ACASA newsletter

Material Information

ACASA newsletter newsletter of the Arts Council of the African Studies Association
Portion of title:
African Studies Association. Arts Council
Place of Publication:
The Council
Publication Date:
Physical Description:
v. : ; 28 cm.


Subjects / Keywords:
Arts -- Periodicals -- Africa ( lcsh )
serial ( sobekcm )
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

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
09794003 ( OCLC )
sn 92017937 ( LCCN )

Related Items

Preceded by:
Newsletter of the Arts Council of the African Studies Association

Full Text

The Arts Council of the African Studies Association

Presidential Notes

Message from the Editor

Museums After Katrina



14th Triennial Symposium

ACASA Member News


Calls for Papers & Essays

Research Queries


Current Publications

Media & Internet Resources


Employment Opportunities


2005 Membership Addendum

Triennial Fundraising Form

Voluntary Contribution Form

Membership Renewal Form





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Volume 73

I Fall 2005 1

The Arts Council of the African Studies Association

Newsletter, Volume 73, Fall 2005

ACASA Board of Directors

Christraud M. Geary, President
Robyn Poynor, Past President
Tavy D. Aherne, Secretary/Treasurer
Rebecca M. Nagy, Newsletter Editor
Kate Ezra
Ikem Okoye
Constantine Petridis
Elisha Renne
Carol Thompson
Norma H.Wolff

All correspondence regarding membership information
and payment of dues should be directed to:
Tavy D. Aheme
ACASA Secretary/Treasurer
2261 Bent Tree Drive
Bloomington, IN 47401

Membership information and forms are available at the
end of this Newsletter.

The ACASA Newsletter is published three times a year:
Spring/Summer, Fall, and Winter. The Newsletter seeks
items of interest for publication. You may send news
about job changes, fieldwork, travel, exhibitions, new
publications, etc. The next ACASA Newsletter will be
Winter 2006. Please send news items by January 13 to:

Rebecca M. Nagy
Ham Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700

Phone: 352-392-9826
Fax: 352-392-3892

Deadlines for Submission of News Items
for the 2005 Newsletters:

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

Acknowledgement: Graphics featured in the headings
of this Newsletter were drawn by Tami Wroath, based
on designs found on artworks in the collection of the
Ham Museum of Art. The graphic of the dancer on the
fundraising form was designed by dele jegede.


*0 1 Presidential Notes

Half time or Between Triennials

Time flies! It seems that the last Triennial Sympo-
sium on African Art is barely behind us and we are
already gearing up for the next one. The organiza-
tion of the 14th Triennial at the University of Florida
in Gainesville is in the able hands of our colleagues
there, who not only prepare this meeting as we
speak, but also keep ACASA moving. The News-
letter has become much more lively again thanks to
Susan Cooksey and Rebecca Nagy, and there are
new ideas invigorating ACASA.

In fact, the upcoming Triennial was on my mind
when a few other ACASA members, among them
Jean Borgatti and Barbara Thompson, and I had
the opportunity to attend the meetings of the Pacific
Arts Association in Salem/Mass. at the Peabody
Museum Essex in June. Among the organizers
was Christina Hellmich of the PEM, who just an-
nounced that she will move to San Francisco as
the Curator of the Jolika Collection of New Guinea
Art and Consulting Curator of Oceanic Art in the
Department of Africa, Oceania, and the Americas
at the de Young Museum. To quote the press re-
lease: The Jolika Collection-the largest and most
important private collection of New Guinea art in
the world-was assembled over 40 years by New
York connoisseurs and collectors Marcia and John
Friede and is named in honor of their children,
John, Lisa, and Karen. It contains over three hun-
dred and fifty important works. John Friede and his
mother Evelyn A.J.Hall once also collected African
Art and donated one of their superb objects, a
beaded Bamum figure, to the National Museum of
African Art.

Participating in this conference was lots of fun for
us we had no responsibilities, followed the pres-
entations with interest, and felt inspired by the pa-
pers and the format. For me, one of the more inter-
esting aspects of the meeting was the balance be-
tween presentations about "historical/traditional"
and contemporary arts, well received by all the par-
ticipants collectors included. This is the kind of
balance that seemed to be lacking at the last Trien-
nial. The overall program appeared less frantic (i.e.
packed) with only a few panels opposite each
other. While the ACASA organizing committee
may not be able to achieve a less crowded


schedule in our much larger meetings, the more
relaxed pace certainly contributed to the sense
that the conference was a resounding success.

Artists' performances were riveting. On the open-
ing day, Rosanna Raymond, a performance/
installation/body adornment artist and New Zea-
land-born Pacific Islander of Samoan descent
(according to the program), captivated the audi-
ence with her evocative one woman show. The
Mahina Movement, a New York based feminist
performance collective, added a hard edge with
their performance. Even some papers were per-
formances. Most captivating was a paper by Jade
Tangiahua Baker in one of the first panels, which
traced the complex pathways of a Maori recepta-
cle (taonga), which acted as repository of tribe
specific knowledge and a nexus for entangled re-
lationships, from its place of origin to an Auckland
Museum. She concluded her presentation with a
haunting chant about the loss experienced by her
people. Many papers were of interest to scholars
in African Studies because of their theoretical ap-
proach or the intriguing subject matter.

And then there were the Marquesan dancers!
Brought to the U.S. by Carol Ivory of Washington
State University, who is the current president of
the Pacific Arts Association, they danced up a
storm. Those of us in African studies were smitten
by their energy and the vigorous moves and de-
cided that a trip to the Marquesas was in order.
The performers stayed in the same dormitory
where we had found our cheap accommodation.
The summer nights were enchanting (unlike the
miserable weather we had in Boston for the last
Triennial) and the dancers and other singers gath-
ered outside, providing us with gratis encore per-
formances and beautiful chants, as they com-
pared their repertoires with those of colleagues
from other realms of the Pacific. It was a remark-
able conference, just as the next Triennial prom-
ises to be special.

Since the term of the ACASA presidency lasts
only eighteen months barely enough time to im-
plement much a new president will be elected at
the ASA meetings in Washington. Also, new
Board members will bring fresh and different skills
to the tasks ahead. So these are my last presi-
dential ponderings. I am looking forward to seeing
many of you at the ASA meetings and hope that
you will attend the ACASA business meeting.

Christraud M. Geary

Message from the Editor

To keep your Newsletters coming on schedule,
take the opportunity to renew your membership
now, using the form on page 26 of this issue. Re-
member, membership is for the calendar year and
must be renewed at the beginning of each year.

ACASA asks courtesy members in Africa and the
Caribbean to send requests for membership re-
newal by email or regular mail each year to the
Secretary/Treasurer so that membership records
can be regularly updated. A current email address
on file with ACASA ensures that a courtesy mem-
ber receives electronic versions of Newsletters.

As always, I am most grateful to Harn Museum of
Art associate curator of African art Susan Cooksey,
curatorial secretary Melody Record, and graphic
designer Tami Wroath for their kind assistance in
production of this Newsletter and in formatting and
dissemination of the electronic version to courtesy
members in Africa and the Caribbean.

Rebecca M. Nagy
Harn Museum of Art, Gainesville, FL

Newsletter Team Needs Your Assistance

To assist the editorial team in responding
to requests for information about the
history of ACASA and in providing copies
of back issues to members and libraries,
we are working to assemble a complete
run of ACASA Newsletters, which will be
passed on to each successive Newsletter
editor. We are seeking copies of original
Newsletters Volumes 1 30.
If you have copies of these issues and
are willing to donate them to the ACASA
Archive, please notify Melody Record by
email: mrecord@(

aI 6 I Museums After Katrina

AAMD Support for Museums Affected By Hurri-
cane Katrina

The American Association of Museum Directors
(AAMD) is coordinating organizational support for
museums in the Gulf Coast region affected by hur-
ricane Katrina. Anyone wishing to make a contribu-
tion may contact the AAMD for a list of these or-
ganizations at:


Administrative Office:
41 East 65th Street
New York, NY 10021
Phone: 212-249-4423
Fax: 212-535-5039

Government Affairs
1319 F Street, NW,
Suite 201
Washington, DC
Phone: 202-638-4520
Fax: 202-638-4528

ASA News

The ASA's 48th Annual Meeting will be held in
Washington DC from November 17-20, 2005 at the
Marriott Wardman Park Hotel.
The preliminary schedule is now online at:
A selected list of art-related panels follows. Con-
sult the final program for additional panels, updated
panel listings, and room assignments. Note that
ACASA sponsored panels will be on Friday, No-
vember 18 from 1-3 (Session V) and 3:15-5:15
(Session VI).

Session I
Thursday, 12:45 P.M. 2:45 P.M.

African Art and the Cosmos
Chair: *Christine Kreamer, Smithsonian
Robert Nicholls, U of the Virgin Islands, Cosmic,
Symbolic, and Ritual Roles of West African Tree
Herbert Cole, U of California Santa Barbara,
Cosmic Renewal in Igbo Arts: Mbari and Ijele
Ruth Kerkham, Harvard U, The Matriarch of Snow,
Fire and Rain: Communion with Soli Ancestors at
the Chakwela Makumbi Ceremony (Zambia)
Discussant: Allen Roberts, UCLA

Bodily Acts, Embodied Knowledge: Performance
and the Contours and Contexts of Community
Chair: David Donkor, Northwestern U
Salome Mwangola, Northwestern U, Remembering
the Past, Envisioning the Future
David Donkor, Northwestern U, Brightened Bodies:
Performance Aesthetics, National Culture and Body
Politics in Ghana's Who is Who Popular Theatre
Mohammed Mohammed, Northwestern U, Center-
Staging the Female Body: Ethiopian Women in the
Restaurant and Fashion Industries in Washington,
David Coplan, U of Witwatersrand, Embodied Poli-
tics in the Performance Culture of Black Youth in
South Africa

Session II
Thursday, 3:00 P.M. 5:00 P.M.

Imaging African Art as a Collective Representa-
tion: Art Schools and Social Movements in Af-
rica and the African Diaspora
Chair: Bennetta Jules-Rosette, U of California San
Bennetta Jules-Rosette, U of California San Diego,
Frontstage and Backstage in Contemporary African
Art: From N6gritude to the New Figuratism and Be-
Debra Klein, Vassar College, The Osogbo Arts
Movement: Strategic Collaborations Among Yoruba
Artists, an Austrian Sculptor, and a German Scholar
Wayne Osborn, U of California San Diego, Mirror-
ing Africa: Collaborative Reversal in Ethnographic
and Documentary Film as a Diasporic Project

Session III
Friday, 8:30 A.M. 10:30 A.M.

