Ancestors and Elders - Recherche en IA spécialisée au MIT

Ancestors and Elders
Personal Reﬂections of an Africanist Art Historian

Robin Poynor

My research in Owo, Nigeria, revealed

to me three broad ways ancestors
were remembered there. In the ako
ceremony hundreds of pieces of com-
memorative cloth were woven and a
life-sized effigy of a recent ancestor was
carried through the streets before it was buried (Poynor 1987)
(figue. 1). Commemorative rituals at paternal ancestral shrines
(oju’po) venerated several generations of named ancestors. UN
retablo carved or modeled in relief backed the altar, and sculpted
têtes (osanmasinmi) decorated it (figue. 2). Annual egungun mas-
querade events entertained and honored unnamed ancestors in
general through the performance of masquerade (Poynor 1978a)
(figue. 3). Each family created its remembrances in its own way.

In this issue of African Arts, several elders have chosen to
remember, through different means, those who paved the way
for our own explorations of the histories of the African arts—
our academic ancestors. We recognize our predecessors from
many places and over great spans of time. We are indebted to
generations of African elders who not only passed information
from one generation to the next but also shared their knowledge
with those who visited their communities inquiring about the
art, les performances, rituals, and practices they created.1 Another
set of antecedents includes those European colonial officers,
missionaries, and eventually scholars, who provided a wealth of
information in colonial reports, travel writing, mission accounts,
academic papers, publications, and other sources that formed a
strong foundation on which to build our investigations of the arts
of Africa.2 However, for this issue in celebration of the fifty years
of African Arts, we limit our discussion to individuals who were
working fifty years ago and the preparation of their students—the

Robin Poynor is Professor Emeritus of Art History at the University of
Florida. He is part of the editorial consortium for African Arts along
with his colleagues Rebecca Nagy, Susan Cooksey, Fiona McLaughlin
and MacKenzie Moon Ryan. Recent publications include Kongo across
the Waters (with Susan Cooksey and Hein Vanhee) and Africa in Flor-
ida (with Amanda Carlson). rpoynor@arts.ufl.edu

8 | african arts AUTUMN 2017 VOL. 50, NON. 3

precise time African Arts made its appearance. It was a time
marked by the end of the colonial era in Africa and the beginning
of African independence.

We chose to limit our study to these “ancestors” for several
raisons. It is that generation that was active in North American
academia at the time. For the most part the scholars discussed
here trained a large number of students who carried out fresh
research on the continent. Arnold Rubin’s vision for African art
studies is acknowledged in Monica Visona’s First Word. Roy
Sieber’s impact is remembered by Roslyn Walker. Herbert Cole
reminisces about Douglas Fraser’s career. Lisa Aronson acknowl-
edges Joanne Eicher’s role in looking at the arts of textiles and
dress. Although he was not working in the United States at that
precise period, Ekpo Eyo, as Director of the Nigerian Department
of Antiquities, welcomed great numbers of American research-
ers to Nigeria and encouraged their work. He also emboldened
young Nigerians to pursue graduate studies in the United States.
One of those, Babatunde Lawal, pays homage to him in this issue.
Enfin, Henry Drewal and Danny Dawson have solicited oriki
(praise poems) that honor Robert Farris Thompson. We trust
that in remembering these ancestors, memories of other elders
and ancestors will be evoked.

In preparing for dissertation research in Nigeria, I planned to
study leadership arts as indexes of change, connecting the court
of the eastern Yoruba kingdom of Owo to that of ancient Ife and
the Edo court at Benin. My proposal had been inspired by Ekpo
Eyo, whose recent excavations at Owo demonstrated that the oral
histories of ancestral connections to Ile-Ife were backed up by terra
cotta objects found at Igbo ‘Laja3 (see Figs. 8un, 9b, et 10 in Lawal,
this issue.) Eyo talked with me at Indiana and convinced me that
I might use objects, les performances, and oral histories to investi-
gate those relations. On arrival in Nigeria, cependant, I realized that
political realties required me to change topics. I recognized that an
array of arts memorialized the lives of ancestors, connecting them
to elders, who in turn linked living progeny to forebears (Poynor
1978b). Ancestors and elders played vital roles in that culture even
into the late twentieth century, and their importance, memories
of them among the living, and links to the spirit world were still

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1 A life-size efﬁgy (ako) representing a recently
departed ancestor was dressed in the clothing
of the deceased, seated in state for viewing, et
eventually paraded through the streets of the city
prior to a ritual burial. Ce 1949 photograph by
Justine Cordwell records one of the last instances
of ako in Owo.

2 Several generations of ancestors were re-
membered by name at the ojú’po to the paternal
ancestors of an extended family. The altar at
the house of the Oludasa of Owo still stood in
1973, but the wooden osanmasinmi in the form
of human heads sporting rams’ horns had been
destroyed by ﬁre during political inﬁghting in the
late 1960s. Justine Cordwell recorded the oju’po
of the Oludasa chieftaincy in 1949.

experienced through ritual, performance, et l'art.

In discussing the importance of ancestor veneration in Africa,
Igor Kopytoff pointed out that “the African emphasis is clearly
not on how the dead live but on the way they affect the living”
(Kopytoff 1971). In considering the “ancestors” of our disci-
pline(s), we too look at the different ways in which our academic
forebears have affected us—providing foundations on which to
build, expanding the range of arts we investigate, influencing our
thinking and our methodologies. While this anniversary issue
explores those scholars who were working at the time of the jour-
nal’s introduction, I also argue that they worked at a time when a
new world order had only recently been forged and explore how
they used it and took advantage of many forces at work beyond
the academic world.

I was privileged to come into one of the disciplines (histoire de l'art)
at this precise moment—1967. I thus bore witness, sometimes
unconsciously, to those numerous factors. Fresh from com-
pleting a BFA in sculpture at the San Francisco Art Institute, je

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VOL. 50, NON. 3 AUTUMN 2017 arts africains | 9

We accepted that specialists in African art history, anthropologie,
ethnomusicology, histoire, littératures, linguistics, and folklore
were in place, but we did not wonder why or how these scholars
had come together at Indiana or had been funded. We accepted
NDFL and Fulbright fellowships, but we did not question how or
why they were available. We took advantage of weekly speakers
and enrolled in courses taught by internationally known visit-
ing scholars, but we assumed this was standard for any ranking
university. But the scholars researching and teaching African
expressive culture in the decade in which African Arts made its
appearance were not only connected to the academic study of the
visual arts on the continent, but they were also part of a dizzying
set of political, ideological, and international phenomena.

The era in which the journal entered my consciousness
was one that saw the culmination of events that dramatically
changed the world over several decades: the end of World War
II, the Korean conflict, and the Cold War. And Vietnam was
still something students thought about on an almost daily basis.
The period preceding the 1960s had evidenced shifting global
politique, économique, and military alliances. It seemed the map of
Africa was in constant change. By the end of the 1950s and the
beginning of the 1960s, almost all African nations had wrested
independence from colonial overseers. The prevailing emphasis
within these countries was self-determination; each newly inde-
pendent nation focused on nation building, its own survival, et
achieving unity within its own borders. But it was apparent that
cooperation across national boundaries was essential to develop-
ment as well. Global and regional organizations quickly emerged
to address political, économique, and security concerns. De plus,
the United States and the Soviet Union were entangled in a con-
test over the ideologies and allegiances of nonaligned nations,
especially those just gaining independence.

