenhar
Director, Special Programs
Parsons School of Design
66 Fifth Avenue
New York, New York 10011

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

Kris Hardin
600 Cedar Street, NW
Washington, DC 20012

Moira F. Harris
4 Cardinal Lane
St. Paul, Minnesota 55110


Dele Jegede
Centre for Cultural Studies
University of Lagos
Akoka-Yaba, Lagos

Barbara C. Johnson
17 Marsh Drive
Mill Valley, California 94941

Kristi Slayman Jones
258 Roswell Avenue
Long Beach, California 90803

Dr. Maria Kecskesi
Staatliches Museum fur Vilkerkunde
Maximilian Sh.42
D-8000 Munich

Carolee Grant Kennedy
400 Seward Square, SE
Washington, D.C. 20003

- 20 -


Jean Kennedy
996 Oak Street
San Francisco, California 94117

Barry A. Kitnick
Gallery K, Inc.
8406 Melrose Avenue
Los Angeles, California


Christine Mullen Kreamer
37C Hasbrouck Apts.
Ithaca, New York 14850

Colleen Kriger
11 Walmer Road, Apt. 305
Toronto, Ontario M5R2W9

Mary Kujawski
Univ. of Michigan Museum of Art
525 South State Street
Ann Arbor, Michigan 48109

Dr. Philip M. Kulp
15 Deer Trail
Carroll Valley, Route 1
Fairfield, Pennsylvania 17320

Frederick Lamp
Baltimore Museum of Art
Art Museum Drive
Baltimore, Maryland 21218

Jay T. Last
609 Mountain Drive
Beverly Hills, California 90210

Sol and Josephine Levitt
936 Wateredge Place
Hewlett Harbor, New York


Edward Lifschitz
1507 G Street, SE
Washington, D.C. 20003

Sonia P. Lirman
1516 Palisades Drive
Pacific Palisades, California


Richard Long
883 Edgewood Avenue
Inman Park
Atlanta, Georgia 30307

Ambassador John Loughran
Foundation for
Crosscultural Understanding
3251 Prospect Street, NW
Washington, D.C. 20007

Kristyne Loughran
Hillcrest Apt. B1
611 North Fess Street
Bloomington, Indiana

Peter Mark
Frobenius Institut
Liebegstr 41
6000 Frankfurt

Herman Martin
10845 Rochester Avenue
Los Angeles, California



Jane Matthews
458 Sobre Colinas Place
Camarillo, California 93010

Dr. Evan M. Maurer
Univ. of Michigan Museum of Art
525 South State Street
Ann Arbor, Michigan 48109-1354

Daniel McCall
7 Wigglesworth Street
Boston, Massachusetts


John A. McKesson
Assistant Editor
Arts d'Afrique Noire
880 Fifth Avenue, 19E
New York, New York 10021

Susan Michelman
4218 Fremont Avenue South
Minneapolis, Minnesota 55409

Richard Miles
268 North Bowling Green Way
Los Angeles, California 90049

Charles D. Miller, III
455 North Country Road
St. James, New York 11780

Roy Mitchell
715 Sixth Street, SW
Washington, D.C. 20024

- 21

Lester P. Monts
7572 Padova Drive
Goleta, California 93117

Marshall W. Mount
74 Sherman Place
Jersey City, New Jersey

John Nunley
6120 McPherson
St. Louis, Missouri


National Museum of Liberia
Bureau of Culture and Tourism
Monrovia, LIBERIA

Nancy C. Neaher
Department of History of Art
35 Goldwin Smith
Cornell University
Ithaca, New York 14853

Fisher H. Nesmith, Jr.
4550 Connecticutt Avenue,
Washington, D.C. 20008

NW, #304

Anitra Nettleton
History of Art Department
University of the Witwatersrand
1 Jan Smuts Avenue