Healing through the Visual and Textual in Afri-
can Arts
Co-Chair: *Cynthia Becker, U of St. Thomas
Co-Chair: Andrea Frohne, Cornell U
Shannen Hill, U of Denver, Miniature, Monument,
Marking: Saint Biko the Radiant in South African
Fadhili Mshana, Georgia College & State U,
Zaramo Mganga's Mkomolo: A Functional Staff and
Status Symbol
Andrea Frohne, Cornell U, Contemporary Ethiopian
Art, Healing Texts, and Transnational Identity
Lalla Essaydi, Converging Territories of Gender,
Space, and Writing: Lalla Essaydi Discusses Her Art
LeGrace Benson, Arts of Haiti Research Project,
Some Healing Strategies in Haitian Art

African Performances: Film, Theater, and
Chair: Bernth Lindfors, U of Texas at Austin
Bernth Lindfors, U of Texas at Austin, Ira
AI'ridge's Africa
Amadou Fofana, Wisconsin-Madison, Style and
Cinematography in Ousmane Sembene's
Esailama Artry-Diouf, U of Illinois Urbana-
Champaign, From the Village to the Stage
Christina McMahon, Northwestern U, Performing
the Body in Crisis: "Race," Place, and the Exi-
gencies of Community in Cape Verdean AIDS
Tonya Taylor, U of Pennsylvania, Performing a
Good Death: The Aesthetics of Healing and AIDS
in Zimbabwe

Session IV
Friday, 10:45 A.M. 12:45 P.M.

Envisioning the Body/Politic
Chair: *Karen Milbourne, The Baltimore Mu-
seum of Art
Earnestine Jenkins, U of Memphis, Picturing
Menelik II: 'King of Kings' of Ethiopia During the
Era of Colonization
Rebecca Nagy, University of Florida, and Acha-
myeleh Debela, North Carolina Central U Impe-
rial Patronage and the Birth of Ethiopian Modern
Mary Arnoldi, Smithsonian, Fashioning a Na-
tional Identity: Youth Arts Festivals in Mali, 1962-
Joanna Grabski, Denison U, Narrating the Na-
tion: Art and Nationalism at the Premier Festival
Mondial des Arts Negres and Dak'art Biennale
Kinsey Katchka, The Detroit Institute of Arts,
Decentralizing Nationalism: Senegalese Arts &
Cultural Policy, 1980-2000

African Women's Verbal and Visual Artistry
as Epistemology
Chair: Bertrade Ngo-Ngijol Banoum, Lehman
College- CUNY
Aissata Sidikou, Princeton U, New Perspectives
on Women's Songs from Africa
Bertrade Ngo-Ngijol Banoum, Lehman College-
CUNY, Basaa Women's Verbal Art: Theorizing
Identity, Gender and Power Relations
Paulette Young, Columbia U, Dress and Style as
Women's Visual Voice in Ghana
Barbara Frank, Stony Brook U, Taboos and
Technologies: Reconstructing Women's Histories
in the Kadiolo Region of Mali
Nkiru Nzegwu, Binghamton U, Breaking Taboos:
Art and Sexual Violence in Contemporary Nigeria

Literature, the Arts, and Performance
Chair: *Tejumola Olaniyan, U of Wisconsin Madi-
Rachel Harvey, U of Florida, Negotiating Authen-
ticty and Survival: Tourist Art Initiatives in the
Townships of Cape Town, South Africa
Hilary Kowino, Michigan State U, Female/Male
Bodies and the Politics of Space in African Litera-
Andrea Arrington, Emory U, Performing Europe:
An African Response to Colonialism

Session V
Friday, 1:00 P.M. 3:00 P.M.

Yoruba Sacred Textiles in 20th Century Nigeria
[Sponsored by the Arts Council of the ASA]
Chair: Elisha Renne, U of Michigan
Aderonke Adesanya, U of Ibadan, A Semiotics of
Clothing Insignia of Indigenous Cult Groups Among
the Ijebu-Yoruba, Nigeria
Babatunde Agbaje-Williams, U of Ibadan, Sacred
Trees and Cloth in Yorubaland: Their Cultural and
Historical Significance
Will Rea, U of Leeds, Masquerade, Technologies
of Reproduction and the Metaphorical Use of Cloth
in Ikole Ekiti
Discussant: Rowland Abiodun, Amherst College

The African Body: Health and Beauty
Chair: Susan Rasmussen, U of Houston
Susan Rasmussen, U of Houston, The Body in
Gendered Aesthetic and Medical Discourse and
Practice among the Tuareg
Liam Buckley, James Madison U, Regulating
Women's Beauty: Skin Bleaching and State Legis-
lation in The Gambia
Mahiri Mwita, Princeton U, Re-thinking the Global
Assault on African Sense of Health and Beauty
Kelly Lewis, Emory U, Bleaching to Be Beautiful

Session VI
Friday, 3:15 P.M. 5:15 P.M.

Roundtable: The Need for a Text for the Modern
and Contemporary Art of Africa [Sponsored by
the Arts Council of the ASA]
Chair: Robin Poynor, School of Art & Art History
Kim Miller, Transylvania U
*Karen Milbourne, The Baltimore Museum of Art
Julie McGee, Bowdoin College
Danielle Snoddy, U of Iowa

- Session VII
Saturday, 9:00 A.M. 11:00 A.M.

Film, Music, and Cartoons: Providing and Negoti-
ating Images of Society, Past, and Present
Chair: Jonathan Haynes, Long Island U
Jonathan Haynes, Long Island U, Cultural Epic: A
Nigerian Video Film Genre
Victoria Pasley, Clayton College & State U, Kuxa
Kanema: Third Cinema and its Transatlantic Cross-
Ryan Ronnenberg, U of Wisconsin, History from the
Corners: Laughing at Dour Discipline
Richard Shain, Philadelphia U, Music and Modernity:
Record Clubs, Youth Culture, and Latin Music in Da-
kar, 1950s 1960s

Building a Body of Knowledge: Photographs, Ar-
chives, and Archaeological Evidence
Chair: Helene Baumann, Duke U
Helene Baumann, Duke U, Colonial and Missionary
Societies: Preserving and Providing Access to Afri-
can and Africa-Related Archives
Patricia Hickling, Hickling Design, Fraud, Fantasy
and the Early Photographs of Francois Edmond For-
Tony Waters, California State U Chico, Preliminary
Archaeological Investigations at the Kibaoni
Mpimbwe Site, Rukwa Region, Tanzania
Aribidesi Usman, Arizona State U, Urban Trajectory
and Sociopolitical Formation on the Yoruba Frontier:
A Report of Second Archaeological Field Season at
Ila-lyara, Southwestern Nigeria

Session VIII
Saturday, 11:15 A.M. 1:15 P.M.

Art and Agency in African Art
Chair: David Binkley, National Museum of African Art
Edith Suzanne Gott, Kansas City Art Institute, Aes-
thetic Agency, Performative Display, and Marital Poli-
tics in Asante Adosoa Funerary Processions
Silvia Forni, Universitb degli Studi di Torino, Cooking
Culture: Pottery and Agency in the Grassfields
(North-West Cameroon)
Manuel Jordan Perez, Cantor Arts Center, Stanford
U, Jipelo: Agency and the Effectual in Zambian Divi-
nation and Initiation Arts
*Christine Kreamer, Smithsonian, Objects as Media-
tors: Moba Art and Aesthetics in Context
Patricia Darish, National Museum of African Art, and
David Binkley, National Museum of African Art Stop
the Sun: Art and Agency in Kuba Funerary Rituals
Hudita Mustafa, Emory U, Sartorial Ecumenes:
Styles, Circulations and Agents in Senegalese Fash-
Discussant: *Wyatt MacGaffey, Haverford College

Session IX
Saturday, 3:00 P.M. 5:00 P.M.

Art, Fashion, and Identity
Chair: John Thornton, Boston U
John Thornton, Boston U, Black Jesus: Kongo
Christian Art in the Eighteenth and Nineteenth Cen-
Julie Strand, Wesleyan U, Borrowed Traditions:
The Sambla Xylophone in Burkina Faso
Maria Rodriguez-Feo, U of Iowa, Americas into
Africa: Local Consumption of Brazil, Jamaica and
Cuba in Luanda, Angola

Session X
Sunday, 9:00 A.M. 11:00 A.M.

Marketing Identity: Ethnicity, Nationality, and
the Politics of the Art Market
Chair: Victoria Rovine, U of Florida
Sarah Adams, U of Iowa, and Sarah Adams, U of
Iowa Re-Presenting Uli
Thembinkosi Goniwe, Cornell U, Relevance of
Identity in Contemporary South African Art
H61lne Neveu Kringelbach, U of Oxford, UK,
Senegalese Dancers in the Global World of Per-
forming Arts
Victoria Rovine, U of Florida, Identity as Style:
Marketing Africa and Africanisms through Fashion
Discussant: Christopher Steiner, Connecticut Col-

Session XI
Sunday, 11:15 A.M. 1:15 P.M.

Representing the Body/Politic
Chair: Allyson Purpura, National Museum of Afri-
can Art
*Tejumola Olaniyan, U of Wisconsin Madison,
Political Cartooning in Africa: Representing the
Body Politic
Sara Byala, Harvard U, (Re)presenting the African
Body: MuseumAfrica in a Changing South Africa
Allyson Purpura, National Museum of African Art,
Up Close at a Distance: Historic Postcards from
Leora Maltz, Harvard U, and Gemma Rodrigues,
Harvard U Representing the Body Politic in 20th-
Century African Art and Visual Culture

For more info see:

Nominee Statements for Board Member


Announcement of Next Business Meeting

The next ACASA business meeting will be at the
ASA Conference in Washington D.C. on Novem-
ber 19, 2005 from 7:45-8:45 p.m. Check the con-
ference program for updated room assignments.

Election of new Board Members

The election for new board members will be held
during the ACASA Business Meeting at ASA Con-
ference on November 19th. The nominating com-
mittee members Kate Ezra, Norma Wolff, and
Carol Thompson put forward and recommend a
list of candidates whose statements follow.

