African Art and Culture in Maine Author(S): Simon Ottenberg Source: African Arts, Vol

African Art and Culture in Maine Author(s): Simon Ottenberg Source: African Arts, Vol. 39, No. 1 (Spring, 2006), pp. 1, 4, 8, 10, 86-89, 96 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/20447744 . Accessed: 20/09/2013 10:36

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

UCLA James S. Coleman African Studies Center and Regents of the University of California are collaborating with JSTOR to digitize, preserve and extend access to African Arts.

http://www.jstor.org

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions firstword U

African Art and Culture inMaine

I n recentyears I have resided inMaine dur ing thesummer. Maine is one of the least ethnically diverse states in theUnited States.Yet, Ihave founda varietyof African activitiesand individualsthere. There may be others that I have not discovered, as I generallymove about thestate's southernre gion.Maine isbetter known forits New Eng landmaritime art,its lobstersand fishing,and itsresorts and summercamps thanfor any in terestin Africa. The Africanartistic and cultur al diaspora-in contemporaryarts and crafts, inmore or less "traditional" forms,in tourist objects, and in thepresence ofAfricans and scholarsof African art-now exist inMaine. If thesehave reachedMaine, where are theynot foundnow in theUnited States?The American experiencewith African art and cultureis grow ingat theeveryday grassroots level, alongside themore elite contributionsof museums and universities,with which scholarsare likelyto be familiar. In 2004 1 arrived in Portland, Maine the day beforethe annual celebrationof theMuseum of AfricanCulture (formerlythe Museum ofAfri can TribalArt), which I attended.This small museum, locatedin threerooms on theground floorof a residentialhome, has been inopera tionfor more thanseven years. Itwas found ed, and is owned and directed by Oscar 0. Mokeme, an Igbo fromOba, nearOnitsha, in southeasternNigeria. Mokeme began collecting and interpretingAfrican art inNigeria in1976. He came to theUnited States in1979, and since then has had a varied career, attending universi tyand operatingimport and exportbusinesses. In 1998he put thataside to foundhis museum. The onlyAfrican-owned museum in the United States, as far as I know, theMuseum of AfricanCulture is a nonprofitinstitution. Its collectionconsists of more than1,500 objects, and Mokeme has many others stored in his Nigerian hometown.The museum's main at tractionsconsist of masks, stools,and otherob jectsof Igbobackground which have been used inceremonies inNigeria and, unusually fora museum, a considerablenumber of full-dress costumes to go with the masks. These are on display in thepermanent gallery.A second, somewhat smallergallery isused forrotating exhibitionsof personal collectionsof individu als fromMaine and nearbyNew Hampshire, as well as some other Igbo objects and works fromother regionsof West Africa.While much of the Igbomaterial comes fromOba and the surroundingarea, which Mokeme returnsto now and then,he has also brought-to Maine objects fromAwka, Nri, and Igbo-Ukwu (Fig. 1). There are also someWest African tourist pieces on display.The Igbomasks and figures Continuedon page 4

airini 2001 atrlcan art:

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions firstword Continuedfrompage 1 vary inquality fromthose very well sculpted arts bymy standards, to theaverage, and to the africanU C LA mediocre. They range fromthose of some age to the relativelynew. As a whole, theyare editors in an actual Maria C. Berns much as we might see artobjects Allen F. Roberts Igbomasquerade, ratherthan what we view Mary Nooter Roberts ina museum exhibition,where only thefinest Doran H. Ross pieces (byWestern standards) are likely to book review editor be presented.The museum collectionthus pro Victoria L. Rovine videsme with thesense of being inAfrica more dialogue editor thando theusual African exhibitions in the Sidney Littlefield Kasffr United States. The museum is developing a exhibition review editor, north america smalleducational center, which indudesa small Christa Clarke Africanart and culturelending library.School exhibition review editor, childrenin thePortland area appear tobe fre overseas quentvisitors to themuseum and are theusers Constantine Petridis of thiseducational room. film/videoeditor On August 8, 2004,at thesixth anniversary Robert Cancel celebrationin thecourtyard in back of themu _photo essay editor seum,Mokeme masked and dressed inone of Christraud M. Geary themuseum's costumes,energetically danced consulting editors fora modest audience of his Rowland Ablodun and drummed Mary Jo Arnoldi white supporters,who assist him in running Judith Bettelheim themuseum and in raisingfunds for it. Some Suzanne Preston Blier Elisabeth L. Cameron of thesehelpers have had African experience Robert Cancel themselves;one of themwas exhibitingher col Christa Clarke at Henry John Drewal lectionof African miniatures in themuseum Christraud M. Geary the timeof thecelebration. The museum sur Michael D. Harris vives throughthe energy of Mokeme and these William Hart Salah M. Hassan helpers,with modest grants fromlocal busi Manuel A. Jordan P6rez nesses and foundationsand thecity of Port Bennetta Jules-Rosette Sidney Littlefield Kasfir land, as well as throughgifts of objects by Sandra Klopper interestedpersons. Admission is free,with a Christine Mullen Kreamer Alisa LaGamma suggesteddonation. Frederick Lamp As far as I know Mokeme is not in the busi Kristyne Loughran ness of sellingAfrican art,but ofbeing amu Joseph Nevadomsky Sylvester Okwunodu Ogbechle seum director.The museum's recentname Constantine Petridis change reflectshis desire to focusmore on edu John Picton Victoria Rovine cation about Africa in general, rather than en Raymond A. Silverman tirelyon thearts, and his is theonly institution Robert Farris Thompson Kenji Yoshida in northernNew England devoted entirely toAfrican culture. Not only are therevisiting school groups at themuseum, butMokeme executive editor talkson African culture and culturaldiversity Leslie Ellen Jones at schools fromkindergarten through grade 12, art director at universitiesand colleges inMaine andNew Gregory A. Cherry Hampshire, and at othersites. In early2005 he operations manager began showingvideos and filmsevery Friday Eva P. Howard at 5:00pm, projected onto a small screenin one AfricanArts (ISSN 0001-9933; ISBN 0-9762618-5-5) is published and quarterlyby theUniversity ofCalifornia, Los Angeles, CA 90095 of themuseum's galleries;both projector 1310,in spring, summer, autumn, and winter. For editorial information screenwere obtained througha small grant. and advertisingrates, write African Arts, The J.S.Coleman African StudiesCenter, University ofCalifornia, Los Angeles, CA 90095-1310. Fifteen to twentypeople generally show up Phone:310-825-1218. Fax: 310-206-2250.Email: afriartsedit@inter are national.ucla.edu.The opinionsof contributors and advertisersare for these screenings.The visuals mainly notnecessarily those of African Arts. fromNigeria, Senegal, andMali. Mokeme also Subscrptioninformation: African Arts is distributed byThe MIT Press, Cambridge,MA 02142. Subscription and address changes should be occasionallyholds story-tellingsessions. The addressedto MIT Press Journals, 238 Main Street, Cambridge, MA museum has recentlyestablished theMuseum 02142-1407.Phone: 617-253-2889. Fax: 617-577-1545.Email: [email protected] rates: Individuals $72.00; ofAfrican Culture Endowment Fund, through Institutions$125.00. Canadians add 7%GST. Outside the U.S. and Canada add $20.00 forpostage and handling.Prices subject to Continuedon page 8 changewithout notice. Single issues:Current issues are $20.00. Back issue rates:Indi viduals$22.00; institutions$44.00. Canadians add 7%GST. Outside theU.S. andCanada add $5.00per issuefor postage and handling. Pricessubject to change without notice. Send addresschanges toAfrican Arts, MIT Press 1. Nmuo Ikanga (spirit-community pride) POSTMASTER: Journals,238 Main Street, Cambridge, MA 02142-1407.Periodicals Oba area, not far fromOnitsha, 1940s postagepaid atBoston, MA and at additionalpost offices. Wood, cloth,shells, 3m (10') Permissionto photocopy articles for internal orpersonal use isgrant Museum ofAfrican Culture, Portland, Maine ed by thecopyright owner for users registeredwith the Copyright ClearanceCenter (CCC), Transactional Reporting Service, provided Containing twomaiden spiritmasks with four thatthe per copy fee of $10 perarticle is paid directly tothe CCC, 222 coiled snakes, these figuresrepresent the four RosewoodDrive, Danvers, MA 02193 (fleecode: ISSN0001-9933). Address allother inquiries to the Subsidiary Rights Manager, MIT Igbomarket days. The masquerade celebrates PressJournals, 238 Main Street, Cambridge MA 02142. Phone: 617 thevalues ofwomen and respectfor them. It ap 253-2864.Fax: 617-259-5028.Email: [email protected]. pears on invitationat festivalsand at funerals, ?) 2006 by theRegents ofthe University of California. Printed in displayingthe pride of thevillage that owns it. HongKong. OSCARMOKEME 4

