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Papisto Boy
Author(s): Allen F. Roberts and Mary Nooter Roberts
Source: African Arts, Vol. 33, No. 2 (Summer, 2000), pp. 72-79+92
Published by: UCLA James S. Coleman African Studies CenterStable URL: http://www.jstor.org/stable/3337778
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r t f o i
"Papisto Boy"
P a ape Samb-better known as Papisto Boy -lives in
Belaire, a fishing community squeezed between factory
walls and the broad bay of Dakar.1 Papisto came to
Dakar an orphan, and his life remains very humble. His
wealth lies in his reverence for Sheikh Amadou Bamba
(1853-1927), around whose teachings the Mouride Way has been
created.2 As Sufis, Mourides possess a mystical sense of the active
power of writing to heal, protect, and benefit. Mourides extend
these qualities to an exceptionally vibrant visuality. Bamba is a saint
(Wali Allah, or "Friend of God") whose blessed energy (baraka) is
available through his image: Bamba's portrait is a living presence.
As a devotional task, Papisto paints murals in public spaces of
Dakar. His greatest achievement to date is a 200-meter-long mural
on the outer walls of a factory in Belaire. Papisto receives inspira-
tion from Amadou Bamba through dreams and visions, and as he
paints, the saint guides his hand. Papisto hopes his murals, in his
own words, "will give courage to those who are trying to make a liv-
ing, you see, because these people work very hard, they work very
hard, and yet they earn very little. But just the same, when they have
the painting there before them, if they look at that painting they will
have faith to keep living and keep working, and take courage."
Papisto's portraits of Amadou Bamba and his sons and most
pious followers preside over "heroes of resistance to oppression"
from earlier times (Lat Dior, Samory), African independence
(Senghor, Nkrumah), and more recent history (Sankara, Guevara).
Political figures range from Carter to Arafat. Pope John Paul II and
Jesus find places, as do Pasteur and Pythagoras, Malcolm and
Martin. The musicians Bob Marley, Jimi Hendrix, Baba Maal, Sheikh
L6, Fatou Guewel, and Coumba Gawlo are given prominence as
"messengers" to whom the Archangel Gabriel (as a dove) brings
God's blessings. Some subjects are featured in narrative vignettes;
repeated motifs suggest analogies between others. Surreal visions
swirl among the portraits, sometimes offering didactic commentary
about the tribulations of African peoples, sometimes conveying mil-
lenarian angst.
The factory manager does not share Papisto's populist politics,
however, and has threatened to efface the Belaire mural and have
the artist arrested if he does not cease painting the factory walls.
Papisto argues that whatever takes place within the compound is
1. Narrative panel from the mural by "Papisto Boy" (Pape Samb) that cov-
ers 200 meters of factory wall in Belaire, Dakar, Senegal. Photo: Mary Nooter
Roberts (MNR) and Allen F. Roberts (AFR), 1998.
This section of Papisto's mural shows Sheikh Amadu Bamba praying on
the waters, surrounded by portraits of Sheikh Ibra Fall and several of
Bamba's sons who have served as General Caliph. The Holy Kaaba of
Mecca and the Great Mosque of Touba are featured, as is a map of Africa
filled with images of evil jinns (spirits) that would provoke the faithful. A cir-
cle of stones has been laid out in front of the mural as a "mosque" where
men can pray together and sit in the shade, watched over by the saints.
Around the corner of the factory wall, Papisto has painted a visual "Monu-
ment to the Diambars," honoring Senegalese soldiers who served in the
Gulf War (see Fig. 7).
african arts ? summer 2000
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This page:
4. Narrative panel from the Belaire factory mural. Photo: MNR and AFR,
1999.
In this magnificent montage, Sheikh Amadou Bamba stands as the "pole"
around which the Mouride world turns. Clockwise, the Archangel Gabriel
(Jibril) as a dove brings the saint a message from God written on a piece
of paper folded in a talismanic triangle. Below the dove is the Kaaba of
Mecca, the sacred center of all of Islam. Standing in front of Bamba is
Sheikh Ibra Fall, his first and most fervent disciple. A lion denotes the
courage and perseverance of Mourides following Bamba's teachings.
Above the lion is the courtyard of the infamous Slave House of Goree
Island, with a man dancing out of shackles broken by faith in God, His
Prophet, and His Saint. The Holy Qur'an floats next to Bamba, informing his
life and his teachings.
Opposite page:
Top: 5. Sheikh Ibra Fall in a detail from the Belaire factory mural. Photo: MNR
and AFR, 1997.