Nominee Statement for Secretary/Treasurer
and Board Member of ACASA

Alice R. Burmeister
Associate Professor of Art History, Winthrop

It would be a great honor and privilege to serve on
the ACASA Board as the next Secretary/
Treasurer. Many of my fellow colleagues from
graduate school have served on the ACASA
Board in recent years, and I feel it is now my turn
to take on the challenge and follow in their foot-
steps. I have enjoyed many benefits from the pro-
fessional contacts and opportunities that ACASA
offers, and I look forward to building on and devel-
oping these relationships, in addition to offering
my assistance to this important organization in
gratitude for all of the support I have received in
the past. I have been teaching at my current insti-
tution since 1997, and have had the opportunity to
work in a number of leadership positions within
the university, including recent service as an in-
terim department chair and associate dean.
These experiences in leadership have led to the
development of skills that I think will be useful for
the work of the Secretary/Treasurer, including
budget planning and management, fundraising,
publicity, and database development. If elected, I
would do my utmost to help maintain and further
develop the fiscal health of ACASA, pledging to
serve the organization in any manner appropriate
as directed by the other Board members.

With appreciation for the opportunity,
Alice R. Burmeister

Christa Clarke
Curator, Newark Museum
I would be honored to serve on the ACASA Board
of Directors. I presented my first professional paper
at the ACASA Triennial in Iowa City in the early
1990s. At the time, I was especially struck by the
collegiality of fellow members who warmly wel-
comed a junior scholar as a peer. My participation
at subsequent ACASA meetings has significantly
broadened my knowledge while fostering interac-
tions with a large community of scholars. For me,
the 2004 Triennial at Harvard especially brought to
the fore the great challenges and opportunities be-
fore us at this moment, as definitions of African art
continue to expand in new and exciting direc-
tions. As a member of the board, I look forward to
working together to address the developments in
the field and ensure ACASA's continued strength
as an organization in the coming years.

Kim Miller
Assistant Professor of Art History and Director
of Women's Studies
Transylvania University, Lexington, KY

I am honored to have been nominated to the board
of ACASA, and would be delighted to serve this
organization which has given so much to me, in-
cluding intellectual stimulation, professional sup-
port, and numerous opportunities. I am presently
an assistant professor of art history and women's
studies at Transylvania University (in Lexington,
Kentucky), where I also direct the Women's Stud-
ies Program. In August of 2006 I will join the fac-
ulty of Wheaton College in Norton, MA, where I will
hold a joint appointment in Art History and
Women's Studies, and will also chair their
Women's Studies Program. My research and
teaching interests primarily concern the ways in
which artists use visual culture for the purposes of
promoting social justice, and the ways in which
women use art as a form of activism and empower-
ment. Since earning my PhD in 2003 I have pub-
lished several articles in both women's studies and
art history journals, including Feminist Studies,
Textiles: The Journal of Cloth and Culture, and Afri-
can Arts. I am currently working with Sandra Klop-
per on a Reader on Contemporary African Visual
Culture, which will likely be published by

If elected to the board, I will be happy to serve
ACASA in any way that I am needed. In addition, I
would like to work on opening up conversations
within and beyond our organization concerning
issues of pedagogy and teaching. As we all know,
the teaching of African art involves several unique
challenges, and I am particularly interested in pro-
moting knowledge-sharing about how to effectively

teach about Africa to varied student populations.
For example, what strategies do people use to
teach African art to students who have had little
to no prior instruction about Africa students
whose primary knowledge of Africa comes from
television commercials and Hollywood films?
What are some different approaches to teaching
the Survey of African Art course? How do col-
leagues incorporate knowledge about African art
in other courses that they teach, be they other Art
History or African Studies courses? What are
some creative approaches to teaching African art
to more advanced undergraduate and graduate

I would like to see more conversations with col-
leagues about these issues in all of the spaces
where we as ACASA members converse. Spe-
cifically, we can share questions, challenges, and
strategies on the email list, post syllabi and writ-
ing assignments on the website, and organize
panels and roundtable discussions about peda-
gogy at our conferences. Moreover, I would like
to organize a panel at ACASA about teaching
African art in places other than research institu-
tions: community colleges, liberal arts colleges,
gradeschools, museums, and prisons, for exam-
ple. Finally, I would also like to see ACASA
sponsor a roundtable discussion at CAA about
incorporating African visual culture into other art
history classes, so that we may bring art histori-
ans who are not Africanists into our discussions
and generate greater interest in African art.

As a board member, I would also like to explore
some more practical concerns, such as the pos-
sibility of providing child care at triennial confer-
ences, so that parents of who bring children will
not be excluded from participating in conversa-
tions and events that are central to growth and
energy of our field.

Nominee Statement for Newsletter Editor and
Board Member

Susan Cooksey
Associate Curator of African Arts
Harn Museum of Art, University of Florida

I am pleased to be a candidate for the post of
ACASA Newsletter Editor. I have worked on the
Newsletter as an assistant to Rebecca Nagy at
the Samuel P. Harn Museum of Art since 2003.
In the last three years, use of new software and
assistance from museum staff has greatly en-
hanced the design, production and distribution of
the Newsletter. I look forward to continuing my
work on the Newsletter, with ongoing support of
museum staff, to increase its efficiency in produc-
tion and distribution and to enhance its content

and format. In the last few years, the editorial staff
has introduced a digital version for sponsored Afri-
can and Caribbean members. In the coming term, I
will be ready to assist with the transition to an elec-
tronic format option for all members. I encourage
your support to ensure that the Newsletter contin-
ues to be a vital publication for ACASA members
for the next three years.

14th Triennial Symposium

14th ACASA Triennial Symposium 2007

Start thinking about the next Triennial Symposium
on African Art...

Mark your calendars: March 28-April 1, 2007

Planning is underway for the 14th Triennial Sympo-
sium on African Art, which will be hosted by the
University of Florida's College of Fine Arts, School
of Art and Art History, Center for African Studies,
and the Samuel P. Harn Museum of Art. Gaines-
ville is the site for the symposium, and the theme
will be Global Africa. Robin Poynor and Rebecca
Nagy are the Co-Chairs of the symposium, and
Victoria Rovine is the Program Chair. Susan Cook-
sey and Carol Thompson will organize Museum
Day. Bonnie Bernau, Director of Education at the
Harn, and Agnes Leslie, Outreach Director for the
Center for African Studies, will organize Outreach

Calls for papers, panels, and roundtables will be
made via this Newsletter in January 2006 and the
H-AfrArts listserv, beginning in November, 2006.
The deadline for panel and roundtable proposals
will be in April, 2006. Announcements, registration
information, and all calls for panels and papers will
also be posted on the Triennial web site: (presently under construc-
tion). The symposium theme statement will also be
posted on the conference web site shortly, along
with information about travel to Gainesville.

Please remember that you must be a member of
ACASA in order to participate in the Triennial. We
encourage you to renew your membership now if it
has lapsed! Annual membership is based on the
calendar year.

2007 Triennial Theme Statement:

The theme of the 2007 Triennial Symposium on

African Art emphasizes the place of African ex-
pressive arts in global contexts, encouraging pan-
els anft papers that address Africa's international
and trans-cultural reach. In selecting this theme,
we seek to foreground the ways in which Africa
arts in all media draw from and contribute to
global histories, cultures, and aesthetics. These
global connections are particularly dramatic in the
growing field of contemporary African art, in which
artists study, exhibit, sell their work, and live all
over the world. We also seek to draw attention to
scholarship that is animating "traditional" prac-
tices, placing longstanding forms, techniques, and
beliefs within the historical networks out of which
they emerged.

While the impact of external forces on Africa has
been the focus of much study, the Global Africa
theme places equal emphasis on Africa's impact
on non-African cultures. It also incorporates the
globalization of conceptions of Africa, for the conti-
nent has long served as a trope for Western ideas
about the exotic. What is the impact of such con-
ceptions on African art and artists? And how has
the exhibition and study of African art been af-
fected by these popular misconceptionsn?

10 1 ACASA Member News

News from New Orleans Museum of Art

Dated: Friday, September 9th 2005

For the past two days I have been helicoptered to
NOMA along with Deputy Director Jackie Sullivan.
The "ship" as they call it, is rented by the Museum's
insurance company. We have a force of NYPD's
finest to secure the museum with their semi-
automatics in hand at all times.

The Museum is in remarkably good shape. Of
course there is no climate control for the art and we
are trying to get a generator back in working order.
There is hydro-static water in the lowest regions of
the basement office and art storage area. However,
no art has been damaged. We have been working in
the pitch dark with lanterns and flashlights and high
heat and order to move some works of art out of
harm's way. The galleries on the 1st, 2nd, and 3rd
floors are all totally dry with no roof leaks! A mira-

The sculpture garden has many trees down but no
sculptures have been damaged, we think, except a
Kenneth Snelson tower.

The sights are devastating....catastrophic is not an

exaggeration.... it looks like the whole city is under
water...dead bodies floating in the water...a major-
ity of trees gone or severely is truly
unbelievable to see what has happened to our be-
loved will never be the same.

We live one day at a time...I don't know where I will
be in the future....currently staying at St. Theresa's
Convent in Gonzales, Louisiana between New Or-
leans and Baton Rouge.

There is so much work to do....emptying NOMA's
restaurant's freezers and refrigerators of rotting
food, sweeping out water from the basement art
storage and office areas so it doesn't damage any-
thing, arranging for a new emergency generator so
we have lights, climate control and air conditioning,
on and on...

Everyone has a story and most of these are not
pretty. Sorry to paint such a picture of doom and
gloom but that's pretty much the way it is. Never-
theless, it is not devoid of humorous moments, sto-
ries and miraculous events.

William "Bill" Fagaly
Curator of African Art

Editor's Note: Updated Report on NOMA from
September 16, 2005

"It was a good feeling to see that we dodged the
bullet and that the collection was hanging on the
walls just as we left it. "- William A.

Since Bill Fagaly's letter, an official report submit-
ted by NOMA notes that the museum is in good
shape and except for some outdoor sculptures, the
artworks were undamaged. The museum intends to
open its doors as soon as possible. NOMA has set
up temporary offices at the Louisiana Art & Science
Museum in Baton Rouge NOMA

Mark DeLancey Leads Study Abroad Program in

Mark DeLancey, an assistant professor of art his-
tory at James Madison University, led a summer
study abroad trip to Ghana with nineteen students.
The group stayed largely in Accra where they took
classes at University of Legon with side trips to Ku-
masi, Cape Coast, Elmina and Volta Region.