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions -, Top:2. Angele EtoundiEssamba, Cameroun. La Battante(The Victor) 1996 *-.r _, q Photograph,99cm x 68.6cm (39"x 27) / *| * 'j Many of Essamba's photographs are of faces or figures of African women. This one celebrates the - beautyof an elegantlyliberated African woman, -, L __ ^ gD=sitting* * on a birdcage. The symbolismof freedom to fly is evident. Note the elegant headtie and the use of line and contrast.

Bottom: 3. Naglaa Ezzat, Egypt Bashtake Palace, 2001 Graphite and paper, 76.2cm x 101.6cm (30' x 40") . ; Wv*le ^.? ;_ ;\; FA scene of quiet and contemplation. A young be jeweled woman insimple cloth contrasts with the roughstone structurebeside and behind here. The angle of her body complements that of the stone steps, forming a "V."

Since 1976he has practicedwhat he calls "tra ditionalpluralistic Igbo transculturalpsycho therapyand healing rituals." For healing he employsone Igbo shrinein themuseum fordi agnosis and another fordeveloping cures.He treatsbarrenness as well as otherhealth prob lems for both African-Americans and whites, but does not charge forhis services;rather, he suggestsdonations to themuseum's endow ment.The museum exhibiteda healingshrine at theInternational Conference on African Healing Wisdom inWashington, DC on July6-9, 2005. The rathersimple quality of theMuseum of AfricanCulture, located on a side street,sharply contrastswith thePortland Museum ofArt, two blocksaway, just off of amain citystreet, whose major buildingaddition was designedby Henri Nicolls Cobb of the I.M. Pei architectural group and constructedin 1983. Ithouses a finecollec tionof New England artists,including Wmslow Homer, aswell as theJoan Whitney Payson col lection,amodest collectionof modem European andAmerican art.This museum has initiated enterprisingexhibitions on modem American and European artists, one containing African art: "Affinitiesof Form,"an exhibitionof Afri can, Oceanic, and Native American art drawn

firstword Continuedfrompage4

theMaine Community Foundation, to educate thepublic on issues of diversityand African culture. Mokeme would like to publish a cata logue of selectedpieces inhis collection. Mokeme's dedication to art and perfor mance is so great that not too long ago he be gan paying school fees forsome primaryand _ l secondary studentsat Oba on condition that theywere willing to takepart inmasquerades, which are dying out as a result of social change and evangelism.And througha $15,000grant fromthe Maine Arts Commission he created The Black Artists Forum ofMaine, through which he is attempting to interestblack art ists inMaine andNew Hampshire indrawing l fromAfrican art,as well as providing them 1 _ with a base at themuseum forcommunication and interaction.i Mokeme is also an Igbo healer (dibia)with thepriesthood title,acquired in 1982,of Ugo Orji theFirst, the Ozo Dimani ofAboriji-Oba. NAGLAAEZZAT 8 atlcmenart: *sri.u 2906

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions MIMIWOLFORD MONICUEHOUELLER

fromthe Raymond and LauraWielgus collec tied to theentrepreneurship of an enthusiastic The Instituteof Contemporary Art (ICA), tionat IndianaUniversity, in 1996.The major Africanand a smallgroup of non-Africanfol at theMaine College ofArt (MECA) near the ityof theAfrican objects in itwere "traditional" lowersdetermined to bring African art and cul PortlandMuseum ofArt, has had two con twentieth-centurypieces. The symboliccon tureto Maine, symbolizethe wealth and power temporaryAfrican art exhibitions.One was trastbetween thetwo museums isevident. The of theUnited States incontrast to thestruggles "Beyond Decorum: thePhotography of Ike substantial,well-established Portland Art Mu ofAfrica and itsordinary citizens to survive Ude," by theNigerian artistliving in New York seum and the struggling,small African one and to achieve. Continuedon page 86

Clockwise fromtop left:

4. Sira Sissoko, Mali Danse des Signes Bambara (Dance of the Bambara Signs), 2004 Handmade paper and natural dyes, 43.2cm x 35.6cm (17ix 14') Sissoko learned tomake paper at a Bamako work shop. She employs natural colors derived from henna, mud, onionskin and cinnamon, and here uses Bamana symbols to represent the powers of water, ofmasks and circumcision, among others elements.