Sheikh Ibra Fall is often known by his nickname, "Lamp," because his activ-
ities spread the enlightening message of Amadou Bamba and laid the
foundation for the Mouride Way. Some Mourides are also Baye Falls; they
are dedicated to Bamba's teachings, personified by Lamp Fall, that hard
work is a form of prayer. The benevolent gaze of Lamp Fall extends to the
residents of Belaire, while behind him, Amadou Bamba, informed by the
Archangel Gabriel as a dove, stands as the foundation of Mouride life.
Bottom: 6. Thomas Sankara, Muammar Khaddafi, and members of the Sene-
galese Lions soccer team in a montage from the Belaire factory mural. Photo:
MNR and AFR, 1999.
When Thomas Sankara seized the presidency of Upper Volta, he African-
ized his country as Burkina Faso, a name suggesting renewed dignity
and self-reliance. Sankara's progressive politics put him at odds with
many, and he was assassinated in a countercoup. For his mural, Papisto
writes, "You're always among us, Sankara." Below this a haiku-like poem
reads, "A deer belied in the moonlight and shed hot tears." The portrait
of Sankara is painted over a text about the travails of Senegalese who
grow up in foreign countries. To the right, portraits of members of the
Senegalese Lions soccer team are overlain by a recent image of the
Libyan president, for which Papisto provides the enigmatic caption "In
the austere gaze of Khaddafi."
atrican arts * summer 2000
74
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Top: 7. Narrative panel from the Belaire factory mural. Photo: MNR and AFR, Bottom: 8. Che Guevara in a detail from the Belaire factory mural. Photo:
1998 MNRandAFR 1998
Former U.S. president George Bush smiles as heavily armed Senegalese Papisto paints from visions and inspiration. Early one morning, as he stood
soldiers rush toward the title "Monument to the Diambars," honoring those gazing at a portrait of Abdoulaye Wade, an ardent Mouride and opposition
who fought in the Gulf War. Floating above is a book titled "The Seven politician (and now the President of Senegal), Papisto recognized in Wade's
Secrets of George Bush." When asked what these might be, Papisto face that of Che, which he then painted over the earlier work. Papisto's lay-
replied, "How should I know? They're secret " A portrait of Bill Clinton com- ered paintings are palimpsests that retain earlier intentions even as they
memorating and thanking him for his visit to Dakar has been painted over a evolve into other images. For Papisto, both Wade and Che are heroes able
warship extending toward an early depiction of Charles De Gaulle. to overcome oppression with dignity and strength. Ch6 is flanked by the lion
of courage and a proud woman. The Archangel Gabriel in the form of a
dove brings Che the same blessing from God that was brought to
Abdoulaye Wade.
6atrcanarts *summr2000
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Clockwise from top left:
9. The Reverend Martin Luther King, Jr., in a detail from the Belaire factory
mural. Photo: MNR and AFR, 1999.
The lion of courage gazes at Martin Luther King while the Archangel Gabriel
as a dove brings him the Holy Bible as a gift from God. Papisto knows of
King's central role in the civil rights movement in the United States, and he
stands as a hero who overcame the sorts of oppression the artist has expe-
rienced in his own life.
10. Yasir Arafat in a detail from the Belaire factory mural. Photo: MNR and
AFR, 1999.
Yasir Arafat, inspirational leader of the Palestinian Liberation Front (OLP in
French) and first president of a newly independent Palestine, is flanked by
a calm and panting black panther, suggesting Arafat's affinity with the strug-
gles suffered by people of African heritage. Above the panther, a cobra in
a position to strike shows its fangs; Papisto uses this motif to signify the mor-
tal dangers of treachery.
11. Serigne Kara, Amadou Bamba, and Fatou Guewel Kara in a narrative
panel from the Belaire factory mural. Photo: MNR and AFR, 1999.
Serigne Kara, a holy man (marabout) who is extremely popular among
young people in Dakar, looks toward Fatou Guewel Kara, a singer so devot-
ed to his teachings that she has taken his last name as her own. Fatou
Guewel writes and performs songs devoted to Mame Diarra Bousso, the
mother of Sheikh Amadou Bamba. Between the marabout and the musician
are two images of the saint and one of the Great Mosque of Touba, where
Mourides venerate Bamba's tomb. The mural continues to the right with an
earlier portrait of Ch6 Guevara, who for Papisto personifies the courage to
resist oppression. The strength of Che's convictions is suggested in the
swordfish that merges with his face.
summer 2000 ? atrican arts
77
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Opposite page:
Top: 12. Malcolm X, Nelson Mandela, and Jimi Hendrix in a narrative panel
from the Belaire factory mural. Photo: MNR and AFR, 1999.