ACASA Book Distribution Program

The ACASA Book Distribution Program is sup-
ported with donations of publications by ACASA
members and their organizations. Publications are
sent to 125 libraries in Africa. We thank all the do-
nors who have made this program possible over
the past fifteen years.
-Janet Stanley

The following publications were sent to libraries in
Africa under the auspices of the ACASA Book Dis-
tribution Program in 2004 and 2005:

ETHIOPIAN PASSAGES: Contemporary Art from
the Diaspora
by Elizabeth Harney
Washington, DC: Smithsonian National Museum of
African Art; David Wilson Publishers, 2003.
Courtesy of the National Museum of African Art,
Washington, DC.

A SAINT IN THE CITY: Sufi Arts of Urban Senegal
by Allen F. Roberts & Mary Nooter Roberts
Los Angeles: Fowler Museum of Cultural History,
UCLA, 2003.
Courtesy of the Mary Nooter Roberts and the
James S. Coleman African Studies Center, Univer-
sity of California, Los Angeles.
WAYS OF THE RIVER: Arts and Environment of
the Niger Delta
Edited by Martha G. Anderson and Philip M. Peek
Los Angeles: Fowler Museum of Cultural History,
UCLA, 2002.
Courtesy of the Mary Nooter Roberts and the
James S. Coleman African Studies Center, Univer-
sity of California, Los Angeles.

AFRICAN ARTS 36 (2) spring 2003
AFRICAN ARTS 36 (3) autumn 2003
AFRICAN ARTS 36 (4) winter 2003
AFRICAN ARTS 37 (1) spring 2004
AFRICAN ARTS 37 (2) summer 2004
AFRICAN ARTS 37 (4) winter 2004
AFRICAN ARTS 38 (1) spring 2005
Courtesy of the James S. Coleman African Studies
Center, University of California, Los Angeles.

Nollywood Convention USA 2005

The First International Convention and Symposium
on the Nigerian video-film industry (Nollywood)
took place in Los Angeles, California USA from
June 13-17, 2005. Dr. Sylvester Okwunodu Ogbe-
chie, of the University of California Santa Barbara
organized the convention and served also as its
principal coordinator. Titled Nollywood Rising:

Global Perspectives on the Nigerian Film Industry,
the convention focused attention on a principal
arena of popular culture in Africa that is rapidly be-
coming one of the most significant cultural develop-
ments on the continent in this century. In recent
years the Nigerian Video-film industry (dubbed Nol-
lywood by the foreign media) has grown rapidly to
become one of the largest film producing industry
in the world after the renowned Hollywood of the
United States and the prolific Bollywood of India.
With the production of over fifty movie titles per
month, Nollywood, as the Nigerian film industry has
come to be known, is beginning to command global
attention by its size and work rate and it is increas-
ingly seen as one of Nigeria's positive cultural con-
tributions to the global discourse on contemporary
culture. The industry has not only transformed the
way Nigerians see themselves, it has also become
one of the major sources of employment in the
country with over 5,000 guild members in 2004.
However, the industry needed encouragement to
ensure sustainable growth, and both foreign and
local film industry experts agreed that there is an
urgent need to expose Nollywood to more technical
depth and professionalism. There was also a need
for scholarly examination of this phenomenon, to
evaluate the meaning of its growing impact on con-
temporary African visual culture. Nollywood Rising
was designed to initiate a scholarly study of, and in
the process provide a forum for examining the
meanings and implications of this cultural phe-

The First International Nollywood Convention and
Symposium investigated the emergence of new
media in Nigerian film and visual culture. It high-
lighted the fact that the digital video recording of
Nollywood accurately prefigures the future of film
industries worldwide. This new digital video prac-
tice succeeds the older celluloid process of Nige-
rian auteur filmmaking that failed to capture a mass
audience and was thus rapidly consigned to irrele-
vance in the Nigerian popular culture. Nollywood
benefits from the conjunction of various technolo-
gies such as the rapid growth in home entertain-
ment platforms and the large local and expatriate
Nigerian viewing audience who expand the reach
of the industry in their Diaspora locations. The con-
vention noted that although Nollywood was created
in Nigeria, it was rapidly becoming the first true
mass medium for continental and expatriate Afri-
cans in the 21st century. Nollywood films are fea-
tured on every national television program in Africa,
and in places where the Nollywood videos compete
directly with Hollywood products the Nigerian video
films outsell Hollywood films by a factor of five to
one among Nigerians. This achievement is great in
itself and it prefigures a major realignment of the
cultural orientation of contemporary African viewing

The First International Nollywood Convention and
Symposium (Hilton Universal City, Los Angeles,
June 13-17, 2006 was designed to introduce the
Nollywood brand to Hollywood and start a discus-
sion on possible collaboration between both film

The convention took place at the Hilton Universal
City Hotel in Los Angeles and it was accompanied
by a symposium titled Access Nollywood: Origins,
Developments and Directions in Contemporary Ni-
gerian Cinema, which was produced in collaboration
with Dr. Jude Akudinobi, Lecturer in Film Studies
and Black Studies at the University of California
Santa Barbara. Dr. Orjiakor, who represented the
Nigerian Ambassador to the United States, chaired
the convention. The symposium featured presenta-
tions on topical issues in the industry by film industry
experts and notable international scholars of African
cinema. It also attracted many major African Ameri-
can Hollywood stars. The symposium investigated
the history and development of the Nollywood phe-
nomenon, its location in global discourses of film
and cinema, the challenge Nollywood faces with
regards to cinema technologies, and the impact of
piracy on efforts to secure the intellectual property
rights of Nollywood filmmakers. The convention and
symposium received the support of individuals like
John Singleton, and significant institutions like the
University of California, Ebony/Jet magazine, the
Magic Johnson Theaters, California State University
Sacramento, and Tantrum Records, among others.

Top Nollywood stars like Omotola Jalade-Ekeinde,
Zack Orji, Kate Henshaw, Dakore Egbuson, the iras-
cible pair known in the industry as Akin and Popo,
and the acclaimed Nollywood Director Lancelot
Oduwa-Imasuen attended the opening night event,
held on June 14 2005. There was also a large num-
ber of African American Hollywood stars present at
the event and these in particular were very excited
about the possibilities for collaboration between Hol-
lywood and Nollywood presented by the rapid
growth of the Nigerian video-film industry. The
events received favorable coverage in the news me-
dia including coverage (vial local news feed) by the
British Broadcasting Corporation.

The First International Nollywood Convention and
Symposium was a great success and plans are un-
derway for the Nollywood Convention USA 2006
that will build upon the success of this initial conven-

-Submitted by Dr. Sylvester Okwunodu Ogbechie, of
the University of California Santa Barbara

Note from the Secretary-Treasurer:
Renew your ACASA Membership Today

Dear Colleagues,

On behalf of the Board of Directors, I invite you to
renew your membership in The Arts Council of the
African Studies Association. The benefits of mem-
bership are both tangible and intangible. You will
receive three issues of the ACASA Newsletter, pro-
viding a forum for the exchange and dissemination
of information-notices of events, grants, employ-
ment opportunities, news of colleagues' and gradu-
ate students' activities and more. As a member,
you will be included in the international ACASA
Directory--an indispensable resource for establish-
ing and maintaining professional networks. You will
receive information on the planning of the Four-
teenth Triennial Symposium on African Art, to be
held in Florida in 2007. One must be an ACASA
member to participate in the upcoming Triennial,
and to receive a discounted registration fee. Fur-
ther, the Board of Directors has begun the process
of updating the ACASA website, which will include
members-only access to online databases and ar-

Members are encouraged to attend and participate
in the annual ACASA meetings and sponsored
panels held at the African Studies Association and
the College Art Association meetings. There are
opportunities for furthering the understanding of the
peoples and arts of Africa and the Diaspora
through partnership in ACASA's educational initia-
tives. These include outreach programs for teach-
ers and museum educators in the host communi-
ties of each Triennial and the "Books for Africa"
initiative to distribute new publications to African
institutions. One such initiative led to the publica-
tion of the outstanding African art history textbook,
A History of Art in Africa. The discipline is served
through the encouragement of excellence in new
research through the Arnold Rubin Book Award,
the Roy Sieber Dissertation Award, and by travel
scholarships for graduate students and our African
and Caribbean colleagues.

A membership renewal form is provided in this
newsletter. While renewing, please consider a
sponsorship of an African or Caribbean institution.
Your $10.00 will help subsidize the publication and
mailing of the ACASA Newsletter and Directory to
one of these institutions for a year. If you wish, you
may specify an institution and/or individual member
for sponsorship (just note the information on your
membership form). Thank you for your continuing
interest in ACASA.

Tavy D. Aherne
September 15, 2005

Clothing Symposium Honors Joanne Eicher

The Senses 5nd Sentiment of Dress: A Symposium
Celebrating the Career of Joanne B. Eicher held
at the University of Minnesota (Sept. 16-17, 2005),
honored the distinguished career of Dr. Joanne
Eicher, Regents Professor, Department of Design,
Housing and Apparel. Dr. Eicher will retire this year
from teaching, to finish her work as editor-in -chief
on the 10-volume Routledge Encyclopedia of World
Dress and Adornment and other research projects.

Over 100 attended the symposium and 140 at-
tended the celebration dinner. Participants present-
ing 33 papers and 10 posters came from India,
Australia, New Zealand, China, Korea, Nigeria, the
Netherlands, and from across the United States.
Several members of ACASA in attendance in addi-
tion to those giving papers were Norma Wolff,
Doran Ross, and Robin Poynor.

Papers presented on African topics were:

* Cynthia Becker, The Multi-Sensory Aesthetics
of Amazigh Dress in North Africa.
* Martin-Oguike, Ngozi, "lchafu"--An Analytical
View of the Socio-Cultural& Religious Value of
Women Head Ties in Igbo Hegemony
* Henry Drewal, Sensiotics
* Suzanne Gott, Sensation & the Affecting Power
of Asante Women's Waist Beads
* Victoria Rovine, The Texture of the
Handmade: Manufacturing an Authentic Africa
Through Dress
* Lambuzo Khoza, Aesthetics of the Swazi
Woman's Traditional Wedding Attire
* Heather Akou, More than Costume
History: The Definition of Dress & Somali
Aesthetics of the Body
* Sarah Adams, Uli Body Arts & Body
Theory: Towards An Expansion of Models"

The website for the symposium with the complete
program can be found at:

Scenes from the "The Senses and Sentiments of Dress" Symposium,
held at McNeal Hall, University of Minnesota. September 16-17, 2005

Joanne Eicher with Betty Wass, Dr. Eicher's first MA and also a
PhD student at Michigan State who conducted research for her
dissertation in Nigeria on Yoruba dress and later wrote articles
for African Arts on the kabba sloht dress in Sierra Leone and
on Igbo ichi scarification in Nigeria. Dr. Wass is the retired
Associate Director of the African Studies Program at University
of Wisconsin, Madison.