5. Monique le Houeller Resides inAbidjan, born inHue, Vietnam Blue Door, c. 2000 Bronze and mixed media, h 58.2cm (23) The work pays homage to the Toureg, with their blue robes. It is not a Toureg door, but symbolizes the openness of their nomadic life.Doors, or their absence, are important inAfrican life. Compli ments ofWilliam Karg, Contemporary African Art Gallery, New York City.

6. Roselyne Marikasi Zimbabwe No Time to Grieve, c. 2000 Oil on canvas, 91.4cm x 91.4cm (36 x 36") Marikasi's paintings employ much blue and small, harsh strokes. Due toAIDS there is barely time to grieve before another funeral. The human images suggest dignity and cooperation in the face of a major health crisis. ROSELYNEMARIKASI

10 afpican arpt sirino 2606

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions first word Continuedfrompage 10

City, held in 2000 under the supervision of theInstitute's then director, Mark H.C. Bessire, and theother, presented in2002, was "Trans lation/Seduction/ Displacement," an exhibi tionof post-conceptual and photographicwork by SouthAfrican artists, curated by Lauri Firs tenbergand JohnPeffer in 2001. During thesummer of 20041 twiceattended an exhibition,"Out ofBounds; Women Artists fromAfrica," at theart gallery of thesmall, pri vateWestbrook College in suburbanPortland, part of theUniversity ofNew England. The gallery,which never had held anAfrican ex hibitionbefore, is quite modem-three floors with a good-sized room on each-designed byThomas Larson, awell-known Boston archi tect."Out ofBounds" exhibitedthe art of twen tywomen artists,and was curated byMimi KEVINWALSH Wolford ofWashington, DC. She foundedand directs theMbari Institutefor Contemporary createdrecently in plastic-coated telephone wire being considered.The exhibitionwas initiat AfricanArtl in thatcity and places occasional byElliott Mkhize, a contemporaryartist in Dur ed and coordinatedby arthistorian Teri Sowell exhibitionsof contemporary African art at vari ban (Fig.5). Perhaps a centuryago, thewoven at San Diego StateUniversity, whose students ous sites in theUnited States.Her mother, the pedestalplate was designed forsecular markets ofAfrican artwere given theopportunity to lateJean Kennedy, was theauthor of an impor farremoved from southeast Africa, demonstrat enroll inher Curatorial Practices seminar,in tantearly surveyof contemporaryAfrican art ing thatimported wire has longbeen an artistic order todevelop a unique exhibition.Nineteen (Kennedy 1992).The Kennedys, andWolford medium inZulu tradinghistory. While exten undergraduateand graduate studentsvolun as a girl, lived in Lagos during the time of the sivecultural interaction seems more visiblehere teeredto manage all aspectsof theexhibition's developmentof theOshogbo artistsand were thanelsewhere in thecontinent, we were re development,research, fundraising, installation among theirpatrons, holding salons forthem minded in thisgallery thatinternational mar and graphicdesign, marketing, education, and inLagos and at timesexhibiting their work at keting isnot new to sub-Saharancultures. communityoutreach, including the publication venues in theUnited States.Wolford inherited The Global Spherebarely suggested the dy of thehandsome illustrated109-page catalogue, her parents' substantialcollection of Nigerian namicpopular culturethat is currently evident with 6 essays, 117 illustrationsin color,collec contemporaryart. inpost-apartheid South Africa. Nevertheless, tion list,and bibliography. While Wolford's exhibitionof African wo creativeenergy resonated throughout the exhi The catalogue is available for$20.00 plus men's art reflectedher experiencewith Nige bition'spresentation of fluid,interlocking, and shippingfrom [email protected], or rianart-four of the twentyartists were from developingspheres of human life.Mentally, the call 760-737-2903. U there-ithad a broad sweep.Most of theartists viewer returnedfull circle through the spheres, lived in theUnited States, or had spent time to thepowerful and disquietingcontemporary here.They varied inage fromyoung to senior, sculptures in the introductorygallery. Here comingfrom widely differentareas of Africa. In Top: 8. Woven wire plate on pedestal againwas thewall textreminder that the sig Zulu people,Natal, South Africa, nineteenth artisticexperience theyranged fromthe well nificanceof anywork of artconstantly varies, century established to those takingpart in theirfirst in relationto each individualwho contemplates Silver wire, copper wire; 10.2cm x 20.3cm x American exhibition.(However, neither Sokari it.In an exhibition art, itwas espe 20.3cm (4' x 8' x 8') Douglas Camp norMagdalene Odundo, two ofAfrican PrynnsbergCollection ciallyrefreshing to encounter emphases on the prominentcontemporary African women art fluxof continual change and on thecentrality of Bottom: 9. Contemporary wire basket with horn ists,both ofwhom have spent periods in the unique personhood. bill and insect designs United States,were included). "Asking forEyes" will be on exhibitionat Elliot Mkhize. Zulu people, Natal, South Africa Wolfordwrites in theexhibition brochure: Colored telephone wire. 17.8cm x 20.3cm x theWilliam D. Cannon ArtGallery fromApril 20.3cm (7T x 8" x 8") "This isnot an exhibitionof thevictimized; it 23-July9, 2006,and additionalvenues are also Purchased in 1996 showcasesa groupof extremelystrong women, illustratingtheir concerns on many topics." Well known in theUnited States isNike Davies Okundaye (formerlyOlaniyi), who was repre sented by clothwork and some interesting earlyembroidery pieces thatI had never seen before.One large,starch-resist cloth, Osun Fes tival,was typicalof much ofher work, depict ingnumerous figuresand events, so thatthe viewer's eye wandered about to take it all in. Ada Udechukwu, who freelyinterprets from Igbo uli style,was representedby works in ink,graphite and a collage.Her art isunusual amongcontemporary African artists for its very personal and introspectivequalities. Angele EtoundiEssamba fromCameroun, who trained in art inParis and theNetherlands, presented black-and-whitephotographs of human fig ures; forexample, La Battante(The Victor), an image of awoman calmly sittingon top of an KEVINWALSH