Two slaves in broken chains dance about the words "Long live liberty " A
deeply reflective Malcolm X is embraced by one of the curving staircases of
the Slave House of Goree Island, with the "Door of No Return" above his right
shoulder. A bleeding Africa is seared with a poem: "I heard a cry, I heard as
a cry coming from a far-off land, 'Save my child '" Nelson Mandela, the hero r %-. -
of all Africa, bears the "Crown of Liberty" adapted from the Statue of Liberty, "' " '
which is portrayed in many wall murals in Dakar as a beacon of hope to the -
worldwide Mouride diaspora. Instead of holding a torch, Mandela raises his J
right fist in a defiant Black Power salute above a panther, as he turns his eyes
to a pensive Jimi Hendrix. Papisto considers Hendrix a "messenger" bringing '
courage through his music to fight oppression. The begging bowl full of coins
below Mandela is one way Papisto lets passersby know that they should pay
him in appreciation for his mural, or for his permission to photograph it. '
Bottom: 13. Sheikh Ndigel Lo and Bob Marley in a detail from the Belaire
actory mural. Photo MNR and AFR, 1999.
An African woman weeping from hunger and want is an icon that Papisto
repeats several times in his Belaire mural. Here she is associated with two
musicians whom Papisto holds in high esteem as "messengers" of God.
Sheikh Ndigel Lo is a fervent Mouride whose recent CD, Bambay Gueej,
received a very positive review in a column on world music in the New York
Times. The title, meaning "Bamba Is the Ocean," refers to the infinite profun-
dities of the saint's teachings. The Archangel Gabriel as a dove brings Sheikh *
L6 messages from God that he conveys in his songs. Lo is a Baye Fall and ...
wears dreadlocks as a devotional statement. In this he reminds many of Bob
Marley, the late Rastafarian singer revered by Papisto as an uplifting apostle
of human dignity. Indeed, tourists often mistake Baye Falls for Rastas.
This page:
Top: 14. Narrative panel from the Belaire factory mural. Photo: MNR and
AFR, 1998.
Pedestrians pass by Papisto's mural on the factory wall topped by barbed
wire. Jesus and Pope John Paul II are portrayed, as are a pensive chim-
panzee pondering "War?," Senegalese politicians, a mother and child, and
the Slave House of Goree Island.
~*
Bottom: 15. Papisto Boy in front of a portrait of Bob Marley in his Belaire fac-
tory mural. Photo: MNR and AFR, 1999.
Bob Marley's image appears more often in Papisto's work than anyone's but ' ".
Amadou Bamba's and Lamp Fall's. Marley is a messenger who passed - ''
through music" to inspire Papisto, and the artist's attention borders on a rev- \ :
erence witnessed among many Mourides. In this portrait, "The Fruit of the . , ' t
Year 2000," Marley's face framed by a mango conveys millenarian hope that '. .
the future will be as blessedly bounteous as the words emerging from the i -i '
ingers lips, which turn into fve-franc cons.
summer 2000 * african arts
79
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$1.20 per word, minimum $30. African Arts box number $15.
Classified ads must be prepaid.
BOOKS
African, ethnographic, and ancient art. Important,
rare, and out-of-print titles bought and sold.
Catalogues available upon request. Further de-
tails from: Michael Graves-Johnston, 54, Stock-
well Park Road, P.O. Box 532, London SW9 ODR.
Tel. 0171-274-2069, fax 0171-738-3747.
AFRICAN ARTS BACK ISSUES
Write for availability/price and list of article titles:
African Arts, J. S. Coleman African Studies
Center, UCLA, Box 951310, Los Angeles, CA
90095-1310.
$1.20 per word, minimum $30. African Arts box number $15.
Classified ads must be prepaid.
BOOKS
African, ethnographic, and ancient art. Important,
rare, and out-of-print titles bought and sold.
Catalogues available upon request. Further de-
tails from: Michael Graves-Johnston, 54, Stock-
well Park Road, P.O. Box 532, London SW9 ODR.
Tel. 0171-274-2069, fax 0171-738-3747.
AFRICAN ARTS BACK ISSUES
Write for availability/price and list of article titles:
African Arts, J. S. Coleman African Studies
Center, UCLA, Box 951310, Los Angeles, CA
90095-1310.
$1.20 per word, minimum $30. African Arts box number $15.
Classified ads must be prepaid.
BOOKS
African, ethnographic, and ancient art. Important,
rare, and out-of-print titles bought and sold.
Catalogues available upon request. Further de-
tails from: Michael Graves-Johnston, 54, Stock-
well Park Road, P.O. Box 532, London SW9 ODR.
Tel. 0171-274-2069, fax 0171-738-3747.