(Left to right) Norma Wolff, Joann Eicher
and Robin Poynor.

Joanne Eicher with Meriem Chida, a doctoral student at the
University of Minnesota from Tunisia who presented a paper
on the history of Tunisian dress at the Harvard Triennial of

Carrie Brown's Ghana Project

I am currently in Ghana working on a new project
with'3 senior secondary schools. Anyone who is
interested can contact me to be added to my email

In 2002-2003, I spent six months in Ghana as a vol-
unteer. I became aware of the difficulty many stu-
dents have trying to gain an education. Some of the
Ghanaians I worked with have asked me to return to
pursue a project to help secondary school students
in three communities. A brief outline of the project
activities and goals follows.

* Work in three diverse communities photograph-
ing the area and events for preservation.

* Teach students photography so they can work
with me on documenting the communities and con-
tinue this documentation after I have left.

* Work with students' English classes to research
and write about Ghana's history, each town's his-
tory, their religion, economic activities, health care
and other topics related to life in each community.

* Post images and essays on a website to be
used by teachers in Bethlehem and Albany to make
a connection between their students and students in
Ghana. Their progress may be viewed on the web-

* The students and I will organize the essays and
photographs into three books that will be printed in
Ghana and used as an educational resource.

* Exhibit work in the USA. The work will be for
sale, and the money earned will go towards continu-
ing their education.

At this time I am trying to raise money for photogra-
phy supplies. Please join our Honorary Committee
for a donation of $50 to help support the project. If
you would like to become a project Sponsor for a
donation of $200, you will receive an 8x10 profes-
sional print (ready-to-frame, $100 value) from my
book Born on a Monday, photos from Woe, Ghana
for your generous support. The photograph will be
signed and a caption will acknowledge the sponsor's
gift to the project.
Donations can be made to:

First Reformed Church of Bethlehem
P.O. Box 218
Selkirk, NY 12158
Memo Ghana Project
For more information about this project, please

Carrie Brown
P.O. Box MA 305
Ho, Volta Region, Ghana
West Africa
011 233 243021270

=II Conferences

FOR HEARTH AND ALTAR: African Ceramics
The Art Institute of Chicago
February 4, 2006
10:00-4:30 p.m.
Free with museum admission

In conjunction with the exhibition For Hearth and
Altar: African Ceramics from the Keith Achepohl
Collection, six scholars will present research on
ceramic traditions in Africa, followed by a round
table discussion moderated by the exhibition's cu-
rator, Kathleen Bickford Berzock.
For more information please contact:

Dr. Kathleen Bickford Berzock
Curator of African Art
Department of African and Amerindian Art, The Art
Institute of Chicago
111 South Michigan Avenue
Chicago, IL 60603-6110
Tel.: 312-857-7172
Fax.: 312-443-0849

International Conference on the African Dias-
pora in Asia: Its Past, its Present and its differ-
ences and similarities with the Transatlantic
January 6 16, 2006
The International Centre in Panaji, Goa, India

Jean-Pierre Angenot (Goa UNIVERSITY) & Shihan
de Silva Jayasuriya (University of London) Coordi-
nators of TADIA (The African Diaspora in ASIA), a
project associated with UNESCO TADIA (, an Inter-
national Academic Programme Associated to the
UNESCO Slave Route Project


Jean-Pierre Angenot: jpangenot(

Conference Schedule:
11th 13th of January 2006
- Morning/Afternoon sessions: Papers presented
- Evening sessions: Audio/Video and Documentary
movie showings
* Amy Catlin-Jairazbhoy: From Africa to India:
Sidi Music in the Indian Ocean Diaspora (74 min-
* Benigna Zimba: Slave routes and oral tradition
in Southeastern Africa: History in images (60 min-
* Adams Bodomo: CD-rom Ghana songs
* Beheroze F. Shroff: We're Indian and African:
Voices of the Sidis (49 minutes)
* Sheila Walker: "Scattered Africa: Faces and
Voices of the African Diaspora" (55 minutes)
* Farida AI-Mumbrik Challo Ratanpur Ursma,
Sidi Goma Bhavnagar, Gujarat (3 VCD)
* Desmond Nazareth & Christopher Rego: Souls
ans Spices (75 minutes)

from 14th of January 2006 (in the evening):

Visit to historical Siddi sites from 14th to 24th of
January 2006

" ICalls for Papers Et Essays

History and Culture

Eastern Illinois University will be hosting an interna-
tional conference on the theme "Images of African
Peoples: Photography, History and Culture in Af-
rica and the African Diaspora," from March 31 to
April 2, 2006 in Charleston, Illinois. The topics to be
explored at the conference include, but are not lim-
ited to the following:

Photography and African and African Diaspora
identity; Photography as a tool for cultural expres-
sion and awareness; Photographs as sources for
historical reconstruction; Gender and photography;
Photography, anthropologists and the black female
body; Photography, race, ethnicity and representa-
tion; Social and political uses of photographs anti-
colonial struggles and the civil rights movements;
Photographs as visual and cultural memories; Afri-

can and African Diaspora images in films; Photog-
raphy, black femininity and masculinity; Children
as photographic subjects; Photography, environ-
mental and ecological history.

Prospective conference participants are advised
to submit a 250-word paper abstract with the fol-
lowing information: author's name, address, insti-
tutional affiliation, telephone, and e-mail address.
The closing date for submitting paper proposals is
November 30, 2005.

Conference Website:

Send abstracts to:

For further information contact:

Dr. Onaiwu W. Ogbomo
African American Studies
Eastern Illinois University
Charleston, IL 61920
Phone: (217) 581-6433
Fax: (217) 581-6598.

Art History and Visual Culture

Critical Interventions: Journal of African Art His-
tory and Visual Culture is a new peer-reviewed
publication for studies in the history of classical,
modern, and contemporary African arts, slated to
begin publication in Spring 2006. We invite sub-
missions for the inaugural issue titled, "Is African
Art History?" Essays addressing the problem of
history in continental African art practice are wel-
come, especially those that engage directly with
ideas of modernity and that propose or critique a
clearly articulated methodology.

Critical Interventions will publish scholarly Art His-
torical essays about objects and critical dis-
courses in African arts and visual cultures. Com-
parative work rooted in developments in Africa
that links African art to the Diasporas, to Europe,
Asia, or to the Americas will be considered. We
are seeking essays that illuminate the place of art
in specific historical processes and evaluate the
theories and methods produced through the study
of African art history.

Critical Interventions will provide a forum for es-
tablished and younger scholars whose writing is
based on extensive research into the problems of

modernism and modernityin African art and com-
parable areas of research. Submissions may focus
on any area of modern and contemporary art and
visual or material culture, including popular art,
neotraditional forms, studio art, film, photography,
architecture, and new media. Essays that review
the history, appraise the present situation, or pro-
pose the future course of modern African art stud-
ies will be viewed favorably.

Submissions must be original and previously un-
published work submitted both in hard copy and
also in electronic form saved in Microsoft Word.
Articles should be between 6500-8500 words and
may include black and white and color images
scanned to disk at 300dpi. All copyright resolution
issues are the responsibility of the author and
copyright permissions must be included at the time
of submission. Send articles to:

John Peffer, Editor
Critical Interventions
Cl/o HAVC, Porter Faculty Services
University of California
Santa Cruz, CA 95064

Inquiries may be sent to:
i peffer(, and

Museum of Modern Art Second Annual Graduate
Symposium in Modern and Contemporary Art

The Museum of Modern Art seeks submissions for
the Second Annual Graduate Symposium in Mod-
ern and Contemporary Art, World Art-Art World:
Changing Perspectives on Modern and Contempo-
rary Art.

In the past few decades, the art world has seen
unprecedented growth and globalization. These
developments are apparent in a number of areas:
new and larger museums and cultural institutions; a
thriving market of galleries, art fairs, and biennials
around the world; new press outlets for the dis-
semination of art criticism, marketing and education
through traditional and new media; increased atten-
tion, research, and art that addresses non-Western
subjects; and the professionalism of artists, mu-
seum administrators and curators through emerg-
ing graduate programs. How do critics and scholars
comprehend the significance of both local and in-
ternational artistic activity? What traditional and
new tools for analysis do they use? Western art
history's traditional methods, assumptions, and
parameters of research have been under debate
for at least the last four decades. This symposium
seeks papers that draw on a variety of disciplines
and approaches to address histories of world art

and emerging trends in the contemporary art world,
while focusing on specific works or projects.

International graduate students are encouraged to
submit papers that examine, for example:

How existing and new narratives can effectively
address the complexity of global artistic practices
today as well as revitalize thought about historical
art; Different criteria and methodological traditions;
Current themes in art: collaboration, commodity
culture, empire, globalism, memory and monu-
ments, site-specificity, surveillance, terrorism, and
trauma, among other subjects; New understand-
ings of modern and contemporary art derived from
research that analyzes art criticism, historiography,
identity, institutions, and markets; The impact of
gender, colonialism, social issues, and politics on
artistic production and scholarship.

Eligibility is limited to graduate students who hold
at least an MA in art history or other related disci-
plines. PhD candidates who have completed their
MA requirements, PhD's, and recent post doctor-
ates (within the last two years) are also encour-
aged to apply. A keynote address will be presented
on Friday evening, April 7, 2006 by a leading

Please include the following in your application:
* Curriculum vitae of no more than two pages
* An abstract (maximum length 500 words)
* Final paper (maximum length 10 pages), writ-
ten in English (The abstract and the paper should
be written in eleven-point font, double-spaced, with
margins no smaller than one inch.)
The name of a faculty advisor who will review the
final paper and provide support in preparing the

Submissions should be postmarked by January 13,
2006, and sent to:

Graduate Symposium Committee
Department of Education
The Museum of Modern Art
11 West 53 Street
New York, NY 10019

Telephone: (212) 708-9727
Fax: (212) 333-1118

Research Queries

Women Collectors, Patrons and Dealers of
African art

I am seeking information on prominent women art
collectors, patrons and art dealers of African art
(classical and contemporary) both within and out-
side the African continent.