Mr. and Mrs. Mace Neufeld
624 North Arden Drive
Beverly Hills, California

Robert W. Nicholls
1669 Columbia Road, NW,
Washington, D.C. 20009



Andrea Nicolls
1311 Delaware Avenue, SW, #S730
Washington, D.C. 20024

Mary H. Nooter
400 West 119th Street, #OW
New York, New York 10027

Nancy Ingram Nooter
5020 Linnean Avenue, NW
Washington, D.C. 20008

Tamara Northern
Curator of Ethnographic Art
Hood Museum of Art
Dartmouth College
Hanover, New Hampshire 03755


John R.O. Ojo
Department of Fine Arts
University of Ife

Prof. Mikelle Smith Omari
Art Department
California State University, Long Beach
1250 Bellflower Boulevard
Long Beach, California 90840

Simon Ottenberg
Dept. of Anthropology
University of Washington
Seattle, Washington 98195

Pacific Coast Africanist Newsletter
Attn: Ernie Valenzuela
Diablo Valley College
Pleasant Hill, California 94523

Karen Page
388 Ultimo Avenue
Long Beach, California


Paulette S. Parker
Museum of Cutural History
University of California, Los Angeles
405 Hilgard Avenue
55A Haines Hall
Los Angeles, California 90024

Jean Louis Paudrat
1 allee des Trous Geles
77200 Torcy

Philip M. Peek
Department of Anthropology
Drew University
Madison, New Jersey 07940

Francesco Pellizzi
Editor, RES
12 East 74th Street
New York, New York 10021

Diane Pelrine
801 North Lincoln Street
Bloomington, Indiana 47401

- 22

John Pemberton, III
77 Dana Street
Amherst, Massachusetts 01002

Judith Perani
74 South Shannon Avenue
Athens, Ohio 45701

Dr. Louis P. Perrois
62 me Pixere'court C
75020 Paris

Merrick Posnansky
19010 Los Alimos
Northridge, California


John F. Povey
African Studies Center
University of California, Los Angeles
405 Hilgard Avenue
10244 Bunche Hall
Los Angeles, California 90024

Robin Poynor
102 FAA, Art Department
University of Florida
Gainesville, Florida 32611

George N. Preston
Art Department
City College, CUNY
New York, New York 10031

Sharon Pruitt
4356 Springwood Court
Marietta, Georgia 30067

Labelle Prussin
4306 8th Avenue, NE
Seattle, Washington


Philip L. Ravenhill
West African Museums Project
01 B.P. 1658
Abidjan 01
IVORY COAST, West Africa

Raphael Reichert
Department of Art
California State University
Fresno, California 93704

Albert A. Rettig
9470 Hidden Valley Place
Beverly Hills, California 90210

Warren M. Robbins
530 Sixth Street, SE
Washington, D.C. 20003

Allen F. Roberts
2327 Fernwood
Ann Arbor, Michigan


Arnold M. Rogoff
1040 Erica Road
Mill Valley, California


Doran H. Ross
Museum of Cultural History
University of California, Los Angeles
405 Hilgard Avenue
55A Haines Hall
Los Angeles, California 90024

James J. Ross
770 Park Avenue
New York, New York


Christopher Roy
School of Art and Art History
University of Iowa
Iowa City, Iowa 52242

Arnold Rubin
Department of Art History
University of California, Los Angeles
405 Hilgard Avenue
1300 Dickson Art Center
Los Angeles, California 90024

Mrs. Mary Stansbury Ruiz
10666 Wellworth Avenue
Los Angeles, California 90024

Amman Tukur Saad
Department of Agriculture
Ahmadu Bello University

Jill Salmons and Keith Nicklin
26 Hafton Road Catford
London SE6ILP

Carlyn Saltman
62 Central Street, #3
Somerville, Massachusetts 02143

- 23 -



Thomas M. Shaw
70 LaSalle, Apt. 12D
New York, New York

Roy Sieber
114 Glenwood East
Bloomington, Indiana



William Siegmann
2651 13th Avenue South
Minneapolis, Minnesota 55407

Raymond A. Silverman
P.O. Box 95128
Seattle, Washington 98145

Fred T. Smith
School of Art
Kent State University
Kent, Ohio 44242

J. Weldon Smith
3168 Clay
San Francisco, California


Karl-Ferdinand Schaedler
Joh. Seb. Bach-Str. 13
D-8012 Ottobrunn

Alfred L. Scheinberg
230 West 76th Street
Penthouse B
New York, New York 10023

Cynthia Schmidt
310 Riverside Drive, Apt. 507
New York, New York 10025

Elizabeth Ann Schneider
705-Bridgeport, Biccard St.