AFRICAN ARTS BACK ISSUES
Write for availability/price and list of article titles:
African Arts, J. S. Coleman African Studies
Center, UCLA, Box 951310, Los Angeles, CA
90095-1310.
$1.20 per word, minimum $30. African Arts box number $15.
Classified ads must be prepaid.
BOOKS
African, ethnographic, and ancient art. Important,
rare, and out-of-print titles bought and sold.
Catalogues available upon request. Further de-
tails from: Michael Graves-Johnston, 54, Stock-
well Park Road, P.O. Box 532, London SW9 ODR.
Tel. 0171-274-2069, fax 0171-738-3747.
AFRICAN ARTS BACK ISSUES
Write for availability/price and list of article titles:
African Arts, J. S. Coleman African Studies
Center, UCLA, Box 951310, Los Angeles, CA
90095-1310.
just after the democratic elections see Liebenberg 1995.
6. For information on the student resistance to apartheid edu-
cation see Books 1980 and South African Institute of Race
Relations 1978.
7. This is most evident in the face of criticism voiced by male
viewers who have found her questions about customary
privilege uncomfortable.
8. See Bengu 1997:12, in which she cites as her source for this
image Eugenia Herbert's Iron, Gender and Power: Rituals of Trans-
formation in African Societies (1993).
9. See Berglund 1976 on the functions of ritual beer drinking.
Also see de la Harpe et al. 1998.
10. They expressed these views in conversation with the author.
References cited
Bengu, Bongi. 1997. "Explication of the Works" in "Power Gained.
Power Lost. Aspects of Contemporary African Women Visu-
alized." M.A. dissertation, University of Cape Town.
Berglund, Axel. 1976. Zulu Thought-Patterns and Symbolism.
Uppsala: Swedish Institute of Missionary Research.
Books, Alain. 1980. Whirlwind before the Storm: Origins and
Development of the Uprising in Soweto and the Rest of South
Africa. June to December 1976. London: Defence and Aid
Fund for South Africa.
de la Harpe, Roger and Pat de la Harpe, Barry Leitsch, and Sue
Derwent. 1998. Zulu. Cape Town: Struik Publishers.
Herbert, Eugenia. 1993. Iron, Gender and Power: Rituals of
Transformation in African Societies. Bloomington: Indiana
University Press.
Liebenberg, Sandra (ed.). 1995. The Constitution of South Africa
from a Gender Perspective. Cape Town: Community Law
Centre.
Magubane, Zine. 1997. "Beyond the Masks," Agenda 32. Durban.
Munitz, Benita. 1999. "Faces with Depth, a Lot of Attitude," Cape
Times (Feb.).
Mzamane, Smanky. 1996. Interview with Bongi Bengu,
Sunday Times, September 29.
Nooter, Mary H. 1993. Secrecy: African Art That Conceals and
Reveals. New York: Museum for African Art.
South African Institute of Race Relations (SAIRR). 1978. South
Africa in Travail: The Disturbances of 1976/77. Johannesburg:
SAIRR.
van Bosch, Cobus. 1997. "Fasette van vrou inAfrika bekyk," Die
Burger, Nov. 22.
van Wyk, Gary. 1998. African Painted Houses. Basotho Dwellings
of Southern Africa. New York: Harry N. Abrams.
Walker, Cheryl. 1991. Women and Resistance. 2nd ed. Johannes-
burg and Cape Town: David Philip and NY.: Monthly Review
Press (1st ed. 1982. London: Onyx Press).
RAVENHILL: Notesfrom page 71
[This article was accepted for publication in September 1999.]
1. The general parameters of Baule figurative art have been
known and explored since Susan Vogel's seminal article
"People of Wood: Baule Figure Sculpture" (1973). Different
aspects of Baule figurative art are discussed in Vogel 1978,
1980 and Ravenhill 1980, 1993, 1994, and 1996a. An overview
of Baule art is found in Ravenhill 1996b.
2. I have discussed the gaze in Ravenhill 1994 and 1996.
3. I use the term "freestanding figurative art" to refer to sculp-
ture in the round-and not, for example, low-relief carvings
such as those found on togu na posts among the Dogon or fig-
urative plaques from Benin-whether or not it may be phys-
ically fixed in a shrine.
References cited
MacGaffey, Wyatt. 1993. Astonishment and Power: Kongo Minkisi
and the Art of Renee Stout. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1980. Baule Statuary Art: Meaning and
Modernization. Working Papers in the Traditional Arts 5. Phila-
delphia: Institute for the Study of Human Issues.
9 2
just after the democratic elections see Liebenberg 1995.