This information is for a Grove Dictionary of Art
essay on women's patrons, collectors, and art deal-
ers of the 19th and 20th century (for the modern
period however one defines it). I am interested in
both African and African Diaspora names of
women collectors of note for this period if there are

Dr. Sylvester Okwunodu Ogbechie
History of Art and Architecture
University of California
Santa Barbara, CA 93106-7080
Phone: 805-407-6554
Fax: 805-240-9591

Brass-covered Reliquary Figure Images Needed

We are looking for images of brass-covered reli-
quary figures from Gabon and Congo for a special
project identifying the style and distribution of these

This is a project conducted for the Yale University
Art Gallery by Guy van Rijn and Frederic Cloth in
Brussels, for a digital image archive analyzing sty-
listic components in relation to documented sites of
appearance and collection. Photos of objects in
collections, as well as field photos of the objects,
would be very welcome.

Please send digital images with front and back
views and all available data to:

For non-digital images, please send to:
Guy van Rijn
Van Rijn Documentation Centre
Avenue de Broqueville 225
Woluwe-St. Lambert
Brussels 1200, Belgium

The Yale Art Gallery-van Rijn Archive of African Art
is a collaborative project based in Brussels. The
archive consists of a photo and a provenance data-
base. Well over 100,000 photos have been

scanned and stored with associated provenance
data. Currently, a copy resides at the Yale Univer-
sity Art Gallery, with plans for a future on-line ver-

Needed: Examples of Brass Trays from
Calabar, Nigeria with 'Mermaid' Figures

Jill Salmons and I have been researching a small
corpus of late nineteenth-/early twentieth-century
decorated brass trays from Old Calabar, Nigeria
featuring the figure of a mermaid. To date we have
found five examples in museum collections:
(1) Glasgow Museums 1894.58.d; (2) Royal Scot-
tish Museum A.1911.194; (3) Dundee Museums
and Galleries DUNMG 1991-58; (4) Pitt Rivers Mu-
seum, University of Oxford PRM 1942.13.1089; (5)
Cincinnati Art Museum 1890.1717

Available online at:

To this may be added a later example featuring an
image of Mami Wata and the crest of Christ's Col-
lege, Cambridge; this was illustrated in a line draw-
ing by Barbara Paxson in her 'Mammy Water: New
World Origins?' (Baessler-Archiv, n.s. Vol. XXXI
(1983), pp. 407-46) and is now in a private collec-

We have carried out an extensive literature search
(bibliography available on request) and contacted a
number of other museums. If any one knows of any
other examples, we should be delighted to be able
to add them to our corpus, which we hope to pub-
lish in the forthcoming volume on Mami Wata being
edited by Henry Drewal for publication in 2007.

Jeremy Coote, Joint Head of Collections (Africa
and Oceania),
Pitt Rivers Museum
University of Oxford
South Parks Road
Oxford OX1 3PP
e-mail: ieremy.coote(
phone: (44) (0)1865 274720
fax: (44) (0)1865 270943.


As the founder of the West African Museums Programme (1982-87) and Chief Cura-
tor of the National Museum of African Art (1987-97), Philip L. Ravenhill was a major
creative force in the study, collection, preservation, and exhibition of African art. The
Philip L. Ravenhill Fellowship is awarded to an African art historian, cultural anthro-
pologist, museum curator, or visual artist. The Fellowship is intended to give deserv-
ing individuals the opportunity to travel, conduct research, or practice their art in North
American or European museums or educational institutions. Preference is given to
young or mid-career scholars or artists who have not recently had the opportunity to
travel internationally. Applicants must secure the agreement of a potential host insti-
tution in advance of their application to be considered for the Ravenhill Fellowship.
Such affiliation could also provide the recipient with matching funds.

Support may be requested for periods of one to three months, and applications will be
funded up to US $7,500. Successful applicants will have demonstrated accomplish-
ment in research related to or practice of contemporary or traditional African arts. Fel-
lowship recipients will be expected to deliver one lecture or give one critique and to
make themselves available to staff, faculty and students at the host institution.

All applicants must be citizens of an African country, although not necessarily current
resident s of Africa.
The following materials must be included in support of the application:

1. Resume or curriculum vitae.

2. An official letter written by the department head or administrator of the proposed
host institution (museum, art school, college, or university) confirming approval of
the applicant's proposed residency at that institution.

3. A description of no more than one thousand words clearly explaining the project
to be undertaken
and the expected outcomes (e.g. monograph, chapter, article, exhibition).

4. Three letters of reference from professional employers, mentors, or colleagues.

5. Projected dates of travel and length of residency.

6. The name, phone number, and email address of a contact person at the proposed
host institution.

7. A detailed budget including travel expenses, living expenses, and supplies.

8. For visual artists, ten to twenty 35mm slides of recent work, digital prints, or CD.
(jpgs sent via email are not acceptable).

All applications are due by mail by March 31, 2006.
Email applications are not acceptable.

Applications should be sent to:

Maria C. Berns
UCLA Fowler Museum of Cultural History
Box 951549
Los Angeles, California, 90095-1549.



IMAGING & IDENTITY: African Art from the
Lowe Art Museum and South Florida Collections
Lowe Museum of Art, University of Miami
December 3, 2005 January 22, 2006

Selections of the best works from the Lowe and
other area collections demonstrate key characteris-
tics of African art. "Imaging" suggests both the crea-
tion of an image that provides a visual focal point for
the spirit, power, or idea involved and, as a verb, the
dynamic qualities of process, performance, and
acoustics that are an integral part of the image. At-
tempts to "Identify" works take into consideration the
fluidity of style, authorship, and usage that charac-
terize artistic production in Africa. Organized by the

POWER DRESSING: Men's Fashion and Prestige in
The Newark Museum
October 19, 2005 January 22, 2006
Curator: Christa Clarke

Power Dressing: Men's Fashion and Prestige in Af-
rica brings together fifty examples of spectacular
male attire spanning the continent from Morocco to
South Africa and representing over a century of
fashion. Rather than presenting a geographic or
chronological survey, the exhibition explores the
artistry of men's dress as it relates to and embodies
social, political, and spiritual power. The exhibition
highlights four broad and intersecting themes that
provide rich insights into the meanings of men's
fashions within Africa's diverse and ever-changing
cultural and political landscape. The works, which
vary tremendously in style, form, material and tech-
nique, are drawn primarily from The Newark Mu-
seum's own important holdings as well as significant
examples from private and public collections.

The run of the exhibition in Newark is accompanied
by an exciting range of programs including a lecture
series on the influence of African attire on Western
fashion, a symposium on African dress, an Afropop
dance party, a spoken word poetry slam, and a spe-
cial Family Day featuring African dance perform-
ances and a hands-on workshop.
A 40-page catalogue with full-color images and an
essay by Christa Clarke is published in conjunction
with the exhibition. Following its presentation in
Newark, the exhibition travels to the Parish Art Mu-
seum in Southampton, NY and is available for pres-
entation at two other venues. For more information
on the traveling exhibition, please contact

Zette Emmons, Manager of Traveling Exhibitions at
(973)596-6689 or zemmons(@newarkmuseum.orq.

Power Dressing is made possible by The Coby
Foundation, Ltd., the Prudential Foundation, the
LINKS of Essex County, and the New Jersey
Council for the Humanities. Additional information
about the exhibition and the Museum may be found
on its website:

Human Beauty in Africa and the Americas
Israel Museum, Jerusalem
Curators: Yvonne Fleitman & Dorit Shafir

In honor of the museum's 40th anniversary, each
department put on an exhibition dealing with the
subject, "Beauty and Sanctity." In the department of
Africa Oceania and the Americas, Yvonne Fleitman
(Curator of the Americas) and Dorit Shafir, (Curator
of Africa and Oceania) prepared an exhibition deal-
ing with body modification in the cultures of the Af-
rican and American continents. The purpose of the
exhibition is not to show influences, but to show the
parallels and similarities. In general, it shows how
the need to modify the body, and make it beautiful,
according to the tastes and beliefs of one's culture
or religion is a common denominator among people
all over the world. All 200 works in the exhibition
are from the museum's own holdings. The African
works, some never before exhibited, number
around 100.

For further information contact:

Dorit Shafir, Curator
Arts of Africa and Oceania
Israel Museum, Jerusalem

Museum of Ethnology, Berlin
Opened August 27, 2005
Curator: Dr. Peter Junge

The Ethnological Museum presents its new perma-
nent exhibition of ART FROM AFRICA starting
from 27 August 2005. These masterpieces were
displayed in in 2003/2004 at the ART FROM AF-
RICA exhibition in Brazil. That exhibition attracted
more than a million visitors, and won two awards.

The concept, arrangement and presentation of this
exhibition emphasizes the significance of art as a
central component of the different cultures of Af-
rica. It is arranged in four large groups,
starting with an introduction to aspects of the Afri-
can history of art, followed by figures, performance
and design.

The new permanent exhibition makes clear that art
from Africa has its own art/historical development,
which the Western world failed to understand or
recognize for a long time. African art was instead
regarded as primitive a stigma based on the ideol-
ogy of the colonial age.
Beyond that, the exhibition points out that art from
Africa, in addition to its religious significance, had a
multiplicity of functions in African societies.

Exhibition website:

Press releases (only in German):

For further information, including images of the in-
stallation or objects in the exhibition, contact
Mariana Bulaty, or the curator Dr. Peter Junge at
the address below:

Projektbezogene Kommunikation
Ethnologisches Museum
Tel +49(0)30-8301-233, -231
Fax +49(0)30-8301-506

FOR HEARTH AND ALTAR: African Ceramics from
the Keith Achepohl Collection
The Art Institute of Chicago
December 3, 2005- February 20, 2006
Curator Kathleen Bickford Berzock

This exhibition and its accompanying 200 pg. exhi-
bition catalogue distributed by Yale University
Press will showcase a virtuoso group of African
ceramics from the Keith Achepohl collection, many
of which will become gifts to the museum. Across
the continent of Africa unique and often surprising
ceramic vessels have been created for domestic
and ritual uses. Potters still practice centuries-old
techniques, making wares by hand and firing them
in the open to produce vessels of amazing durabil-
ity. The most striking examples embody an immedi-
acy of form and a deceptive simplicity that can only
be achieved through a deeply ingrained under-
standing of material, process, and embellishment.
Dr. Kathleen Bickford Berzock,
Curator of African Art
The Art Institute of Chicago
111 South Michigan Avenue
Chicago, IL 60603-6110
Tel.: 312-857-7172 Fax.: 312-443-0849

The artist (far left)
Crumbling Wall
(August 2005)
as part of the
exhibition, which has
been extended through
December 4, 2005
at the
University of Florida's
Harn Museum of Art.