The purpose of this article is not to critique the roles of
Africanists within the framework of the Cold War, but those
circumstances do raise some questions. Were Africanists merely
agents of hegemonic American imperialism? Were our ancestors
merely tools on one side of the Cold War? Were our disciplines’
beginnings compromised by their association with the nation’s
military goals in relation to the Soviet Union? I think not,
although I did wonder why my study of the Yoruba language was
through a “National Defense” fellowship.5 The Africanists and
students in African Studies that I knew were genuinely inter-
ested in the pursuit of scholarly enlightenment and were deeply
intrigued by African peoples, African history, African nations as
they freed themselves from the bonds of colonization and, in my
case, the captivating visual cultures of the continent. We were not
merely pawns in a new type of cultural imperialism. If anything,
we saw ourselves as idealists, out to improve the world. En fait,
many of my fellow grad students had just returned from stays in
Africa sponsored by the Peace Corps, and it was that venture that
attracted a large number to our campuses (figue. 5).

GOVERNMENT INCENTIVES FOR AFRICAN STUDIES
The Peace Corps was among the signature achievements of
President John F. Kennedy. Established in 1961, its purpose was
to provide opportunities to serve the country and the world.
Great numbers of idealistic college graduates volunteered. Their
experiences in other lands, mingling with people of different cul-
photos, exposure to other languages, led many returnees to enter

3a The general ancestors of an extended family
are remembered and entertained by the appear-
ance of egungun. Egunre, dressed in fabrics and
feathers as photographed by local Owo photog-
rapher Alale Supreme at a nighttime appearance
during ancestral celebrations in the late 1960s.

was ignorant of both art history as a discipline and of African
studies as a focus.4 In my first African art history class at Indiana
University I sat shoulder to shoulder with a young Nigerian,
Babatunde Lawal. Our position at the center of the first row
demonstrated our intentions to listen closely to Roy Sieber, un
driving force in African humanities at Indiana. At the end of one
class, Sieber distributed subscription cards for a new publication:
african arts/arts d’afrique. I subscribed, and the first issue arrived
in my mail soon after (figue. 4). Little did Tunde and I know that
history was in the making—that the magazine would become
the major academic journal for the young discipline, that our
instructor would be recognized as one of its ancestors, or that the
two of us might one day be among its elders.

While we benefitted fifty years ago from a wide range of cir-
circonstances, we did not fully understand them or question them.
What was it that brought together clusters of Africanist academics
to explore such a wide range of topics in the African humanities?

10 | african arts AUTUMN 2017 VOL. 50, NON. 3

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graduate programs at universities that offered art history, anthro-
pology, histoire, folklore, or environment and design to learn
more about the cultures they had experienced. Among the Peace
Corps returnees who studied with me at Indiana were Anita
Glaze and Judy Perani in art history, Bill Siegmann in history,
and Phil Peek in folklore.6

However visionary the intentions of academics and students
étaient, the political aspects of the coming of age of African Studies
loomed large, and the circumstances of the Cold War did provide
funding for those interests. In my own naïve mind at the time,
the abundance of financial backing for centers, faculty research,
international education, language study, or research travel was
not political. I thought it had to do with an American emphasis
on education, on extending knowledge beyond boundaries, dans
creating bonds with other peoples.

Ironically, it was space exploration that emerged as a major area
of contestation between the Super Powers during the Cold War
and brought about funding for our academic studies of Africa. Le
1957 launch of Sputnik suddenly focused attention on the develop-
ment of sophisticated technologies that could place satellites into
orbit. Western nations trembled at the prospects of Russia as an
international security threat. Catching up to the Soviets in science
and related fields became the mantra for American politicians. Il
was indeed “the race into space.” Fears of a technological gap and
threats of superior performance by the Soviets brought a deluge
of funding—for aerospace activity and for technical and scientific
educational programs. Dans 1958, President Dwight D. Eisenhower
and Congress created the National Aeronautics and Space Agency
(NASA). But NASA was not the only thing to come from this new
inferiority complex imposed by Sputnik. Part of the scramble for
a position in the international scuffle was the enactment of the
National Defense Education Act (NDEA), also in 1958, providing
funding to prepare a generation of students to vie for supremacy in
science and technology.

NDEA did not, cependant, address scientific and technological
concerns alone. It established funding for developing and build-
ing foreign language and area studies programs. A major focus
of the American government was developing relationships with
nonaligned nations in Africa, Asia, the Pacific, South America,
and the Caribbean. NDEA thus provided funding to establish
international studies centers under Title VI of the act. Title VI
centers brought together clusters of scholars interested in various
aspects of African Studies, encouraging interdisciplinary cooper-
ation. Most centers addressed material culture and the expressive
arts, some through anthropology, others through history, quelques
through archaeology, and still others through art history or envi-
ronment and design. While scholars in these various disciplines
interacted on their own campuses, perhaps more importantly,
they met colleagues at conferences and symposia.

Dans 1961, Senator J. William Fulbright succeeded in persuading
Congress to pass the Mutual Educational and Cultural Exchange
Acte, or Fulbright-Hays, which supported Doctoral Dissertation
Research Abroad, Faculty Research Abroad, Group Projects
Abroad, and Foreign Curriculum Consultants. The Doctoral
Dissertation Research Abroad program allowed doctoral
candidates who had already acquired language and area expertise
to carry out overseas research. With their expanded knowledge,
they would be ready to become part of a pool of highly qualified
international experts. At the time that I received a Fulbright Hays

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3b Aladoko, distinguished by a “robe” of
new palm fronds beneath his strip-woven
robe and a bouquet of feathers for a head-
dress, was photographed in 1949 by Justine
Cordwell. Both the Egunre in Fig. 3a and
Aladoko above still appeared in 1973.

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fellowship to work in Nigeria for a year, nine other students in
the Indiana program received them as well. Among those study-
ing the arts were Judy Perani and Fred Smith in art history, Bill
Siegmann in history, Norma Wolff in anthropology, and Phil
Peek in folklore.

UNIVERSITIES ADVANCING AFRICAN STUDIES THROUGH TITLE VI
Indiana University had developed its African Studies Program
through a five-year grant from the Ford Foundation beginning
dans 1961. The program quickly grew, and in 1965 it was funded
as a Title VI National Resource Center. Gus Liebenow, then the
driving force behind Indiana African Studies, began to develop
Indiana as a program with a strong humanities component. Dans
1962 he was successful in recruiting two of the most promising
Africanists specializing in African art and ethnomusicology, Roy
Sieber and Alan Merriam.

VOL. 50, NON. 3 AUTUMN 2017 arts africains | 11

Alan Merriam specialized in both Native American and
African music, developing a theory and method for study-
ing music from an anthropological perspective as outlined in
his book The Anthropology of Music (1964). Merriam’s field-
work in Central Africa among the Songye and the Bashi of
Zaire (now Democratic Republic of Congo) in the 1950s and in
Burundi in 1973 established him as a driving force in African
ethnomusicology.