6. For information on the student resistance to apartheid edu-
cation see Books 1980 and South African Institute of Race
Relations 1978.
7. This is most evident in the face of criticism voiced by male
viewers who have found her questions about customary
privilege uncomfortable.
8. See Bengu 1997:12, in which she cites as her source for this
image Eugenia Herbert's Iron, Gender and Power: Rituals of Trans-
formation in African Societies (1993).
9. See Berglund 1976 on the functions of ritual beer drinking.
Also see de la Harpe et al. 1998.
10. They expressed these views in conversation with the author.
References cited
Bengu, Bongi. 1997. "Explication of the Works" in "Power Gained.
Power Lost. Aspects of Contemporary African Women Visu-
alized." M.A. dissertation, University of Cape Town.
Berglund, Axel. 1976. Zulu Thought-Patterns and Symbolism.
Uppsala: Swedish Institute of Missionary Research.
Books, Alain. 1980. Whirlwind before the Storm: Origins and
Development of the Uprising in Soweto and the Rest of South
Africa. June to December 1976. London: Defence and Aid
Fund for South Africa.
de la Harpe, Roger and Pat de la Harpe, Barry Leitsch, and Sue
Derwent. 1998. Zulu. Cape Town: Struik Publishers.
Herbert, Eugenia. 1993. Iron, Gender and Power: Rituals of
Transformation in African Societies. Bloomington: Indiana
University Press.
Liebenberg, Sandra (ed.). 1995. The Constitution of South Africa
from a Gender Perspective. Cape Town: Community Law
Centre.
Magubane, Zine. 1997. "Beyond the Masks," Agenda 32. Durban.
Munitz, Benita. 1999. "Faces with Depth, a Lot of Attitude," Cape
Times (Feb.).
Mzamane, Smanky. 1996. Interview with Bongi Bengu,
Sunday Times, September 29.
Nooter, Mary H. 1993. Secrecy: African Art That Conceals and
Reveals. New York: Museum for African Art.
South African Institute of Race Relations (SAIRR). 1978. South
Africa in Travail: The Disturbances of 1976/77. Johannesburg:
SAIRR.
van Bosch, Cobus. 1997. "Fasette van vrou inAfrika bekyk," Die
Burger, Nov. 22.
van Wyk, Gary. 1998. African Painted Houses. Basotho Dwellings
of Southern Africa. New York: Harry N. Abrams.
Walker, Cheryl. 1991. Women and Resistance. 2nd ed. Johannes-
burg and Cape Town: David Philip and NY.: Monthly Review
Press (1st ed. 1982. London: Onyx Press).
RAVENHILL: Notesfrom page 71
[This article was accepted for publication in September 1999.]
1. The general parameters of Baule figurative art have been
known and explored since Susan Vogel's seminal article
"People of Wood: Baule Figure Sculpture" (1973). Different
aspects of Baule figurative art are discussed in Vogel 1978,
1980 and Ravenhill 1980, 1993, 1994, and 1996a. An overview
of Baule art is found in Ravenhill 1996b.
2. I have discussed the gaze in Ravenhill 1994 and 1996.
3. I use the term "freestanding figurative art" to refer to sculp-
ture in the round-and not, for example, low-relief carvings
such as those found on togu na posts among the Dogon or fig-
urative plaques from Benin-whether or not it may be phys-
ically fixed in a shrine.
References cited
MacGaffey, Wyatt. 1993. Astonishment and Power: Kongo Minkisi
and the Art of Renee Stout. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1980. Baule Statuary Art: Meaning and
Modernization. Working Papers in the Traditional Arts 5. Phila-
delphia: Institute for the Study of Human Issues.
9 2
just after the democratic elections see Liebenberg 1995.
6. For information on the student resistance to apartheid edu-
cation see Books 1980 and South African Institute of Race
Relations 1978.
7. This is most evident in the face of criticism voiced by male
viewers who have found her questions about customary
privilege uncomfortable.
8. See Bengu 1997:12, in which she cites as her source for this
image Eugenia Herbert's Iron, Gender and Power: Rituals of Trans-
formation in African Societies (1993).
9. See Berglund 1976 on the functions of ritual beer drinking.
Also see de la Harpe et al. 1998.
10. They expressed these views in conversation with the author.
References cited
Bengu, Bongi. 1997. "Explication of the Works" in "Power Gained.
Power Lost. Aspects of Contemporary African Women Visu-
alized." M.A. dissertation, University of Cape Town.
Berglund, Axel. 1976. Zulu Thought-Patterns and Symbolism.
Uppsala: Swedish Institute of Missionary Research.