Current Publications

Book Reviews

ART OF THE SENSES: African Masterpieces from
the Teel Collection
With essays by Suzanne Preston Blier, Christraud
M. Geary, Edmund Barry Gaither.
Suzanne Blier (Editor)
Catalogue by William E. Teel with Suzanne Pre-
ston Blier. Boston: MFA Publications, 2004.
207 pp. Illustrations, maps, bibliography. $50.00
(cloth), ISBN 0-87846-659-2.

Reviewed by Barbara Plankensteiner, Museum fOr
V6lkerkunde, Vienna, Austria, for H-AfrArts Net.

Available online at:

VOUDOU: Visions and Voices of Haiti
By Phyllis Galembo
Introduction by Gerd&s Fleurant.
Berkeley: Ten Speed Press, 2005.
144 pages. Full Color. Paper, $24.95.
ISBN 1-58008-676-4.

Reviewed by Grete Viddal, Department of African
and African American Studies, Harvard University.
(September 2005) for H-AfrArts Net.

Available online at:

New Books

Collected Papers
Vol. 1 Modes of Inquiry and Interpretation J.H. Kwa-
bena Nketia
Published by Afram, Ghana
North American Distribution
415 pp., 6 x 9 ", September 2005
paper, 9-964704-00-3, $39.95

This is the first volume in a planned series compiling
the papers of the renowned scholar of music, Kwa-
bena Nketia. The papers were mostly contributions
to books and journals published overseas, and to
international meetings and conferences; and have
been made available in Ghana in a collected edition.

E. V. Asihene
Illustrated with photographs
Published by Woeli Publishing Services, Ghana
North American Distribution
152 pp., 6.00" x 9.00", September 2005
Paper, 9-96497-842-1, $19.95

A concise work, this book traces the evolution of art
from prehistoric modes to what is understood to be
modern art, exploring specifically the contribution
West Africa has made to the world's art heritage.
The book contains many images and illustrative
examples of art from West Africa. The author is
noted for his life-long achievements as a painter,
sculptor and a scholar and is recognized interna-
tionally for his contribution to art and art education
in Ghana, and for communicating knowledge of
West African art and art history.

Edited by Steven J. Salm & Toyin Falola
15 b/w illustrations; 440 pages; Size: 9 x 6 in
ISBN: 1580461638
Binding: Hardback; Imprint: University of Rochester
First published: 2005; Price: 75.00 USD
Series: Rochester Studies in African History

African Urban Spaces in Historical Perspective pre-
sents new and interdisciplinary approaches to the
study of African urban history and culture. It pre-
sents original research and integrates historical
methodologies with those of anthropology, geogra-
phy, literature, art, and architecture. Moving be-
tween precolonial, colonial, and contemporary ur-
ban spaces, it covers the major regions, religions,
and cultural influences of sub-Saharan Africa. The
themes include Islam and Christianity, architecture,
migration, globalization, social and physical decay,
identity, race relations, politics, and development.
This book elaborates on not only what makes the
study of African urban spaces unique within urban
historiography, it also offers an-encompassing and
up-to-date study of the subject and inserts Africa
into the growing debate on urban history and cul-
ture throughout the world. The opportunities pro-
vided by the urban milieu are endless and each
study opens new potential avenues of research.
This book explores some of those avenues and
lays the groundwork on which new studies can

New Publications from the MSU Press African
Books Collective

The following are two new African Books Collec-
tive distributed books now available from Michigan
State University Press. For more information,
please visit:

PIECES OF TIME: An Anthology of Art on
Zimbabwe's Stone Sculpture
By Celia Winter Irving

Art historian and cultural commentator, Celia Win-
ter-Irving is presently the curator of the National
Gallery in Zimbabwe. She works and writes exten-
sively on art and sculpture, and is the author of no
less than eight books on the subject. Winter-Irving
was previously the director of the Irving Sculpture
Gallery in Sidney, and she lectures regularly on
Zimbabwean stone sculpture in Europe, Austral-
asia and North America. In Zimbabwe, she has
had a long association with the Chapungu Sculp-
ture Park. She is a regular newspaper columnist
on art and sculpture in Zimbabwe, and in relation
to other cultures.

Published by Mambo Press, Zimbabwe
North American Distribution
217 pp., 11.00" x 8.00", 2005
Paper, 086922-781-5, $32.95

By Kurt Huweiler

Newly available for the first time outside Africa,
this large-format and substantially illustrated book
comprehensively describes and depicts traditional
African instruments, grouping them as string in-
struments, drums, horns, flutes and whistles,
mbira, marimba and bells. It provides a historical
overview of the development of these instruments,
and their use in worship. Individual chapters cover
the sounds and technical basis of the instruments.
Finally the author considers instrument design and
the patterns with which they may be decorated.

156 pp., 7.00" x 10.00", 1995
Paper, 0-86922-614-2, $29.95

Media & Internet Resources

RE-TAKES: Postcoloniality and Foreign
Film Languages
By John Mowitt
University of Minnesota Press
256 pages 1 2005 ISBN 0-8166-2890-4 |
hardcover I $68.95 ISBN 0-8166-2891-2 I
paperback | $22.95

In Re-takes, John Mowitt investigates the relation-
ship between postcoloniality, national identity, ide-
ology and filmmaking. Through close readings of
the bilingual films of Senegalese filmmaker Sem-
bene Ousmane and Bolivian filmmaker Jorge Sanji-
n6s, Mowitt articulates the poetics and politics of
postcoloniality in the global cinematic field and
challenges film studies to reflect on the relationship
between its national and foreign organizing analyti-
cal distinctions, both textual and institutional, and
its position within globalization.

"Re-takes offers fascinating and provocative close
analysis. It will revitalize discussions of 'Third Cin-
ema.' -Sharon Willis

For more information, visit the book's webpage:

Stacy Zellmann

New DVD on Iron Smelting in Africa

I am pleased to announce the release of a new
DVD titled "From Iron Ore to Iron Hoe: Smelting
Iron in Africa." The video was filmed in the spring
of 2005 in the town of Dablo, Burkina Faso, and
documents every step in the smelting of iron in a
traditional furnace, from cutting wood and making
charcoal, digging clay from termite mounds, mining
the iron ore and cleaning it, sacrifices of chickens
and millet beer... to building the furnace, smelting
the iron, removing the thirty-pound iron bloom, and
forging the iron into new hoe blades. The video
was filmed with voice over in French by my col-
league Jacob Bamogo, a member of the Smith
family which undertook the smelting. I have added
narration in English. This video was made in con-
junction with my colleagues and students in the
Department of Archaeology and History at the Uni-
versity of Ouagadougou.

From Iron Ore to Iron Hoe: Smelting Iron in Africa
is $24.95 and available online from 2 websites: and
(#207662). Both sites provide lengthy trailers for you
to review. This is the twelfth title in my series on art,
life and technology in Burkina Faso and Ghana. The
-full DVD runs for 100 minutes, but the shorter version
on the same disk is class-length, 55 minutes, and
you can, of course, navigate by chapters.

I believe this is the only DVD format available on iron
smelting. The Blooms of Banjeli by Candice Goucher
and Eugenia Herbert is available as a VHS videotape
from Germany, and The Tree of Iron about the Haya
in Tanzania by Peter O'Neil, is also on videotape.
Digital provides vastly clearer images and sound
quality than videotape. Additionally, DVDs are less
expensive and more durable than tape.

Christopher D. Roy
Professor of the History of Art
Elizabeth M. Stanley Faculty Fellow of African Art
History, The University of Iowa
E100 Art Building
Iowa City, IA 52242

Born on a Monday, A Photo Documentary of

Carrie Brown documents the people, culture and
daily activities of the village of Woe in Ghana in this
striking collection of color photographs. Brown was a
volunteer with Cross-Cultural Solutions in Ghana
from September to March 2003. With accompanying
essays by Brown and Cross-Cultural Solutions' Gha-
naian staff.
From Carrie: I spent 6 months photographing daily
life there and worked with two Ghanaian to write es-
say on religion, education and food production in
Woe. Images form the book can be seen on my web-
Profits from the book go to help build 4 kindergarten
classroom in Woe, Ghana.
To order contact Longitude Books: htt:.//

H-AfrTeach is the online discussion list concerning
teaching about Africa.

H-AfrTeach is open to educators, students, and oth-
ers with an interest in teaching about Africa at all
educational levels. Basic questions concerning
teaching issues and resources are encouraged, as
is the dissemination and discussion of syllabi and
course materials, bibliographies, listings of new
teaching resources, library resource information,
and reviews of books, films, and video, as well as
software, datasets, CD-ROMs, and other electronic
information relevant to the study of Africa. In addi-
tion, H-AfrTeach also publishes announcements of
conferences, scholarships, fellowships, and other
opportunities for teachers in and about Africa.

You may join H-AfrTeach at
or by sending the following in the body of a mes-
sage to
Subscribe H-AFRTEACH
(place your name within the brackets)

Trevor R. Getz
Editor, H-AfrTeach


Fulbright-Hays Fellowship to South Africa

Elizabeth Perrill of Indiana University was awarded
a Fulbright-Hays Fellowship to South Africa from
the U.S. Department of Education International Dis-
sertation Research Fellowship from the Social Sci-
ence Research Council funded through the Andrew
W. Mellon Foundation Midwest Art Historical Soci-
ety Conference 2005 Outstanding Graduate Pres-

MAHS Graduate Student Award goes to an
ANN: H-AfrTeach returns Africanist

The editors of H-AfrTeach are pleased to announce
the revival of this important network, and would like
to invite you to join if you are not already a member.

The H-AfrTeach list will once more play an important
role as a discussion site on African teaching and out-
reach, and will also in the near future serve as a re-
pository and searchable database of content for
teachers of, in, and from Africa: maps, pictures, study
guides, syllabi, lesson plans, book reviews, etc.
There will also be a renewed emphasis on outreach
and on connecting schools and instructors in Africa
with partners, educators, and students internationally.