86 afpIcan arts : spring 2001

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions emptycage, glorying inher freedom(Fig. 2). ugee life inAfrica. She discussed with them Naglaa Ezzat fromEgypt displayed large,de differentperspectives on refugees,but thechil tailedgraphite drawings ofwomen invarious dren's experiencesoften differed from those poses. I particularlyliked her BashtakePalace, expressedin thephotographs, opening up their which depictedan Egyptianwoman sittingin a memories ofAfrica, and sometimes acting contemplatingmood on thesteps of a palace in as a catharsis-art in the service of therapy. old Cairo (Fig.3). The interestingabstract work Aimee Bessire, of theschool's arthistory de of Sira Sissoko fromMali, who trainedat the partment,asked thestudents how theywould National Instituteof Arts inBamako, employs portray their lives inAfrica and inMaine. double sheetsof hand-made papers andmuted Foley gave themblack-and-white throw-away naturalbackground colors derived fromhenna, cameras todocument theirpresent lives,out mud, onionskin, and cinnamon. I foundher ofwhich selected photographswere shown Danse desSigns Bambara to be striking,perhaps in theentry toMECA at the timeof theSal since itreminded me of Igbo ulimotifs, inem gado exhibition. ployingBamana-like symbols in small strokes There are a numberof African performance on background squares of dark,medium, or groups in southernMaine, including The lightbrown (Fig. 4). Her art is sparse, neat, Nile Girls and theAcholi Boys, both fromthe and precise.Monique Le Houeller,who resides Sudan; a Congolese girls dance group;God inAbidjan thoughborn inHue, Vietnam,has freyBanda, an mbira performer fromZim adopted Africa as her home and has traveled babwe; and thedancer BrigitteNdaya from widely inAfrica. Her work, largelyin metal, Cameroun. In early 2005 The Nile, a restau referredto theSahel environment.Blue Door, rant inPortland servingSomali andMiddle a bluish, double-door standingpiece, has di Eastern food,was startedby a Somali. Ref CONTEMPORARY rectreference to theToureg (Fig. 5). The paint ugees fromthat country were settled inPort ArRICANART erRoselyne Marikasi, fromZimbabwe, who land some yearsago, a good numberof whom trained in thatcountry but now lives in the have moved north to Lewiston, where the |iNEART [ROM ALL United States, isone of a number of artists in living is less costly.At Hancock, Maine, on the exhibitionwhose pieces commented on coastalUS Highway 1, severalhours northof A[RiCANREqiONS AIDS. In her No Time toGrieve, men, with Portland,a smallgallery, Arts andAfricana, is women in thebackground, are loweringa cas runby Chriss Covert. She and her husband, 330 West 108th Street ket intothe ground; the titlerefers to thehigh Gray Parrot,have Gambian connections,visit New York, New York 10025 frequencyof deaths fromAIDS inAfrica (Fig. ing thereat times.He learned toplay thekora 6). While there were too many artists tomen froma Gambian master, sings inMandinka, phone (212) 662-8799 fax tion themall, theexhibition as a whole was and occasionallyperforms at Maine events,and www.contempafricanart.com stronglyexpressive ofAfrican lifefrom wo also has a weekly African music program at a men's viewpoints,with an awareness ofAf communityradio stationWERU-FM. Covert, rica's problems, and theneed foradequate who has had her gallerysince 2002, isopen on solutions. Ithas yet toappear elsewhere: It is Fridaysand Saturdays in thesummer. Its con worth showingagain. tentsare not unusual foran African tourist An earlierexhibition, which Imissed, again gallery except forthe large selectionof Afri curatedby Mimi Wolford, "TheColors ofAfri can cloths,which she obtains on visits to the ca-Contemporary Perspectives,"occurred at Gambia, Senegal, andMali, throughAfrican thesame gallerybetween November 16,2001, dealers in theUnited States, or fromprivate and January5, 2002. Consisting of seventy individuals.What isunusual is thatmost of works by thirty-sixartists from eighteen African her cloth sales are toquilters in theeastern countries,it included well-known artistssuch United States at quiltingconventions and ex as IbrahimEl Salahi,Amir Nour, El Loko,Bruce hibitions.Much of thiscloth is thencut into Onobrakpeya,Twins Seven-Seven, Sane Wadu, patches touse inhand-produced quilts, an in A I A Wosene Kosrof,Sofia Kifle, and William Kent triguingdiaspora element-Africa linkedto a ridge,as well asmany younger artists.It was traditionalAmerican craft skill, which itselfde designed to show therich variety of stylesand rived fromEurope. talentsin African contemporary art. Another small touristgallery, Deepest Af Several years ago therewas an exhibition rica Imports,run by JackiePelletier, is on Deer of the art of thewell-known South African art Island, furthernorth along theMaine coast. istWilliam Kentridge at Bowdoin College in This summer resort area is where the Hay Brunswick,Maine, and in 1999 at Colby Col stackMountain School of Crafts Center is lege,Waterville, therewas a travelingexhi located.Here, Wok Marcia Kure, a Nigerian assistant professor and chair of theArt His bitionabout theAfrican American artistDavid contemporaryartist residing in theUnited toryDepartment at theMaine College ofArt Driskell,entitled "Narratives of African-Amer States, took a short course in fiber design in (MECA) inPortland, where shemostly teaches icanArt and Identity:The David C. Driskell thesummer of 2004.Deepest Africa Imports African art related courses. In the 2005-06 Collection." In 2003 therewas an exhibitionof specializes inobjects fromsouthern Africa academic year shewill also teach twocourses the photographs at various sites inMaine enti not somuch clothas beads, dolls, jewelry,and atBates College inLewiston, Maine. Her most tled"Sebastiao Salgado: Migrations-Human other touristitems. The galleryowner lived in recentresearch has been inAfrican photogra ityin Transition," organized by thePortland South Africa for a time and has contacts there phy,performance traditions in thediaspora, Museum ofArt. The Instituteof Contempo to supplyher store. and in thestudy of objects employed forre raryArt at theMaine College ofArt exhibit Inaddition to museums and galleries,Maine ligious communication inSukuma tradition. ed Salgado'sAfrican photographs. Cindy Foley, also boasts academic resourcesin African art. She recentlypublished an interestingarticle in theICA's African education director,working Dr. Aime~eBessire, a graduateof Harvard's Af AfricanArts on Sukuma art performance, in with an after-schoolprogram, Project Safe and ricanart history program under Suzanne Blier, which mostlywood figuresare employed in Smart, consistingmainly ofAfrican refugee who carried out twoyears' researchamong ritualcontests (Bessire 2005). She isplanning a students,showed themSalgado's imagesof ref theSukuma of northwesternTanzania, is an projecton thestudy of power objects in three