Books, Alain. 1980. Whirlwind before the Storm: Origins and
Development of the Uprising in Soweto and the Rest of South
Africa. June to December 1976. London: Defence and Aid
Fund for South Africa.
de la Harpe, Roger and Pat de la Harpe, Barry Leitsch, and Sue
Derwent. 1998. Zulu. Cape Town: Struik Publishers.
Herbert, Eugenia. 1993. Iron, Gender and Power: Rituals of
Transformation in African Societies. Bloomington: Indiana
University Press.
Liebenberg, Sandra (ed.). 1995. The Constitution of South Africa
from a Gender Perspective. Cape Town: Community Law
Centre.
Magubane, Zine. 1997. "Beyond the Masks," Agenda 32. Durban.
Munitz, Benita. 1999. "Faces with Depth, a Lot of Attitude," Cape
Times (Feb.).
Mzamane, Smanky. 1996. Interview with Bongi Bengu,
Sunday Times, September 29.
Nooter, Mary H. 1993. Secrecy: African Art That Conceals and
Reveals. New York: Museum for African Art.
South African Institute of Race Relations (SAIRR). 1978. South
Africa in Travail: The Disturbances of 1976/77. Johannesburg:
SAIRR.
van Bosch, Cobus. 1997. "Fasette van vrou inAfrika bekyk," Die
Burger, Nov. 22.
van Wyk, Gary. 1998. African Painted Houses. Basotho Dwellings
of Southern Africa. New York: Harry N. Abrams.
Walker, Cheryl. 1991. Women and Resistance. 2nd ed. Johannes-
burg and Cape Town: David Philip and NY.: Monthly Review
Press (1st ed. 1982. London: Onyx Press).
RAVENHILL: Notesfrom page 71
[This article was accepted for publication in September 1999.]
1. The general parameters of Baule figurative art have been
known and explored since Susan Vogel's seminal article
"People of Wood: Baule Figure Sculpture" (1973). Different
aspects of Baule figurative art are discussed in Vogel 1978,
1980 and Ravenhill 1980, 1993, 1994, and 1996a. An overview
of Baule art is found in Ravenhill 1996b.
2. I have discussed the gaze in Ravenhill 1994 and 1996.
3. I use the term "freestanding figurative art" to refer to sculp-
ture in the round-and not, for example, low-relief carvings
such as those found on togu na posts among the Dogon or fig-
urative plaques from Benin-whether or not it may be phys-
ically fixed in a shrine.
References cited
MacGaffey, Wyatt. 1993. Astonishment and Power: Kongo Minkisi
and the Art of Renee Stout. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1980. Baule Statuary Art: Meaning and
Modernization. Working Papers in the Traditional Arts 5. Phila-
delphia: Institute for the Study of Human Issues.
9 2
just after the democratic elections see Liebenberg 1995.
6. For information on the student resistance to apartheid edu-
cation see Books 1980 and South African Institute of Race
Relations 1978.
7. This is most evident in the face of criticism voiced by male
viewers who have found her questions about customary
privilege uncomfortable.
8. See Bengu 1997:12, in which she cites as her source for this
image Eugenia Herbert's Iron, Gender and Power: Rituals of Trans-
formation in African Societies (1993).
9. See Berglund 1976 on the functions of ritual beer drinking.
Also see de la Harpe et al. 1998.
10. They expressed these views in conversation with the author.
References cited
Bengu, Bongi. 1997. "Explication of the Works" in "Power Gained.
Power Lost. Aspects of Contemporary African Women Visu-
alized." M.A. dissertation, University of Cape Town.
Berglund, Axel. 1976. Zulu Thought-Patterns and Symbolism.
Uppsala: Swedish Institute of Missionary Research.
Books, Alain. 1980. Whirlwind before the Storm: Origins and
Development of the Uprising in Soweto and the Rest of South
Africa. June to December 1976. London: Defence and Aid
Fund for South Africa.
de la Harpe, Roger and Pat de la Harpe, Barry Leitsch, and Sue
Derwent. 1998. Zulu. Cape Town: Struik Publishers.
Herbert, Eugenia. 1993. Iron, Gender and Power: Rituals of
Transformation in African Societies. Bloomington: Indiana
University Press.
Liebenberg, Sandra (ed.). 1995. The Constitution of South Africa
from a Gender Perspective. Cape Town: Community Law
Centre.
Magubane, Zine. 1997. "Beyond the Masks," Agenda 32. Durban.
Munitz, Benita. 1999. "Faces with Depth, a Lot of Attitude," Cape
Times (Feb.).
Mzamane, Smanky. 1996. Interview with Bongi Bengu,
Sunday Times, September 29.