Students in history, art history, folklore, anthropologie,
and archaeology participated in weekly humanities seminars
under the direction of Sieber and Merriam. As Sieber’s assis-
tant, I shepherded Daniel Biebuyck, Leon Siroto, Robert Farris
Thompson, Daniel McCall, Frank Willett, and others from and
to the Indianapolis airport. In addition to sponsoring weekly
seminar speakers, the African Studies Program also brought
key scholars in for semester-long stays. Ainsi, I studied African
anthropology with Daniel Crowley, African folklore with Wande
Abimbola, African linguistics with David Dalby, and African
architecture with Libby Prussin. Later additions to the faculty at
Indiana in the arts of Africa include Thompson’s student Patrick
McNaughton in art history, who shared many graduate commit-
tees with Sieber.9 Paula Girschick, who had completed her work
at Indiana, returned to serve on the faculty of the anthropology
department.

Although my personal experience was primarily through
interactions at Indiana, my education in African Studies was
broadened and enriched by exchanges with scholars and stu-
dents from many of the universities in which Africa was actively
being studied. Many of them I met when they participated in the
weekly humanities seminars or served as visiting faculty. The fol-
lowing recollection is based thus to a large extent on personal
connections.10

Yale boasts that its interest in African studies can be traced
back to the late eighteenth century with the study of African
languages. Prior to World War II, Yale had already incorpo-
rated African subject matter into the mainstream curriculum.
Perhaps the best known of those involved in African humanities
there during the period in review was Robert Farris Thompson.
He had completed the PhD at Yale in 1965 and stayed on as fac-
ulty. His interest in specific cultures on the continent, notably
Yoruba and Kongo, led him to trace the trajectory of descen-
dants of those peoples across the Atlantic to tease out ways the
visual antecedents explode creatively in the Caribbean and the
Americas. Thompson’s dramatic and performative presentations
inspired not only students of African art but also great numbers
of descendants of Africans outside the academic study of the arts.
Thompson mentored many students at Yale,11 but his support
for grad student research went beyond the halls of that institution.
When Thompson visited Bloomington, he advised me on ways to
approach my intended research. Having visited Owo himself, il
named specific rooms in the palace that would be of interest for my
recherche. He graciously shared Yoruba slides with me.

Another center for African Studies that traces its interests
in the continent from quite some time ago is that at Howard
University. Although I did not have contact with Howard when
I was a student, I learned of its programs through graduate
students of my own who had studied there (Shaw 2011). L'uni-
versity’s interest in Africa was evidenced more than a century ago,
when Alain Locke joined the faculty in 1912. Locke’s thinking on

4 The ﬁrst issue of African Arts/arts d’afrique ar-
rived in my mailbox my ﬁrst semester of graduate
school, 1967.

Sieber had been the first person to earn a PhD in African art
at an American university. He tied the study of the object and its
style to linguistic groups and to the cultural complexities that led
to their production. His investigation of the body as an armature
for ornament and decorative manipulation and his study of dress
and textiles and crafts helped to expand the boundaries of what
we consider art.

Always addressing “the object” before exploring its ramifica-
tion, Sieber was constantly involved in the museum. His students
could explore objects first hand in the Indiana University Art
Museum collection and curate exhibitions.7 Sieber produced
more PhD students specializing in African art history than
any other Africanist, but he also mentored students in folklore,
anthropologie, archaeology, and history, and most of them have
been involved with exhibitions and curatorial practice8 (figue. 6).

12 | african arts AUTUMN 2017 VOL. 50, NON. 3

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social issues and ethnicity was embodied in his concept of cul-
tural pluralism. James Porter, head of the art department there,
had studied in Paris at the Sorbonne and had done an art history
MA at NYU. Despite having met West Africans and seen and
appreciated African art while in Europe, Porter found himself in
disagreement with Locke on whether African American artists
needed to look toward the heritage of African art or whether they
should consider themselves Americans first. En fait, he published
an attack on Locke’s views in Art Front in 1937. Cependant, after
Porter toured West Africa and Egypt himself from 1963 à 1964,
visiting museums and interviewing artists, he began to be much
more expressionistic in his paintings and introduced African
themes. Photographs of art and architecture he had taken on his
tour became the basis for his course on African art and architec-
ture, but he used African art primarily to motivate students to be
proud of their heritage (Davis 1985).

Another Howard artist, cependant, had heeded Locke’s advice
much earlier. En fait, Lois Mailou Jones had turned her interest
to Africa and had incorporated African masks in her paintings
in the early 1930s. On meeting Jones on her return from study in
Paris in 1937, Locke urged her to paint black subject matter and to
respond to African forms. Jones recalled,

When I came back from France, the first person I met on the cam-
pus at Howard University was Dr. Alain Locke … But he insisted
that black artists have to do more with the black experience and,
especially, with their heritage. He brought up the fact that Matisse
and Modigliani and Picasso and so many of the French artists were
getting famous by using the African influence in their work and
that it was really our heritage and that we should do something
about it (Rowell 1989).

Par 1938 Jones had completed thirty illustrations for Carter G.
Woodson’s book African Heroes and Heroines. The same year
she painted Les Fétiches, inspired by African subject matter and
forms12 (figue. 7).

At Columbia University, Paul Wingert had expanded the art
history curriculum in the 1930s to include study of the arts of
Africa, Oceania, and Native America under the heading of
“primitive art.” His student Douglas Fraser joined him in 1955
and produced a number of students who specialized in the arts
of Africa, Pre-Columbian America, Indonésie, and Oceania.
Upon his early death, several scholars, sometimes coming from
museums in the area, worked to keep the momentum going.
Enid Schildkrout of the American Museum of Natural History
and Susan Vogel, founder of the Museum for African Art, taught
classes and mentored students. Polly Nooter taught at Columbia
briefly before going to Iowa. Suzanne Blier was at Columbia for a
decade, 1983–1993, before going to Harvard. Zoë Strother joined
the Columbia program in 2000.13

The anthropologist Melville Herskovits and his wife Frances
founded the first major interdisciplinary American program
in African studies at Northwestern University in 1948 (figue. 8).
Herskovits was perhaps the most powerful voice in academia
at the time to suggest that African culture continued across the
Atlantic. Among their many interests were the arts as expressed
in African cultures on both sides of the Atlantic. A cohort of
young anthropologists trained at Northwestern continued
Herskovits’s interest in Africa, the Diaspora, and the humanities.
They firmly established African and African American Studies

5 Don Cosentino, like many others who had
completed undergraduate studies in the early
1960s, joined the Peace Corps. He is pictured
with his Nigerian neighbors (Maria, Dan Jumbo,
and Tonye Peterside.) A number of Peace Corps
returnees sought graduate programs in which
they could learn more about the cultures they had
experienced and grown to love while in Africa.
Don received his PhD in African Languages from
the University of Wisconsin in 1976.
Photo: Sunny & Bros. Photos, Abak, Annang
Province, Eastern Nigeria, 1965

in American academia. Some of Herskovits’s students, such as
Simon Ottenberg, Daniel Crowley, and Justine Cordwell, special-
ized in the study of the visual arts in culture. After completing his
PhD at Iowa, Roy Sieber spent a year at Northwestern to absorb
Herskovits’s ideas.