sarill 2606 afmiricanarts 87

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions ecializinjin \0'0 Wm. DcleeDeII Moseley finefriAafart s TRIBAL ARTS n_ fromAfrica, A F pbyQ appointment:- _ 615.790.3095 Austratia, ememail:[email protected]

NativeAmerica MAliling address: P.O. Box 1523 anaf7eArctic Franklin,TN 37065 USA Cilleey:6 427 Main Street Now trading Franklin,TN 37064 exclusively on the World Wide Web at www.tribalworks.com Labeled:Blackness in South African Art (2003).The ed which specialized incontemporary Africa filmconcerns thecultural politics and socio art.A smallAfrican Studies Program exists economicconstraints for post-apartheid black at theUniversity ofWashington and thereis Abonnsts:o SouthAfrican artists, indicating that the struc thevery fineKatherine White Collection at Artofjthe turalconditions of a social and politicalnature theSeattle Art Museum. We see theprofound existingduring apartheid have not been dissi Africanpresence in thespread ofYoruba cul pated.White controlof themajor galleriesstill ture,not only inurban areas such as inNew Sanibel Island, continues,few black art teachersexist at uni York, but in theAmerican South and else Florida versitiesand colleges,black artistsare viewed where.We see it inMoyo Okediji's recentwork 239-482-7025 Maternity,Baule, as a separateand specialcategory, a stepdown on theways thatAfrican American artistshave C.l., wood, 18.5" fromwhite artists,and a rangeof institutional drawn fromYoruba art (Okediji 2003). And controls inhibitthe development of thework frompersonal experience,as a scholar of the Also on theWeb at of black artists;their marginalization still con Igbo, I am impressedwith howmany Igbo are www.Native-JewelryLink.com tinues.The DVD has created some controver teachingabout African culture in American col www.Native-PotteryLink.com sy,as some others feel that thesituation has legesand universities. www.ZuniLink.com improvedconsiderably for black artistssince IfAfrican art and culture is now widely apartheid's end and thatsome of themhave represented inAmerica at a broad range of succeeded at thenational and international social levels,we see a profound change since African societies, one ofwhich may be the level.Of course, artists in theWest are also the immediatepost-independence period. It is Igbo,working with Oscar Mokeme. She has subjectto institutionalcontrol, the domination my hope, perhaps idealistic,that these various been an active advisor on the board of his mu of curators,art critics, dealers, and theviews of forcesbringing knowledge ofAfrican culture seum and in assistingMokeme inpreparing scholars at art schools. But South Africa has and itsarts toAmerica will somehow counter grant proposals. She works tobring togeth had itshistory of apartheid and racismand the act thevery poor impressionsof Africa that ermembers of theSomalian community in period thathas followedhas not removedall exist today in the United States as a conse Maine throughMECA's Creative Communi theseelements, as is also thecase inother areas quence of thecontinent's economic problems tyPartnerships. of SouthAfrican life.Lacking expertisehere, and itspolitical and military conflicts.The The arthistorian Dr. JulieL. McGee teach I am not in a position to fully evaluate the ar African presence, even in theAmerican hin es in theArt History and Africana Studies guments,but it isclear thatthere are stillprob terlands ofMaine and Seattle, enriches the program at Bowdoin College, specializing in lems forblack artists growing out of past American experience.African arts and culture AfricanAmerican and SouthAfrican studies. apartheidexperience. arenow well representedin thefour corners of Trained at BrynMawr inNorthern (Dutch) McGee is now also completing a manu theUnited States-in Florida, southernCali Mannerist painting, she then taughtat Bow scripton thewell-known AfricanAmerican fornia, Maine, and Seattle, as well as in the doin, later working in New Orleans in a non artistDavid Driskell, and she leftfor South centerof thiscountry. profitorganization with public school teachers Africa on August 1, 2005, towrite a small To theyoungest and nextyoungest genera in theDelta River Region, and teaching a monographon Garth Erasmus, whose work she tion of scholars of African art and culture in this course at Tulane University. In theSouth she has followed forseveral years. She has pub country, all of this may simply be seen as part discovered a love forAfrican American and lished a number of articleson contemporary of theAfrican diaspora with which theyare African art,but felt that the scholarship on SouthAfrican art. quite familiar. But when I compare all of it to African artwithin AfricanAmerican arthis The growth inMaine ofAfrican elements what existed in the US when Iwas a young torywas poor. A summer program inC6te covers a wide range of social levels-includ scholar in the 1950s and 1960s, there have been d'Ivoire with PhilipM. Peek and JerryVogel ingmuseums and galleries,academia, dance remarkabledevelopments. At those earlier furtherstimulated her African interestsand and singinggroups, touristgalleries, a restau dates therewas virtuallyno movement ofAf she has been involvedwith thecontemporary rant,and most importantlyimmigrants and ricans to theUS, thoughof course therewere arts of South Africa for some five years. She refugees fromthe Horn ofAfrica. There are thedescendants of African slaves, who, by and taught in the CBB Cape Town program, a joint a varietyof collaborationsbetween Africans large,appeared at thetime distant from Africa. off-campusstudy center runby threeMaine and others.The African presence and influ The term"diaspora," so commontoday in schol colleges-Colby, Bowdoin, and Bates-and ence at a wide range of social levels is occur arshipwith referenceto Africans and theirarts sponsored by theMellon Foundation, a pro ringeverywhere in America. I see it inSeattle, and cultures in theAmericas (and even in the jectwhich closed in2005. where there are substantial groups of So Middle East and Asia), was primarily em Out of thisexperience she codirectedand malians, Eritreans,and Ethiopians, eachwith ployed with respect to Jews.There was little coproduced,with theSouth African Vuyile C. theircultural centers and theirown artists.At interestin Africa in theUnited States; itsconti Voyiya, a 50-minuteDVD, TheLuggage isStill one time a gallery in downtown Seattle exist nentwas seen as theunder the influenceof