Nooter, Mary H. 1993. Secrecy: African Art That Conceals and
Reveals. New York: Museum for African Art.
South African Institute of Race Relations (SAIRR). 1978. South
Africa in Travail: The Disturbances of 1976/77. Johannesburg:
SAIRR.
van Bosch, Cobus. 1997. "Fasette van vrou inAfrika bekyk," Die
Burger, Nov. 22.
van Wyk, Gary. 1998. African Painted Houses. Basotho Dwellings
of Southern Africa. New York: Harry N. Abrams.
Walker, Cheryl. 1991. Women and Resistance. 2nd ed. Johannes-
burg and Cape Town: David Philip and NY.: Monthly Review
Press (1st ed. 1982. London: Onyx Press).
RAVENHILL: Notesfrom page 71
[This article was accepted for publication in September 1999.]
1. The general parameters of Baule figurative art have been
known and explored since Susan Vogel's seminal article
"People of Wood: Baule Figure Sculpture" (1973). Different
aspects of Baule figurative art are discussed in Vogel 1978,
1980 and Ravenhill 1980, 1993, 1994, and 1996a. An overview
of Baule art is found in Ravenhill 1996b.
2. I have discussed the gaze in Ravenhill 1994 and 1996.
3. I use the term "freestanding figurative art" to refer to sculp-
ture in the round-and not, for example, low-relief carvings
such as those found on togu na posts among the Dogon or fig-
urative plaques from Benin-whether or not it may be phys-
ically fixed in a shrine.
References cited
MacGaffey, Wyatt. 1993. Astonishment and Power: Kongo Minkisi
and the Art of Renee Stout. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1980. Baule Statuary Art: Meaning and
Modernization. Working Papers in the Traditional Arts 5. Phila-
delphia: Institute for the Study of Human Issues.
9 2
Ravenhill, Philip L. 1993. Dreaming the Other World: Figurative
Art of the Baule, C6te d'lvoire. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1994. The Self and the Other: Personhood and
Images among the Baule, Cote d'lvoire. Monograph Series 28.
Los Angeles: Fowler Museum of Cultural History, University
of California, Los Angeles.
Ravenhill, Philip L. 1996a. Dreams and Reverie: Images of Other-
world Mates among the Baule, West Africa. Washington, DC:
Smithsonian Institution Press.
Ravenhill, Philip L. 1996b. "Baule," in The Dictionary of Art,
ed. Jane Turner, vol. 3, pp. 404-9. London: Macmillan Pub-
lishers Ltd.
Sylvester, David. 1996. Looking at Giacometti. New York: Henry
Holt. 1st American ed.
Vogel, Susan. 1973. "People of Wood: Baule Figure Sculpture,"
Art Journal 33, 1:23-26.
Vogel, Susan. 1980. Beauty in the Eyes of the Baule: Aesthetics
and Cultural Values. Working Papers in the Traditional Arts
16. Philadelphia: Institute for the Study of Human Issues.
Willett, Frank. 1971. African Art: An Introduction. New York:
Praeger
ROBERTS & ROBERTS: Notes, from page 79
1. The research for this paper has been conducted through more
than a dozen visits to Dakar since 1994, thanks to generous
funding from the James S. Coleman African Studies Center,
UCLA; the Vice President for Research, the African Studies
Program, and the Project for Advanced Study of Art and Life in
Africa at the University of Iowa; the J. Paul Getty Trust; the
Wenner-Gren Foundation for Anthropological Research; the
Midwester Universities Consortium for International Affairs;
Dak'Art, the Biennale of Contemporary African Art (Dakar,
Senegal); and the Museum for International Folk Art, Santa Fe.
This paper is an element of a book and exhibition program
called "'Passport to Paradise': Visualizing Islam in West Africa
and the Mouride Diaspora" (working title), opening at the
UCLA Fowler Museum of Cultural History in fall 2002. The
program is previewed in a Web site, www.fmch.ucla.edu/pass-
porttoparadise.htm. Serigne Saliou Mbacke, General Caliph of
the Mourides, has blessed the program. We extend thanks to
Professors Gorgui Ciss and Mamadou Diouf, Remy Sagne, and
Doran H. Ross for intellectual guidance; and to Ousmane
Gueye, Djiko Camara, and Mapathe Kane for research assis-
tance. Jere-jef Serigne Touba For Sid, Seth, and Avery.
2. For further discussion of Papisto's work, see Roberts &
Roberts 2000a and 2000b. Papisto's paintings have been exhib-
ited in Germany; see Axt & Sy 1989 and Fichte & Mau 1980.