Herskovits’s students made a significant impact on my own
development.14 My anthropology course in grad school was with
Crowley when he visited Indiana for a semester. But it is perhaps
Cordwell who sticks most firmly in my mind. She had carried
out research in Nigeria the late 1940s and had spent time in Owo,
where I did research some quarter century later. Like so many
“ancestors,” she was generous with her knowledge, as I know from
my own experience. She was always ready to talk on the phone.
After we discussed my research, she sent me a Kodak box full of 8

VOL. 50, NON. 3 AUTUMN 2017 arts africains | 13

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6 Former students of Roy Sieber who had gath-
ered for his 1994 retirement event strike a pose
inspired by Robert Farris Thompson’s keynote
address for the occasion. Roy and Sophie Sieber
stand in the front center. Sieber produced numer-
ous art history PhDs over the course of his career
at Indiana, but he mentored numerous others in
histoire, anthropologie, folklore, and archaeology.

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and biological anthropology (figue. 10). Although his fieldwork
had been in Asante in Ghana, he was interested in old connec-
tions between the Sahel and North Africa. Not content to dwell
in the “ethnographic present,” McCall addressed the importance
of chronology and history in anthropology. His Africa in Time
Perspective (1964) greatly influenced not only his own discipline
but the whole field of African studies. Among McCall’s many
interests in anthropology was the role of art. He published African
Images: Essays in African Iconology (1975), which included contri-
butions by seasoned scholars like Vinigi Grottanelli and Philip
Dark. But like many of the Africanists of the time, he was gen-
erous as a scholar, sharing the editing of the publication with his
student Edna Bay and offering a chance for beginning scholars
recently returned from fieldwork to publish. Among them were
Bay, Herbert Cole, Perkins Foss, Rene Bravmann, Paula Girschick
(then Ben-Amos), Terenz Walz, and Babatunde Lawal.17

X 10 glossies from her time in Owo to use as I saw fit (see Figs. 1–3).
Robert P. Armstrong, another Herskovits student, directed
Northwestern University Press from 1960–1973. His interest in
African art was manifested in research, in collecting art, et en
en écrivant. His book The Affecting Presence: An Essay in Humanistic
Anthropology (1971) provided possible alternatives for looking at
the arts of Africa, ideas he shared with Sieber students.

The archaeologist Frank Willett arrived at Northwestern in
1966 to serve as professor of African art and archaeology for
a decade after having served at the Nigerian Department of
Antiquities for some years.15 His close observation of objects
from Nok, Ile-Ife, and Benin, coupled with excavations at Ile-Ife,
resulted in publications that attempted to reconstruct a history
for African art and place it in time (Willett 1967). Willett had a
collegial spirit, and he, like Cordwell, wrote to me about his 1958
visit to Owo, clarified information he had published on Owo, et
even conceded that some of my contradictory findings super-
seded his information. He printed photographs taken there to
send to me. While some of the photographs documented objects
he had encountered on his trip to Owo, he also included images
that documented fellow “ancestors,” such as William Fagg, à
work in the field (figue. 9). Willett invited me to participate in a
CAA panel16 and to contribute an article on Edo culture and its
impact to his guest-edited issue on the arts of Benin for African
Arts (vol. 9, Non. 4).

The African Studies Center at Boston University, founded in
1953, was championed by Daniel McCall, an anthropologist who
joined the department of sociology in the 1950s. Par 1967 he was
successful at founding the anthropology department. There he
nurtured an ethos in which historical approaches were fore-
most, combining ethnology, historical linguistics, archaeology,
14 | african arts AUTUMN 2017 VOL. 50, NON. 3

7 Lois Mailou Jones began
incorporating recognizable
African imagery in her
paintings partly in response
to advice from Alain Locke.
Les Fétiches, references ﬁve
African masks and a ﬁgure.

Lois Mailou Jones
Les Fetiches (1938)
Oil on canvas
Photo: courtesy the National
Museum of American Art,
Institution Smithsonian,
Washington, CC.

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UCLA’s African Studies Program, dating into the 1950s,
encouraged interest in the many expressions of the arts in Africa.
It was here that John Povey and Paul Proehl founded the journal
african arts/arts d’afrique in 1967. UCLA’s School of the Arts and
Architecture sponsored the Museum of Cultural History (now
the Fowler Museum), which explored not only global arts but
the cultures that produced them.18 The Fowler’s intention was to
enhance the understanding and appreciation of diverse peoples,
cultures, and religions. Through its collections, exhibitions, et
publications, the museum has been a driving force in the study of
African humanities.

Arnold Rubin began teaching at UCLA in 1967. His examina-
tion of the arts of the Benue River Valley in Nigeria was based
on four years of on-location research, from 1964–1966 and again
from 1969–1971. Rubin encouraged students to look at the pro-
duction of art in other cultures from a Marxist perspective. Pour

his brief tenure at UCLA (he died in 1988 at the age of 50), il
produced a great number of students not only in the study of
African and Diaspora art but also in Pre-Columbian and Native
American arts.19 Rubin led a later generation to examine body art,
resulting in Marks of Civilization (1992). His innovative teaching
encouraged students to look not only at “exotic cultures” but also
to examine their own culture, leading them on projects exam-
ining American tattoo, Pasadena’s Tournament of Roses, et
the decoration of cemeteries on Memorial Day (figue. 11). Having
heard of some of Rubin’s methods for making students think in
terms of parallels between the purposes of African art making
and that in their own cultures, I began to use some of them in
my own classes.20

Rubin was an early editor of African Arts, planned exhibitions
for the Museum of Cultural History and, with Sieber, co-curated
an exhibition of the Tishman Collection for the Los Angeles

VOL. 50, NON. 3 AUTUMN 2017 arts africains | 15

Established in 1961 by Philip D. Curtin and Jan Vansina, le
African Studies Program at the University of Wisconsin served
as a leading center for research, teaching, and outreach. Known
for its strength in African languages and literatures, Wisconsin
gradually developed as a powerhouse for the study of the visual
arts as well. Vansina, both historian and anthropologist and an
authority on Central Africa, was a major figure in incorporating
historical methodology in the study of the arts. Like McCall at
Boston, Vansina challenged the ethnographic present, demand-
ing attention to history and chronology. His Art History in Africa
provided a systematic method whereby an historical understand-
ing of art is achieved, placing it in a framework that explains how
artistic change has taken place over time (Vansina 1964). Henry
Drewal joined the Department of Art History in 1991 as Evjue-
Bascom Professor of Art History and Afro-American Studies.23

Michigan State University claims its commitment to Africa
began over fifty-five years ago, partnering with the future Nigerian
president Nnamdi Azikiwe in founding the University of Nigeria-
Nsukka. Through this endeavor, Joanne Eicher developed her
research on Nigerian dress and textiles and returned to teach at
MSU. She had matriculated MSU as an undergrad and remained
for graduate studies in sociology and anthropology. From the late
1960s until 1977, Eicher taught in the Department of Human and
Environmental Design, where she developed a cadre of grad stu-
bosses, advising or co-advising twenty-three graduate projects.24
Eicher advanced the study of textiles, dress, and apparel with great
enthusiasm and recruited avid participants from other disciplines
to participate in panels and symposia. After attending a panel she
chaired at ASA, I offered her my scant notes on textiles in Owo.
Her response was that I had enough for a paper and invited me to
join her panel the next year (Poynor 1980).