The Midwest Art History Society is pleased to an-
nounce that Elizabeth A. Perrill has been awarded
its 2005 Graduate Student Presentation Award for
her paper entitled "Ubuntu and Ubumba: Philoso-
phical Change in the Use of Zulu Ceramic Ves-

Ms. Perrill is a Ph.D. candidate in African art history
at Indiana University. The award is granted to the
best paper presented by a graduate student at the
MAHS annual conference. For more information
see :

Employment Opportunities

Head of the African and Oceanic Department,

Sotheby's, Inc., the world's oldest international
auction house, deals mainly with fine arts, an-
tiques and collectibles. Sotheby's operates in 34
countries, with principal salesrooms located in
New York and London. Sotheby's is seeking a
qualified candidate to become part of our team as
Head of the African and Oceanic Department at
our North America head office located on the up-
per east side of Manhattan.

The Head of the African and Oceanic Department
will manage the day to day operations of the de-
partment in New York, including people manage-
ment, budget control and setting the sales strat-
egy for the department in conjunction with the
Worldwide Head of African and Oceanic.

The ideal candidate will be responsible for new
business generation and for the solicitation, au-
thentication, evaluation and sale of property to
meet sales and profit targets. This includes identi-
fying the marketing and business getting strate-
gies for the African and Oceanic Department and
having overall responsibility for the New York
sales as well direct involvement in catalogue pro-
duction and the exhibition process for auction. The
Head of the African and Oceanic department will
provide researching and cataloguing objects of the
highest standard; provide a comprehensive level
of service to Sotheby's clients; assist in the prepa-
ration of appraisals and proposals

Please email resume w/brief cover letter including
salary history to: or fax to 212-606-7028.
Only qualified candidates will be contacted.
Sotheby's is an equal-opportunity employer.


Helen Denniston

Born January 11 1952 in Battersea, her father
Oswald "Columbus" Denniston, was a Brixton
street trader. This was the background which
helped to shape her life and her career. She moved


to London in the late 1970s to take up a job as
community worker at one of Britain's first inner-city
partnership capital projects, at St Matthew's
church, Brixton. This was the position which
launched a career of organisation and support for
black artists in Britain and beyond. Between 1980
and 1985, Denniston was vice chair of the London
Arts Combined Arts committee, and was elected to
the Greater London Council black and ethnic arts
sub committee. She then specialized in promoting
African culture to British audiences, and supporting
the visits of African artists to Britain.

In 1989, Denniston played a key role in the Colour
Of Europe festival at the South Bank Centre. That
led to her co-directorship of Africa '95, the six-
month season of African arts which took place
across Britain. And that festival in turn inspired Afri-
can Odyssey, at the John F Kennedy Centre in
Washington DC, for which she was, from 1996 to
2000, a consultant.

In 2001 Denniston founded Helen Denniston Asso-
ciates. HDA was a consultancy devoted to social
inclusion through the arts. She organised the 2002
Jubilee Commonwealth Parade with the designer
Keith Khan, ran workshops for the Foreign Office -
bringing in music from Ghana and the Gambia -
and, as a consultant, the organizations she worked
with included the London Museum, the Natural His-
tory Museum and the Bernie Grant Centre for the
arts in north London. She died of cancer June 10
2005 and is survived by her partner Mark Brang-
wyn and their son Tomas.

Excerpted from the Mike Phillips article in The
Guardian, Monday June 27, 2005 (htt:.//

Helen Denniston became a member of H-AfrArts in
1998. Feb. 19-20, 2000 she arranged for Ray
Silverman and I to participate in the African Odys-
sey Advisory Board Meetings and National Summit
Final Report Celebrations. There were about 40
key people in attendance at the AO meetings. Eve-
ryone agreed on the importance of establishing a
Clearinghouse to ensure the exchange of informa-
tion, resources, and ongoing communications flow
with Africa. The principal outcome was a hand-
book. A pdf file of this handbook is available online

- Michel W. Conner

0*4110 % "__
0 0 0

fJ 2005 Membership Directory Addendum
Members who have joined between June 1st & Sept. 30, 2005

The Arts Council of the African Studies Association

Abiodun, Rowland
Department of Fine Arts
Amherst College
Amherst, MA 01002 USA
Work: 413-542-5801

Davis, Allen C.
Volunteer Docent
National Museum of African Art, Smithsonian
4320 Dolphin Lane
Alexandria, VA 22309-3106 USA
Home: 703-360-9572
Work: 703-799-3068
Fax: 703-799-3068

Ehrlich, Martha J.
Department of Art and Design
S. Illinois University at Edwardsville
Box 1764
Edwardsville, IL 62026-1764 USA
Home: 618-692-6262
Work: 618-650-3183

Fenton, Jordan
Art History
Kent State University
104 Garfield Avenue
Cuyahoga Falls, OH 44221 USA
Home: 330-310-2418
Work: 330-672-1377

Florusbosch, J. Henrike
Department of Anthropology
University of Michigan
1927 Dexter Avenue
Ann Arbor, MI 48103 USA
Home: 734-834-6852

Gilbert, Michelle
Art History
Sarah Lawrence College
1 Mead Way
Bronxville, NY 10708 USA
Home: 203-453-3412
Work: 914-395-2627

Jones, Ben
117 Kensington Avenue (Apt. 206)
Jersey City, NJ 07304 USA
Work: 201-435-6792
Fax: 201-200-3214;

Lamp, Frederick
Curator of African Art
Yale University Art Gallery
201 York Street, P.O. Box 208271
New Haven, CT 06520-8271 USA
Home: 203-624-8322
Work: 203-432-9711
Fax: 203-432-7159

McGee, Julie
Department of Art
Bowdoin College
9300 College Station
Brunswick, ME 04011 USA
Home: 207-725-0680
Work: 207-725-3906
Fax: 207-725-3996

Probst, Peter
Art and Art History
Tufts University
11 Talbot Ave.
Medford, MA 02155 USA
Home: 617-595-1003
Work: 617-627-2939
Fax: 617-627-3890

Reed, Margaret E.
Art & Art History
University of Iowa
2401 Hwy 6E #3205
Iowa City, IA 52240 USA
Home: 319-351-0108

Schulze, Gary
315 West 100 Street, Apt. 1A
New York, NY 10025 USA
Home: 212-666-6493
Work: 212-878-7114


Snoddy, Danielle Marie
School of Art and Art History
University of Iowa
E100 AB
Iowa City, IA 52242 USA
Home: 608-355-0021

Sthreshley, Katherine M.
Department of African Art
Yale University Art Gallery
P.O. Box 208271
New Haven, CT 06520-8271 USA
Home: 203-246-3636
Work: 203-432-9426
Fax: 203-432-7159

Stokes, Deborah
Art History
University of Illinois at Chicago
415 W. Aldine Avenue
Chicago, IL 60657 USA
Home: 773-665-2787
Work: 312-996-3303

Strother, Zoe
Department of Art History
U.C. Los Angeles
3437 Kelton Ave.
Los Angeles, CA 90034 USA
Home: 310-836-1443
Work: 310-267-2247
Fax: 310-206-1903

African Membership

Anyasodo, Baldwin Chika
Fine and Applied Arts Dpt.
Alvan Ikoku College of Education
P.M.B. 1033
Owerri, IMO
Home: 083-232-622

Mike, Nandala
School of Commercial Art and Design
Nkumba University,
#237, Entebbe
Kampala, 256
Home: 256-75-828746
Work: 256-77-618597; 256-41-322278

BTriennial Fundraising Form


The Arts Council of the African Studies Association

The Fourteenth Triennial Symposium on African Art
Gainesville, Florida 2007

I/ We Pledge

$25 $50 _$100__ $250 Other
for the 14t Triennial Symposium Fund for
Visiting African Scholars and Graduate Students

$25 $50 $100 $250 Other
for the ACASA Endowment Fund for Long-Range Planning and Programs

My/Our Check for a total contribution of $__ made out to ACASA is enclosed.


Please send to ACASA Secretary-Treasurer:

Tavy D. Aherne
2261 Bent Tree Dr.
Bloomington, IN 47401

SI Voluntary Contributions Form

The Arts Council of the African Studies Association


Your contributions to ACASA special funds may be made with annual membership renewal or at
other times throughout the year. Please complete this form and send it with your contribution to
either or both of the following ACASA funds:

Sponsorship to mail ACASA Newsletters to courtesy members in Africa and the
Caribbean (A $10 sponsorship will cover mailings for one year to one courtesy member.)
Sieber Memorial Fund (Dissertation Award at Triennial Symposium)


Check or International Money Order (checks must be in US Dollars and drawn on a U.S. Bank),
payable to ACASA
Credit Card: Visa MasterCard
Acct. number: expiration date: / (mo/yr)

Mail form with payment to:

Tavy D. Aherne
ACASA Secretary /Treasurer
2261 Bent Tree Drive
Bloomington, IN 47401


Membership Renewal Form


Calendar year for which membership is sought: 200_ (*Please Note: Membership runs January 1 December 31)
$20.00 Special Member (student, unemployed, retired)
$50.00 Regular Member Send Payment & completed Membership Form to:
$75.00 Institutional Member Tavy D. Aherne
ACASA members living in Africa & the Caribbean ACASA Secretary/Treasurer
are not required to pay membership dues but MUST send 2261 Bent Tree Drive Bloomington IN 47401
completed membership forms to the Secretary/Treasurer. For Questions, email:

ACASA Endowment
Sieber Memorial Fund (Dissertation award presented at the Triennial Symposium)
Symposium Fund (Travel assistance for African scholars and graduate students)
Sponsorship to mail ACASA Newsletters to courtesy members in Africa and the
Caribbean ($10.00 per sponsorship)

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Specialization: Anthropology Art History Ethnomusicology Other:

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Current Memberships: ASA CAA AAA I

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

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

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

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

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

Rebecca Nagy
Newsletter Editor
Harn Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700

ACASA Back Issues

We have received several letters asking about ordering back issues of ACASA.
Back issues are available for $5.00 and can be obtained by sending a request to:

Tavy Aherne
2261 Bent Tree Drive
Bloomington, Indiana 47401

Editor: ACASA Newsletter
(Attn: R. Nagy)
University of Florida
Harn Museum of Art
P.O. Box 112700
Gainesville, FL 32611-2700