Victoria Jean Scott
Rd #7 Indian Hill Road
Mahopac, New York 10541

Thomas K. Seligman
Fine Arts Museums of San Francisco
M.H. de Young Memorial Museum
Golden Gate Park
San Francisco, California 94118

Nathan H. Shapira
1015 Gayley Avenue, Apt. 1100
Los Angeles, California 90024

Anne Spencer
Curator of Ethnology
The Newark Museum
Box 540
43 Washington Street
Newark, New Jersey 07101

Alice Spitzer
635 Opal, NE
Pullman, Washington 99163

Janet L. Stanley
1791 Lanier Place, NW, #23
Washington, D.C. 20009

Ilona Szombati-Fabian
P.O. Box 70043
1007 KA Amsterdam

Carol Thompson
318 East Jefferson, Apt. 1
Iowa City, Iowa 52240

Nancy Toothman
414 Grand Boulevard
Venice, California


Sarah Travis
549 West 113th Street, Apt. 5G
New York, New York 10025

Univ. of the Witwatersrand
Dept. of Art History
c/o Prof. Rankin

- 24 -

Robert T. Soppelsa
Dept. of Art and Theatre
Washburn University of Topeka
Topeka, Kansas 66621

Karen Spence
Dept. of Fine and Performing Arts
Chancellor College
University of Malawi
P.O. Box 280

Jan Vansina
c/o African Studies
1454 Van Hise Hall
University of Wisconsin
Madison, Wisconsin 53706

Monica Blackmun Visona
208 High Street
Middletown, Connecticutt 06457

Catherine Vogel
39 Wolfgang Avenue, Norwood
2192 Johannesburg

Susan Vogel
The Center for African Art
54 East 68th Street
New York, New York 10021

James H. Wade
P.O. Box 5441
Maiduguri, Borno State

Dr. Maude Southwell Wahlman
Art Department
University of Central Florida
P.O. Box 25000
Orlando, Florida 32816

Mrs. Joan B. Waite
802 Columbus Drive
Teaneck, New Jersey 07666

Roslyn A. Walker
1301 Delaware Avenue, SW, N516
Washington, D.C. 20002

Peter Wengraf
Arcade Gallery
3528 Sacramento Street
San Francisco, California 94118

Ellen C. Hvatum Werner
Assistan Curator
Dept. of Africa, Oceania,
and the Americas
The Fine Arts Museums of San Francisco
San Francisco, California 94118

Thomas G.B. Wheelock
Center for African Art
54 East 68th Street
New York, New York 10021

Jeane R. Whitley
9051 Vons Drive
Garden Grove, California 92641

Rosalinde G. Wilcox
10520 Draper Avenue
Los Angeles, California 90064

Jeri Bernadette Williams
P.O. Box 1041
Goleta, California 93117

Sylvia H. Williams
141 12th Street, NE, #9
Washington, D.C. 20002

Hans Witte
Troelstralaan 28B
9722 JK Groningen

Marcilene K. Wittmer
Dept. of Art and Art History
University of Miami
Coral Gables, Florida 33124

Norma H. Wolff
Dept. of Sociology and Anthropology
Iowa State University
Ames, Iowa 50011

Craig Woodson
2314 Frey Avenue
Venice, California


William Wright
116 West Houston Street
New York, New York 10012

Dolores M. Yonker
3512 Beverly Ridge
Sherman Oaks, California


- 25 -

University of Florida Home Page
© 2004 - 2010 University of Florida George A. Smathers Libraries.
All rights reserved.

Acceptable Use, Copyright, and Disclaimer Statement
Last updated October 10, 2010 - Version 2.9.9 - mvs