African Studies at the University of Florida began in 1964 avec
only two faculty—one each in political science and economics.
UF received its first Title VI funding in 1965, and African Studies
grew rapidly. Par 1976 the core faculty had three anthropologists,
two specialists in literature, and one each in economics, histoire,
sciences humaines, languages and linguistics, and political science.
Although not associated with the Center, Jack Flam, a Modernist
art historian doing research on French Expressionism, taught in
the Art Department from 1966 à 1972. He occasionally addressed
the arts of Africa and curated exhibitions for the University
Gallery, and was an early contributor to African Arts (Flam 1971).
Jean Borgatti, hired as visiting assistant professor through Title
VI funding in 1975, worked with Roy Craven, director of the
University Gallery, to improve the quality of the collection and
curated a traveling exhibition titled “Concepts of Self ” (Anon.
1978), which traveled throughout the southeast for three years.
When Borgatti returned to Massachusetts in 1978, I was hired
to replace her. While I advised on the expansion of the collec-
tion, I also developed a graduate program in African art and was
joined by Victoria Rovine in the department in 2005. Rebecca
Nagy had arrived in 2002 as director of the university’s Samuel P.
Harn Museum of Art and brought Susan Cooksey as curator of
African art.25

The University of Illinois established an African Studies Program
dans 1970 with the support of both state and federal funding. Anita
Glaze joined the art department and cooperated with the Krannert
Art Museum on campus to explain its African collection.26

At the University of Minnesota several departments had

8 Melville Herskovits, shown at his desk about 1950,
established one of the ﬁrst interdisciplinary programs
in African studies at Northwestern University in 1948.
Many of Herskovits’s students went on to train anoth-
er generation of anthropologists with a focus on the
visual and performing arts.
Photo: courtesy of the Melville J. Herskovits Library of
Études africaines, Northwestern University

Country Museum of Art (Sieber and Rubin 1968) and founded
the Arts Council of the African Studies Association and served
as its president.21 After Rubin’s death, UCLA did not replace him
jusqu'à 2000, when both Zoë Strother and Steven Nelson were
hired.22

UCLA’s offerings in the humanities went beyond art history.
The Department of Dance had been founded in 1962. The Ethnic
Arts program was established in 1972, bringing talent from
anthropologie, histoire de l'art, dance, folklore and mythology, musique,
and theater. The program emphasized the development of inter-
disciplinary, intercultural perspectives on the arts. The Ethnic
Arts program was eventually renamed World Arts and Cultures;
dans 1995 it merged with the Dance Department, et en 2001 faculty
and staff from the Interdepartmental Program in Folklore were
added. Those addressing the arts of Africa included Polly Roberts
(art history), Allan Roberts (anthropologie), Don Cosentino
(folklore), and Chris Waterman (ethnomusicology).

16 | african arts AUTUMN 2017 VOL. 50, NON. 3

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9 William Fagg, on an excursion in 1958 avec
Frank Willett and Roy Sieber, photographed ob-
jects in the palace at Ile-Ife, Nigeria. Willett, OMS
served on staff of the National Department of
Antiquities in Nigeria and carried out excavations
at Ile-Ife, recorded the occasion. The three also
visited Owo on the same trip.

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introduced African Studies in the 1960s and the department of
African American and African Studies was begun in 1969 after
student demonstrations demanded change in the academy. Dans
1972, the art department on the Duluth campus added me as art
historian and the Minneapolis campus hired art historian Fred
Forgeron. Dans 1977, the Department of Textile and Cloth lured Joanne
Eicher to Minnesota.27 The department thrived under Eicher’s
leadership.28

AFRICANIST HUMANITIES ELSEWHERE
Although NDEA Title VI centers brought about great inter-
actions in African Studies through clustering specialists with
similar interests, many scholars forged ahead on their own. Pour
example, Robert Goldwater taught at NYU, and although he was
a Modernist, his interest in the African impact on Modernism
led him to the study of African art. Designated director of the
Museum of Primitive Art in 1957, his exhibitions “Bambara
Sculpture from the Western Sudan” (1960) and “Senufo Sculpture
of West Africa” (1963) were likely the earliest exhibitions focusing
on the arts of specific African peoples.29

In New Jersey, Phil Peek, a folklore mentee of Sieber, teaches
at Drew University and Sarah Brett-Smith, a Thompson student,
at Rutgers.30 Nearby in Connecticut, Sieber student Amanda
Carlson teaches at the University of Hartford.

In Massachusetts, Eugenia Herbert taught history at Mount
Holyoke. Her interest in the history of metal-working in Africa
led her to interact with anthropologists, archaeologists, et l'art
historians. She published Red Gold of Africa: Copper in Precolonial
History and Culture (1984) and Iron, Gender, and Power: Rituals
of Transformation in African Societies (1993). James Fernandez,
who had studied with Herskovits, began at Smith. His work in the
Fang region resulted in numerous publications, some addressing

the connections between Fang philosophy and their visual art
traditions. In addition, he played a significant role in training
Peace Corps volunteers.31 John Pemberton III addressed African
art and religion at Amherst, beginning in 1958. His research on
art forms used in ritual helped to bring about understanding
of Yoruba culture. Dans 1989 he was joined by Rowland Abiodun,
who worked with Pemberton and others on many publications
addressing Yoruba art history in the context of culture.

One of the most exciting developments in the study of African
art history in the US is the fairly new program at Harvard, où
Suzanne Blier is the Allen Whitehill Clowes Chair of Fine Arts
and of African and African American Studies.32

In Pennsylvania Wyatt MacGaffey, teaching anthropology
at Haverford College, explored Kongo and related peoples in
Central Africa. He published pertinent information on the reli-
gion and arts of the Kongo and helped to redefine the meaning
and the role of minkisi in Central Africa.33

Daniel Biebuyck, who taught at the University of Delaware,
worked for long periods of time in Central Africa, especially
among the Lega. His many publications on the arts of eastern
Zaire (now DRC) were requirements for students of the expres-
sive cultures of Africa.34

In the Midwest, several colleges and universities hosted groups
or individuals addressing the arts of Africa. Although Sieber
had earned the first American PhD in African art history at the
University of Iowa, for years after he left, no Africanist special-
izing in the arts played a role until Christopher Roy arrived in
1978. Roy was eventually joined by a group of anthropologists
and art historians that made Iowa a major center for the study
of African arts for a while. William Dewey joined Roy in art his-
tory from 1990 à 2000. Allen Roberts in anthropology arrived in
1988, and Polly Nooter Roberts in art history joined him in 1994,

VOL. 50, NON. 3 AUTUMN 2017 arts africains | 17

Dame. His exploration of terra cotta memorial heads in the Akan
region of Ghana helped to sort out styles and kingdoms.38

At Michigan State University, Ray Silverman taught both
African art and museum studies from 1988 à 2002, researching
the art of Ghana and Ethiopia. Over the past twenty years he has
concentrated on art of the Ethiopian Christian Orthodox Church.
Silverman moved to the University of Michigan in 2002.39

In the South, Hampton Institute in Virginia developed a
program in African Studies in the 1870s, not long after its 1868
founding. The College Museum was founded the same year, avec
examples of African art. Its African holdings grew with the 1911
gift of William Henry Sheppard’s material collected on his 1890–
1910 stay in the Congo. Richard Long taught English and French
but also directed the College Museum. It was there, dans 1968,
that Long hosted the first Triennial Symposium on African Art.
Elsewhere in Virginia, Babatunde Lawal began teaching African
and Diaspora arts at Virginia Commonwealth University in 1992,
having taught at the University of Ife (Awolowo University).40

Another Nigerian scholar who arrived to teach after a distin-
guished career in Nigeria was Ekpo Eyo, who joined the faculty
at the University of Maryland in 1986. Eyo had already made an
impact through his work in Nigeria as an archaeologist and as
director of the Department of Antiquities.