88 afpican arts * spring 2006

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions European countries.Only among someAfrican in theUnited States concernedwith modern Americanswas thereinterest in Ethiopia and in African art,particularly in the1960s, until it Ishan mirror itsemperor, Haile Selassie, and concernabout was disbanded in 1967 and itscollection and 28 inches Africaamong someAfrican-American intellec records dispersed (Brown 1966, Kelly and tuals,such asW.E.B. Dubois (1947).But other Stanley 1993:580).Only a very fewAmerican African-Americansscholars feltthat the prob scholarshad been toAfrica forresearch. lemsof raceand blackpoverty in America were Since thosetimes, there has been an impres theirmain concern.There was some interestin sive spread of knowledge ofAfrican art and Liberia,particularly among African Americans, cultureat many differentsocial and interest which dated back to thenineteenth century. group levels, spurred on by the increasing Therewas only a littleinterest in African cul presence of Africans in theUnited States. turaland linguistic traitsin theNew World, Africa isno longer"dark" inour country,but thencalled Africanisms, forexample, in the it isbeing positively receivedhere by some, work ofMelville J.Herskovits (1941) and his thoughits conflicts, dictatorships, and corrup students,and Lorenzo Dow Turner's studyof tion in post-independence years have rein theGullah language (1949).Natural history forced earlier stereotypes ofAfricans as a museums, such as theAmerican Museum of continentof primitives, incapable of governing NaturalHistory inNew YorkCity and theField themselves.Now, both positive and negative Museum inChicago, held strongAfrican collec views ofAfrica exist side by side, I am pleased tions, though theyrarely were presented as tohave been, forsome fiftyyears, associated art,rather as ethnographicobjects. African art with theincreasingly favorable views ofAfrica was only taughtat a fewuniversities, and Afri and itsarts and culture in theUnited States. can languages, so importantfor theunder May Africacontinue to blossom inAmerica, as standingof thecontinent's art and culture,was well as elsewhere in theworld. O evenmore rarelypresent at universities.The SimonOttenberg Harmon Foundationwas themajor institution Notes, page 96 A AE

books Continuedfrom page 12 theremains as the"survival of pockets of tech niques and styles." on funerarytextiles from the Madagascar high One of those survivals is the so-called lands (Betsileo);Sarah Fee's on a broad range lamba,a rectangular-shapedcloth woven in of issues concerningcloth production and its two parts and, depending on the context, use in thesouthwest; Wendy Walker and Edgar used foreither the livingor thedead. Once Kreb's on raffiacloths fromthe southeast; and particularto only certainMadagascar groups, Odland on a form of ikat from the Sakalava the lambaand itsname are now recognized area thatbears an uncanny resemblanceto ikat throughoutmuch of the island as quintessen fromthe Philippines. Between thesefour arti tialMalagasy attire.The coeditorsemphasize "The*A Plaer Aof te Word'A cles,we see everythingfrom raffia and bark to thecultural importanceof the lambaall the cottonand silk.Indeed, even thelatter is multi more by including two appendices, one by 10A faceted.The biologistRichard S. Peigler,in his Michael Razafiarivony on lamba song and _l __ articleon Malagasy raw silk,demonstrates that anotherby Chantal Radimilahy on lambaand one particularsilk cloth is itselfa blend ofmul proverbs. * 0 berry silk (landikely)and wild silk (landibe),a Change inMadagascar textileproduction, conclusionhe draws fromstunningly detailed as Peer notes, is aboutmore thanjust thesur photographshe tookusing a scannedelectron vival of theold and traditional.Some weav icmicroscope (SEM). ingexperienced interestingpermutations as a Linton's textilecollection is revealing in resultof European contact.By the latenine Oldest Game" what it lacks as much as inwhat it contains. As teenthcentury, some Malagasy weavers were Robert Oba Cullins (212) 283-4035 Fee and otherspoint out, Linton never collected replicating thedesigns on European traded Web: www.warrisociety.com European textiles,even thoughthe Malagasy damask, resultingin a clothwith an entirely E-mail: [email protected] were using themextensively at the timehe new aesthetic.Damask-inspired cloths were so was there.Some of thosehybrids may already much thenorm by the timeLinton was there be evident in theW.T. Rawleigh Collection of thathe feltcompelled to collect it,and may Malagasy Portraitsdating between 1910-1930 even have thoughtof itas "traditional." thatChantal Radimilahywrites about. Indeed, Afterreading Kusimba, Odlund, and Bron Madagascar has had a longhistory of European son's volume,with itsemphasis on thecul contact,generating some of theearliest com turalmix thatunderlies Madagascar textile prehensiveaccounts of textilesof anywherein production, I came away convincedmore by the sub-Saharan regionof Africa. By the late theAsian (and European) elements inMala nineteenthcentury, the French and Britishhad gasy textilesthan by thesub-Saharan African greatly escalated theircloth trade toMada ones, suggesting thatmore attentioncould gascar,as elsewherein Africa, leaving an indeli have been given toarguing forthe latter.As blemark on localcloth production and use. In well, I feltthat that therecould have been a his essayon change in theweaving ofHighland more concerted effortto contextualize the Madagascar, Simon Peers informsus thatby cloths featured in theRawleigh portraits as themid-nineteenth century, the Malagasy had theyrelate, or do not relate,to theLinton col already lost three-quartersof theirprevious, lection.But overall, I praise theauthors for ratherdiverse, textile production. He describes theircomprehensive, well-illustrated, and high