In Georgia, a cluster of scholars addressing African art studies
in different ways found their ways to Emory. Two anthropolo-
gists were associated with the Graduate Institute of Liberal Arts.
McCall student Edna Bay, who addressed the arts of the Fon
peoples of Dahomey also worked on broader historical issues of
culture from that region. Ivan Karp broke new ground in museum
studies and public scholarship. In the anthropology department
Corinne Kratz also addressed museums, exhibitions, cultural
display, and performance. In the Art History Department Sidney
Kasfir explored ritual and representation based on work in the
Benue River region of Nigeria and in East Africa.41 Michael D.
Harris, a Thompson student, has taught African American art
history since 2007 but also addresses the arts of the Yoruba in the
department of African American Studies.

Prior to going to Emory, Michael D. Harris taught African
and African American art at the University of North Carolina
at Chapel Hill from 1996 through 2006. More recently, Carol
McGee, Victoria Rovine, and Lyniese Williams joined Chapel
Hill’s art history program and are developing a graduate program
there.42 At the University of Tennessee, Rosalind Hackett has
taught the study of African religion, addressing the important
roles art plays in it, depuis 1986.43

On the West Coast, several branches of the university systems
in California were home to small groups or individual Africanists
researching the arts of Africa and the Diaspora. William Bascom,
Herskovits’s first student, taught at UC Berkeley beginning in
1957. There he served as director of the Lowie Museum of anthro-
pology and founded the folklore program. His book African
Art in Cultural Perspective (1973) addressed the correlations
between the creation of art objects and the cultures for which
they were created. Although not directly addressing the arts, his
Ifa Divination: Communication between Gods and Men in West
Africa (1969) informed a generation of Africanists on the impor-
tance of the divination system and its related art forms. Daniel
Crowley, trained in both art history and anthropology (also at
Northwestern under Herskovits’s direction), was hired at UC

10 Daniel McCall played a signiﬁcant role in
insisting that chronology should be an element in
both anthropology and art history.
Photo: courtesy of the Anthropology Department,
Université de Boston

continuing consulting for museums and curating exhibitions.
Victoria Rovine served as curator of the Stanley Collection in the
museum.35 Norma Wolff taught at Iowa State.

While Ohio did not have a major cluster of scholars at any one
university, several individuals worked at various schools there.
John C. Messenger taught at the Ohio State University. His work
among the Anang Ibibio, beginning in 1951, addressed the visual
and the performative arts. Okechukwu Emmanuel Odita joined
the OSU art history program in 1970.36

In Illinois, Sieber student Arthur Bourgeois taught at
Governor’s State. Marilyn Houlberg became a force at the Art
Institute of Chicago with her vibrant teaching based on fieldwork
both among the Yoruba in Nigeria and on Vodou in Haiti.37

James Bellis trained in archaeology at Indiana, taught at Notre

18 | african arts AUTUMN 2017 VOL. 50, NON. 3

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11 Arnold Rubin encouraged everyone to appreciate
all visual culture. His students helped decorate ﬂoats
for the Rose Parade in Pasadena and documented
the Memorial Day offerings on veterans’ graves. Dans
ce 1985 photograph, Rubin poses at Forest Lawn
Cemetery (Glendale) looking up at the Founder’s
Statement stone, as if sharing it with the children
represented in the sculpture.
Photo: courtesy of Zena Pearlstone

Davis as professor in both art history and anthropology. Crowley,
like Herskovits, researched both in Africa and on this side of
the Atlantic, carrying out fieldwork in the Bahamas, Trinidad/
Tobago, and St. Lucia. He wrote on Bahamian carnival, exploring
African myth and black reality, and on African folklore in the
new world.44

Several individuals taught at the University of Washington.
Simon Ottenberg, another student of Herskovits, taught anthro-
pology. His work in Nigeria and Sierra Leone especially made an
impact. His colleague in the School of Art + Histoire de l'art + Design
was Rene Bravmann, who addressed the ways in which Islam and
art reconciled in West Africa. In the architecture department,
Libby Prussin, a practicing architect and art historian, explored
traditional architecture in West Africa.45

Warren D’Azevedo, also trained by Herskovits, taught at the
University of Nevada; his concentrated research among the
Gola beginning in 1956 and lasting for several decades seriously

contributed to Liberian studies. In editing The Traditional Artist
in African Societies (1973), which he first addressed in a confer-
ence at Indiana University in 1964, he turned the emphasis from
technical aspects of art-making to the human element, precisely
the role of the artist in society and culture.46

While many anthropologists are adept at unraveling webs of
kinship and social relationships that are important in the lives of
families, those who focus on the arts are normally rescued from
such agony. This exercise of sorting out a generation of ancestors
and the elders who were in training at the time of the first decade
of African Arts and acknowledging some of their descendants
demonstrates just how complex, complicated, and messy genealo-
gies can be. Trying to understand the ancestors who were working
fifty years ago proves that searching through relationships can be
a chaotic endeavor, but in the end, it demonstrates that we share
many connections and that tracing our own scholarly ancestors
and kin makes us aware that we are indeed of a family.

VOL. 50, NON. 3 AUTUMN 2017 arts africains | 19

Remarques

1 While the work of American and European
scholars depended on the wisdom and knowledge of
African cognoscenti who lived in the communities
where research was being carried out, we had no access
to the written work of African scholars except on rare
occasions. Traditional knowledge from African elders
was interpreted by intellectual middlemen. As sug-
gested in the last two issues of African Arts, it is hoped
that the voices of more African scholars, artistes, et
critics will be represented in the pages of the journal in
l'avenir.

2 My initial idea for introducing the ancestors of
our disciplines had been to recount the contributions
of European scholars in the first half of the twentieth
century and to lead into those working in the United
States in the 1950s and 1960s.

I had also been inspired by William Fagg’s praise

of Owo art (1951) and by Frank Willett and John Pic-
ton’s (1967) essay on commemorative heads on Owo
altars.
4

I had earned a BA with a major in art in the
small college in my hometown. I then went to Cal-
ifornia for a BFA in sculpture. The only art history
I had in both programs was a one-semester survey
of Western art history and a one-semester survey of
Renaissance art. My interest in non-Western art was
inspired by reading Thor Heyerdahl’s Aku Aku (1958).
Thinking a third BA, in anthropology, would not be
wise, I decided to blend my training in art with courses
in anthropology and art history. I discovered that Roy
Sieber at Indiana had already paved the way.

5 National Defense Foreign Language funds (now

FLAS) were allotted to Title VI universities to hold
their own competitions to determine recipients. My
own NDFL fellowship allowed me to study Yoruba in
a Summer Language Institute followed by two years of
intermediate and advanced language study.

6 A number of Peace Corps Volunteers fol-

lowed—Chris Roy, Mary Jo Arnoldi, and Chris Mullen
Kreamer. Others I eventually met through confer-
ences—Don and Henrietta Cosentino, Allen Roberts,
Henry Drewal, Suzanne Preston Blier, Tom Seligman,
Elsbeth Court, Fred Lamp, Joseph Nevadomsky, et
Robert Soppelsa. In a few instances, Peace Corps
funding allowed some who had already carried out
graduate studies to travel to Africa for research. Pour
example, Marcilene Wittmer was assigned to the
museum at the Kingdom of Bamum, where she was
able to both work at her assigned duties and carry out
her research at the same time.

Dans 1970 Sieber recruited me to choose objects,

write catalogue entries, and tour a small exhibition
throughout the state of Indiana. Patricia Darish
organized an exhibition titled “African, Pacific, et
Pre-Columbian Art in the Indiana University Art
Museum” and oversaw the catalogue, which offered
essays by Sieber, Douglas Newton, and Michael D. Coe.
Diane Pelrine, now curator of the African collection
at the museum, organized an exhibition of African art
from the Rita and John Grunwald collection.

Sieber’s MA and PhD students and those he
mentored in other disciplines are enumerated in Walk-
er’s article in this issue.

9 McNaughton and Sieber co-chaired Kris-
tyne Loughran’s committee. McNaughton chaired
committees for Rebecca Green, Vicki Rovine, Alice
Burmeister, Kathleen Bickford Berzock, Teri Sowell,
Tavy Aherne, Joanna Grabski, Suzanne Gott, Amanda
Carlson, Heather Shirey, Elizabeth Perrill, Candace
Keller, Paul Davis, Genevieve Marie Hill-Thomas,
Stephanie Beck-Cohen, Kitty A. Johnson, Teresa
Wilkins, and Brittany Sheldon.

10 I have tried to be inclusive in looking broadly at

20 | african arts AUTUMN 2017 VOL. 50, NON. 3

the ancestors and the students they mentored. If I have
inadvertently left some out, please understand and
forgive.

11 Among Thompson’s students were Labelle Prus-
sin, Perkins Foss, Patrick McNaughton, Sylvia Boone,
Maude Wahlman, Sara Brett-Smith, Judith Bettelheim,
Ramona Austin, David Doris, Zoe Strother, Michael
D. Harris, Barbaro Martinez-Ruiz, Petra Richterova,
Lyniese Williams, and David Brown.

12 Other artists at Howard expressing interest in
African art and committing themselves to interaction
with African artists were Winnie Owens-Hart and Jeff
Donaldson. Owens-Hart worked in ceramics, her work
inspired by both Ghanaian and Nigerian sources. Elle
traveled to Ile-Ife, where she was a visiting artist at
Awolowo University. Jeff Donaldson, a cofounder of
the AfroCobra movement, attempted to create what
he referred to as a “transAfrican style,” characterized
by high-energy color, rhythm, linear effects, and flat
patterning. Donaldson served as head of the North
American committee for FESTAC’77, deemed the
largest ever Pan-African cultural event.

20 In one instance, Rubin had asked students to
consider an African object, its physical form, its mate-
rial presence, its purpose for existing. Alors, they were
to translate those ideas into a contemporary American
equivalent. His example was an Asante akuaba. Made
of wood in a “craft” society, its forms embodied
ideas of fertility, wealth, and beauty. What would be
equivalent in a plastic-based, assembly line culture that
did not carve wood? A twentieth century equivalence
would be the use of a ready-made, plastic object in an
assemblage of other telling materials. A Barbie doll?

21 Roy Sieber served as past-president of the new

organization while Rubin served as president.

22 Steven Nelson cochaired Africanist PhDs Susan
Gagliardi and Lisa Homann with Zoe Strother. Others
he chaired include Sean Sheridan Anderson, Dwight
Carey, Erica Jones, and Michelle Craig,

23 Drewal’s students include Moyo Okediji, Cynthia

Becker, Kimberly Miller, Shannen Hill, Nichole
Bridges, Bolaji Campbell, Cheryl Sterling, Janine
Sytsma, Susan Curtis, and Gaelle Beaujean Baltzer.
24 Among her Africanist students at MSU were

13 Following Douglas Fraser’s death, Susan Vogel

Betty Wass, Ila Pokornowski, and Ruth Neilsen.

advised a number of students, including Kevin
Dumouchelle, Risham Majeed, Giulia Paoletti, Joshua
Cohen, Sandrine Colard, and Dan Leers. En outre,
she worked with Kathryn Wysocki Gunsch at NYU-IFA.
Suzanne Preston Blier mentored a number of students
while at Columbia, among them Shaalini Ranasinghe,
John Peffer, Gary Van Wyk, Alisa Lagamma, Dominique
Malaquais, Sarah Travis and Mary Nooter. Giulia
Paoletti is a lecturer at Columbia now.

14 I met many of the Herskovits students when
I was in grad school. Ottenberg, D’Azevedo, James
Fernandez, Armstrong, and others visited Indiana to
participate in the humanities seminars and to meet
with students of Roy Sieber and Allan Merriam. Plus tard,
William Bascom advised me and served as a consultant
on an NEH project I worked on in the 1980s.

15 Among Willett’s students were Olufemi Richards
from Sierra Leone and Sharon Patton, who would later
become director of the National Museum of African
Art. Several students were with him when he returned
to the United Kingdom to direct the Hunterian
Museum. Kate Ezra who completed the PhD with
Suzanne Blier and was eventually curator of African
art at the Metropolitan Museum. Maude Wahlman
continued under Robert Thompson at Yale. Bill Dewey
transferred to Indiana to study with Sieber.

16 For the CAA meetings held in Chicago in 1976,

Willett organized the panel to look at the impact of
Edo culture but also to begin to think in terms of
synthesis. Several young scholars, some still working
on the PhD, were invited to participate. Among them
were Jean Borgatti, Phil Peek, Nancy Neaher, Perkins
Foss, and Robin Poynor.

17 McCall visited Florida soon after I arrived there.

On one walk and chat about my research, he invited
me to stay at his house in Boston for the upcoming
ASA meetings.

18 Staff of the museum have made an impact on
the study of African visual studies, among them Ralph
Altman, George R. Élise, Doran H. Ross, Mary (Polly)
Nooter Roberts, Marla C. Berns, Gemma Rodrigues,
and Betsy D. Quick.

19 Rubin’s PhD students included Mildred Mon-
teverde, Barbara Blackmun, Mikelle Smith Omari,
Mark Graham, Amelia Trevelyan, Carolee Kennedy,
Nii Quarcoopome, Rachel Hoffman, Rosalinde Wilcox,
Marla Berns, and Zena Pearlstone. Those who did the
MA were Rosemary Greene, Nancy Wall, Marion Cox,
Mary Loy Franz, Judith Bettelheim, David Lytton,
Sonja Berkic, Rosalind Pastor, Carolann Paul, Francine
Farr, William Cohen, Jeri Williams, Elisabeth Cam-
eron, and Paulette Parker,

25 Poynor and Rovine shared PhD committees.

Those chaired by Poynor are Jordan Fenton and
Courtnay Micots. Rovine chaired MacKenzie Moon
Ryan, Meghan Kirkwood, Amy Schwartzott, Christo-
pher Richards, and Daniel Jakubowski. Poynor’s MA
students were Barbara Thompson, Susan Cooksey,
Ann Baird, Jody Berman, and Jaime Baird. Rovine’s
MA students were Rebecca Steiner, Carlee Forbes,
Kimberly Morris, and Ashleigh Lynch. Elsewhere in
Florida, Marcilene Wittmer taught from 1970 jusqu'à
retirement at Miami University. Maude Southwell
Wahlman taught at the University of Central Florida
until her move to the University of Memphis. A num-
ber of scholars have taught at the University of South
Florida, each for a short time. Among them are Daniel
Biebuyck, Elisabeth Cameron, Olu Oguibe, Amanda
Carlson, and David Doris. Courtnay Micots is at
Florida A & M., and MacKenzie Moon Ryan teaches at
Rollins College and is part of the University of Florida
editorial team for African Arts.