urini, 2006 afrIcan arts 89

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions AfricanPhoto Archives. Honand Control of thePeople of South Africa. London: IDAF. HillisMiller, J.1981. "The Two Allegories." InAllegory, Myth, and Verstraete,Frances. 1989. "TownshipArt Context,Form and to Symbol,ed. MortonW. Bloomfield,pp. 355-70 Cambridge Meaning." InAfrican Art inSouthern Africa: From Tradition AD V ER T ISE R IND EX MA: HarvardUniversity Press. Township,eds. Anitra Nettleton and David Hammond-Tooke, Hofmeyr,Isabel. 2004. The Portable Bunyan: A TransnationalHis pp. 152-71.Johannesburg: AD Donker. toryof The Pilgrim'sProgress. Johannesburg: Wits University Williamson,Sue, andAshraf Jamal. 1996. Art inSouth Africa: The Press. FuturePresent. Cape Town:David Philip. Honig, Edwin. 1959.Dark Conceit: The Making ofAllegory. Evan Wolch, Jennifer,and JodyEmel, eds. 1998.Animal Geographies: ston:Northwestern University Press. Place,Politics, and Identityin theNature-Culture Borderlands. Hope, Christopher.1996. Darkest England. London: Macmillan. London: Verso. Hopkins, Pat, andHelen Grange. 2001.The Rocky Rioter Teargas Wolfe, Cary, ed. 2003.Zoontologies: The Question of theAnimal. Aboriginals, Art of the First Person Show:The InsideStory of the 1976 Soweto Uprising. Cape Town: Minneapolis:University of Minnesota Press. Sanibel Island, FL 88 Zebra. Hudleston, Sarah. 1996.George Pemba: Against All Odds. Johan nesburg:Jonathan Ball. KLOPPER: Referencecited,from page 69 Affrica Kaplan, Martha. 2003. "TheMagical Power of thePrinted Word." InMagic andModernity: Interfaces of Revelation and Mahjoub, Jamal.2004. "Displacing theCentre: The Pros and Washington, D.C 87 Concealment,eds. BirgitMeyer and Peter Pels, pp. 183-99. Cons ofWriting Between Worlds." Special Issue onAsylum Stanford:Stanford University Press. andMigration. Prince Claus FundJournal 11 (December):54-7. Koloane,David. 19%. "Moments inArt." InSeven Stories: About Africa Direct 3 Modern Art in Africa,ed. ClementineDeliss, pp. 143-57. London: Flammarion. 01TENBERG: Notes,from page 89 Lapping, Brian. 1987.Apartheid: A History.London: Paladin. Axis Gallery /wish to thankOscar Aim?e and Lindop, Barbara. 1988.Gerard Sekoto. Randburg: Dictum. Mokeme, Bessire, JulieMcGeefor New York, NY 13 Manganyi,N. Chabani. 1996.A BlackMan Called Sekoto.Johan valuableassistance in thepreparation of thisarticle. nesburg:Wits UniversityPress. 1. The termMbari harks back not only to the famous Igbo _. 2004.Gerard Sekoto: "I Am an shrines,but also toUlli Beier and the of African."Johannesburg: sculptural founding Herman Bigham and Associates Wits UniversityPress. theMbari culturalcenters in Oshogbo and Ibadan in theearly Marais, Eugene. 1990.The Soul oftheApe /TheSoul of theWhite 1960sand toother like-namedones thatdeveloped inEnugu 12 Ant. Johannesburg:Jonathan Ball. and brieflyin Germany at about thesame time,all introduc Mbatha,Azaria J.C.2005. Within Loving Memory of the Century: An ingcontemporary Nigerian andAfrican art to thepublic. Scottsville: ofKwaZulu-Natal Press. Autobiography. University cited The Carr Collection, Mbembe,Achille. 2001. "Aestheticsof Vulgarity." In On thePost References . Los Angeles, CA 9 colony,pp. 102-44.Berkeley: University of California Press. Bessire,Aim?e 2005. "Sukuma Figures,Boundaries, and the Merret,Christopher. 1994. A Cultureof Censorship: Secrecy and Arousal of Spectacle."African Arts 39 (1),36-49,93-4. IntellectualRepression in South Africa. Cape Town:David Philip. Brown,Evelyn S. 1966.African's Contemporary Art andArtists; a Miles, Elsa. 1994.Lifeline Out ofAfrica: The Art ofErnest Mancoba. Reviewof Creative Activities in Painting, Sculpture, Ceramics and Contemporary African Art Cape Town:Human and Rousseau. Craftsof Over 300Artists Working in theModern Industrialized New York, NY 87 _. 2002.Nomfanekiso Who Paintsat Night: The Art ofGladys Societiesof Some of theCountries in Sub-SaharanAfrica. New Mgudlandu.Vlaeberg: Fernwood Press. York:Harmon Foundation. an _. 2004. Polly Street:The Storyof An Art Centre.Johan DuBois, W.E.B. 1947.The World and Africa; Inquiryin the Ethnix, nesburg:The Ampersand Foundation. PartWhich Africa Has Played inWorld History. New York: Morrow, Sean, BrownMaaba, and Loyiso Pulumani. 2002. VikingPress. New York, NY 89 "Education inExile: The AfricanNational Congress's Solo Herskovits,Melville J.1941. The Myth of theNegro Past. New mon Mahlangu FreedomCollege (SOMAFCO) andDakawa York:Harper and Brothers. Development Centre in Tanzania: 1978 to 1992." In The Kelly,Bernice M. (comp.),and JanetL. Stanley(ed.). 1993. Nigerian Galerie Walu History of EducationUnder Apartheid 1948-1994, ed. Peter Artists:A Who'sWho andBibliography. London: Hans Zeil. Zurich, Switzerland outside back Kallaway,pp. 154-173.Pinelands: Maskew LongmanMiller. Kennedy, Jean. 1992.New Currents,Ancient Rivers: Contem Ndebele, Njabulo. 1972. "BlackDevelopment." In BlackView poraryAfrican Artists in a Generationof Change. Washington, cover point,ed. B.S. Biko,pp. 13-28.Durban: SPRO-CAS BlackCom D.C.: SmithsonianInstitution Press. munityProgrammes. Okediji,Moyo. 2003.The Shattered Gourd: Yoruba Forms in Twentieth _. 