26 Dana Rush taught at Illinois for a number of
années, and most recently Prita Meier joined the faculty
dans 2012.

27 The Department of Textile and Cloth was even-
tually renamed the Department of Design, Housing,
and Apparel.

28 Marla Berns was director of the Goldstein
Museum of Design prior to leaving for California.

29 Two students of African art that Goldwater men-
tored were Susan Vogel and Sylvia Williams. Both went
on to museum careers. Vogel started at the Museum of
Primitive Art with Goldwater and followed the Nelson
Rockefeller Collection to the Met. Then she founded
the Museum for African Art, where she published a
prodigious number of books and mounted cut-
ting-edge exhibitions. Williams was the first director of
the Museum of African Art when it became a part of
the Smithsonian Institution. Elsewhere in New York,
Christopher Richards teaches at Brooklyn College.
In Ithaca, Risham Majeed teaches at Ithaca College.
Joshua Cohen and Cheryl Sterling teach at CCNY.
Others working in New York included Salah Hassan
at Cornell, and far to the north, at Alfred University,
Martha Anderson, a Sieber-trained art historian who
worked on the art and culture of the Ijo peoples of
southern Nigeria.

30 Entre-temps, Chike Okeke-Agulu teaches at
Princeton, and John Peffer is at Ramapo College.

31 Fernandez moved to Dartmouth and eventually

to the University of Chicago. Also in Massachusetts,
Jean Borgatti taught at Clark University and Kimberly
Miller at Wheaton College.

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32 Blier has produced a great number of students
since her tenure at Harvard. Those completing the PhD
in African art include: Aimee Bessire, Randall Bird,
Mark Delancey, Lauri Firstenberg, Cecile Fromont.
Janet Hess, Genevieve Hyacinthe, Jessica Levin Mar-
tinez, Leora Maltz, Prita Meier, Steven Nelson, Dalila
Scruggs, Ruth Kerkham Simbao, Teresa Sims, et
Kristina Van Dyke, Blier shared some committees with
colleagues both in art history and in other disciplines.
Among the students with shared chairs are Sarah Byala
(with Caroline Elkins) and Erin Moseley (with Caro-
line Elkins). En outre, Gemma Rodrigues completed
the MA with Blier.

33 MacGaffey worked on the exhibition of minkisi
and shared the accompanying book with Michael D.
Harris (MacGaffey et al. 1993), who addressed the
sculpture of the American artist Renee Stout for the
same exhibition. Others in Pennsylvania included
Perkins Foss, who taught at Penn State, and William
Dewey, who joined him there in 2010.

34 Ikem Okoye is currently in the art history depart-
ment at the University of Delaware. Bolaji Campbell, un
Drewal student, is at RISD in Rhode Island.

35 Iowa PhD students include Barbara Thompson,
Susan Cooksey, Karen Milbourne, David Riep, Manuel
Jordan, Dana Rush, Carol Thompson, and Emily
Hanna. When Dewey left for the University of Tennes-
see in 2000, Sarah Adams joined the Iowa group.

36 Sarah Van Beurden is currently at OSU. Henry

Drewal taught for a while Cleveland State, et ça
position eventually was filled by Kathy Curnow. À
Ohio University, Judy Perani taught and curated
exhibitions, beginning in 1972. Fred Smith at Kent
State has combined African art history and museum
études. A number of younger scholars are teaching at
Ohio institutions now. Andrea Frohne currently has
a joint appointment in the School of Interdisciplinary
Arts and the School of Art at Ohio University. Jordan
Fenton teaches at Miami University, Joanna Grabski at
Dennison, and Matthew Rarey at Oberlin.

37 Roslyn Walker began teaching at Illinois State

dans 1975 and stayed until she joined the staff of the
National Museum of African Art at the Smithsonian
dans 1983. Martha Ehrlich, a specialist in Ghanaian gold
who trained with Sieber, taught at Southern Illinois
University at Edwardsville.

38 DePauw University offered African art history
through the presence of Sieber student Tavy Aherne
until she returned to IU as Andrew W. Mellon and
Anthony J. Moravec Senior Academic Officer in the IU
Art Museum in March 2017.

39 Silverman’s colleague David Doris began teach-

ing at Michigan in 2003. Also in Michigan, Wayne
State University in Detroit has had several Africanists:
Daniel Mato in the late 1960s, Prita Meier from 2010
à 2012; presently Samantha A. Noel addresses the
African Diaspora.

40 Elsewhere in Virginia, James Madison University

has tried to provide courses on African art from
time to time. Tavy Aherne was there before going to
DePauw. Currently Aderonke Adesanya, who earned
the MA and PhD at the University of Ibadan, focuses
her research on feminist theory and art in the School
of Art Design and Art History at James Madison.
Ramona Austin is at Old Dominion University.

41 Susan Gagliardi now teaches in art history at
Emory. Abayomi Ola teaches at Spelman College in
Atlanta.

42 The University of North Carolina has joined
UCLA, the University of Florida, and Rhodes Univer-
sity in the editing consortium for African Arts. Lisa
Homann teaches at the Charlotte campus and joins the
UNC group in the editing effort. Amy Schwartzott is at
North Carolina A & T.

43 Hackett (1996) specifically explored art in the
context of religion. William Dewey joined her in art
history from 2000 through 2010 before going to Penn
State. Maude Southwell Wahlman taught African
and Diaspora arts at the University of Memphis. Dans
neighboring Kentucky, Robert Boyce, who did the MA
with Sieber, taught architectural history and offered
courses in African art at Berea College, and Monica
Blackmun Visona currently teaches at the University
of Kentucky in Lexington. Janine Sytsma, a student of
Henry Drewal, is visiting at the University of Arkansas.
44 Crowley and his wife Pearl translated Olbrecht’s
book on Congolese sculpture (1982). Crowley boasted
of traveling to every country in African (in fact every
country in the world except Iraq) although he was
wheelchair-bound. Others in California included Bar-
bara Blackmun teaching at Mesa College in San Diego.
Her work was on the Kingdom of Benin. Elisabeth
Cameron teaches at UC Santa Cruz. Judith Bettelheim
taught at San Francisco State and addressed Africa and
African Diaspora arts, especially as expressed in the
Caribbean. Dolores Yonker, who specialized in Haitian
art, taught at California State University, Northridge.
Zena Pearlstone teaches at California State, Fullerton.
45 Both Ray Silverman and John Nunley did their

PhD work at Washington. Mark Auslander teaches
anthropology at Central Washington University.

46 In Colorado, David Riep teaches art history
at Colorado State University and Michael Coronel
at University of Northern Colorado. Mikelle Smith
Omari-Tunkara taught at the University of Arizona.

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