1991."Rediscovery of theOrdinary." InRediscovery of CenturyAmerican Art. Seattle: University of Washington Press. Hamill Gallery ofAfrican Art theOrdinary: Essays on SouthAfrican Literature and Culture, Turner,Lorenzo Dow. 1949.Africanisms in theGullah Dialect. Boston, MA 13 pp. 37-57. Fordsburg:COSAW. Chicago: Universityof Chicago Press. Oliphant,Andries Walter. 1996."A Human Face: The Death of In SevenStories: About Steve Biko and SouthAfrican Art." Charles Jones African Art ModernArt inAfrica, ed. Cl?mentineDeliss, pp. 257-60.Lon POPPI: Referencescited,from page 91 don: Flammarion. Wilmington, NC 89 Owens, Craige. 1984."The Allegorical Impulse:Toward a The Auge,M. 1988.Le Dieu Objet.Paris: Flammarion. ory of Postmodernism."In Art afterModernism: Rethinking Blier,S. Preston.1995. African Vodun: Art, Psychology and Power. Representation,ed. BrainWallis, pp. 203-35.New York:The Chicago: Chicago UniversityPress. MIT Press Journals New Museum David R. Godine. C. 2006."Wonders Taken for theTetish.'" ofContemporary Art/ Poppi, Signs:Rethinking Cambridge, MA inside front Pickover,Mich?le. 2005.Animal Rights in SouthAfrica. Cape InPresence: The Inherence ofthe Prototype Within Images and Other Town: Double Storey. Objects,eds. R. Maniura andR. Shepherd.London: Ashgate. cover, inside back cover Pollock,Mary Sanders, and CatherineRainwater, eds. 2005. Pouillon, J.1975. Fetiches sans F?tichisme. Paris: Maspero. FiguringAnimals: Essays onAnimal Imagesin Art, Literature, Shelton,A. 1995.Fetishism: Visualising Power and Desire. London: Philosophy,and Popular Culture. London: Palgrave. The SouthBank Centre. Wm. Darrell Moseley Tribal Arts Durant Sihlali'sArt Richards,Colin. 1997a. "Cross-Purposes: Franklin,TN 88 ofAllegory." InContemporary South African Art: TheGencor Collection,ed. Kendell Geers, pp. 80-97,163. Johannesburg: BRETT-SMITH: Referencescited,from page 91 Ball. Jonathan Mus6e Barbier-Mueller, _. 1997b."The SecretAgent Subjectivityand Subterfuge Aherne, Tavy. 1992.Nakunte Diarra: BogolanfiniArtist of the in theWork ofDurant Sihlali." InArt Objects ina Postmodern Beledougou.Bloomington: Indiana University Art Museum. Geneva, Switzerland 6-7 Age, ed. ToniPatel, pp. 66-111.Mumbai: TheNational Centre Arnoldi,Mary Jo.1995. Playing with Time: Art andPerformance forthe Performing Arts. inCentral Mali. Bloomington:Indiana University Press. _. 2005.New Humanisms inContemporary South African Bailleul,Charles. 1996.Dictionnaire Bambara-Fran?ais. Bamako: National Museum ofAfrican Art, Art. MTN/ David Krut Editions Johannesburg: Publishing. Donniya. Smithsonian Washington, Sack,Steven. 1988. The Neglected Tradition: Towards aNew History Brett-Smith,Sarah C. 1982."Iron Skin: The Symbolismof Bamana Institution, ofSouth African Art (1930-1988).Johannesburg: Johannesburg Mud Cloth." PhD dissertation,Yale University. DC 5 ArtGallery. _. BamanaMud Cloths:A Female Language of Power. Said, Edward. 1994.Representations of theIntellectual: The 1993 Unpublishedmanuscript. ReithLectures. London: Vintage. Conrad, David C, and BarbaraE. Frank,eds. 1995.Status and OrnamentMagazine.com 1 1 _. 2004. Humanism and DemocraticCriticism. London: Identityin West Africa: Nyamakalaw of Mande. Bloomington: Palgrave. IndianaUniversity Press. Siebrits,Warren. 2002. States of Emergence: South Africa 1960-19%. Donne, JohnB. 1973."Bogolanfini: A Mud-Painted Cloth from Merton D. Simpson Gallery Johannesburg:Warren Siebrits Modem andContemporary Art. Mali." Man 8 (l):104-7. _. 2004.Sekoto to Sihlali: Nine BlackPioneers of South African Duponchel, Pauline. 2004.Textiles Bogolan du Mali. Neuch?tel: New York, NY 1 Art. Johannesburg:Warren SiebritsModem and Contem Mus?e d'ethnographie. poraryArt. Frank,Barbara. 1998.Mande Pottersand Leatherworkers:Art Sihlali,Durant. 1994.Mural Retrospective:Les Murales. Johan andHeritage inWest Africa. Washington, D.C.: Smithsonian Totem Meneghelli Galleries nesburg:Alliance Fran?aisde Soweto. InstitutionPress. Johannesburg, South Africa 13 _. 1989.Discovering My True Identity.Johannesburg: Imperato,Pascal James,and Marli Shamir.1970. "Bokolanfini: Skotaville. Mud Clothof theBamana of Mali." AfricanArts 3 (4):32-41,80. Sleigh,Charlotte. 2003. Ant. London: Reaktion. McNaughton,Patrick R. 1988.The Monde Blacksmiths:Knowledge, WarniSociety International Slemon,Stephen. 1988."Post-Colonial Allegory and theTrans Power,and Art inWest Africa. Bloomington: Indiana University formationof History." Journal of Commonwealth Literature 23 Press. New York,NY 89 (l):157-68. Monteil, Charles. 1927.Le cotonchez les Noirs. Paris: Larose. Stevenson,Michael, andAnnabel Rosholt.2003. Moving Between Pageard, Robert. 1967. "Plantes ? Br?ler chez les Bambara." Timeand Space: Shifts Between Abstraction and Representation in Journalde La Soci?t?des Africanistes 37:87-130. www.africanlambas.com 4 Post-WarSouth African Art Cape Town:Michael Stevenson Rovine,Victoria. 2001. Bogolan: Shaping Culture Through Cloth in Contemporary. ContemporaryMali. Washington,D.C.: SmithsonianInstitution Unterhalter.Elaine. 1987.Forced Removal: The Division, Segrega Press.

96 aterican arts : sprinA 2601

This content downloaded from 139.140.98.92 on Fri, 20 Sep 2013 10:36:13 AM All use subject to JSTOR Terms and Conditions