Ravenhill, Philip L. 1993. Dreaming the Other World: Figurative
Art of the Baule, C6te d'lvoire. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1994. The Self and the Other: Personhood and
Images among the Baule, Cote d'lvoire. Monograph Series 28.
Los Angeles: Fowler Museum of Cultural History, University
of California, Los Angeles.
Ravenhill, Philip L. 1996a. Dreams and Reverie: Images of Other-
world Mates among the Baule, West Africa. Washington, DC:
Smithsonian Institution Press.
Ravenhill, Philip L. 1996b. "Baule," in The Dictionary of Art,
ed. Jane Turner, vol. 3, pp. 404-9. London: Macmillan Pub-
lishers Ltd.
Sylvester, David. 1996. Looking at Giacometti. New York: Henry
Holt. 1st American ed.
Vogel, Susan. 1973. "People of Wood: Baule Figure Sculpture,"
Art Journal 33, 1:23-26.
Vogel, Susan. 1980. Beauty in the Eyes of the Baule: Aesthetics
and Cultural Values. Working Papers in the Traditional Arts
16. Philadelphia: Institute for the Study of Human Issues.
Willett, Frank. 1971. African Art: An Introduction. New York:
Praeger
ROBERTS & ROBERTS: Notes, from page 79
1. The research for this paper has been conducted through more
than a dozen visits to Dakar since 1994, thanks to generous
funding from the James S. Coleman African Studies Center,
UCLA; the Vice President for Research, the African Studies
Program, and the Project for Advanced Study of Art and Life in
Africa at the University of Iowa; the J. Paul Getty Trust; the
Wenner-Gren Foundation for Anthropological Research; the
Midwester Universities Consortium for International Affairs;
Dak'Art, the Biennale of Contemporary African Art (Dakar,
Senegal); and the Museum for International Folk Art, Santa Fe.
This paper is an element of a book and exhibition program
called "'Passport to Paradise': Visualizing Islam in West Africa
and the Mouride Diaspora" (working title), opening at the
UCLA Fowler Museum of Cultural History in fall 2002. The
program is previewed in a Web site, www.fmch.ucla.edu/pass-
porttoparadise.htm. Serigne Saliou Mbacke, General Caliph of
the Mourides, has blessed the program. We extend thanks to
Professors Gorgui Ciss and Mamadou Diouf, Remy Sagne, and
Doran H. Ross for intellectual guidance; and to Ousmane
Gueye, Djiko Camara, and Mapathe Kane for research assis-
tance. Jere-jef Serigne Touba For Sid, Seth, and Avery.
2. For further discussion of Papisto's work, see Roberts &
Roberts 2000a and 2000b. Papisto's paintings have been exhib-
ited in Germany; see Axt & Sy 1989 and Fichte & Mau 1980.
Ravenhill, Philip L. 1993. Dreaming the Other World: Figurative
Art of the Baule, C6te d'lvoire. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1994. The Self and the Other: Personhood and
Images among the Baule, Cote d'lvoire. Monograph Series 28.
Los Angeles: Fowler Museum of Cultural History, University
of California, Los Angeles.
Ravenhill, Philip L. 1996a. Dreams and Reverie: Images of Other-
world Mates among the Baule, West Africa. Washington, DC:
Smithsonian Institution Press.
Ravenhill, Philip L. 1996b. "Baule," in The Dictionary of Art,
ed. Jane Turner, vol. 3, pp. 404-9. London: Macmillan Pub-
lishers Ltd.
Sylvester, David. 1996. Looking at Giacometti. New York: Henry
Holt. 1st American ed.
Vogel, Susan. 1973. "People of Wood: Baule Figure Sculpture,"
Art Journal 33, 1:23-26.
Vogel, Susan. 1980. Beauty in the Eyes of the Baule: Aesthetics
and Cultural Values. Working Papers in the Traditional Arts
16. Philadelphia: Institute for the Study of Human Issues.
Willett, Frank. 1971. African Art: An Introduction. New York:
Praeger
ROBERTS & ROBERTS: Notes, from page 79
1. The research for this paper has been conducted through more
than a dozen visits to Dakar since 1994, thanks to generous
funding from the James S. Coleman African Studies Center,
UCLA; the Vice President for Research, the African Studies
Program, and the Project for Advanced Study of Art and Life in
Africa at the University of Iowa; the J. Paul Getty Trust; the
Wenner-Gren Foundation for Anthropological Research; the
Midwester Universities Consortium for International Affairs;
Dak'Art, the Biennale of Contemporary African Art (Dakar,
Senegal); and the Museum for International Folk Art, Santa Fe.
This paper is an element of a book and exhibition program
called "'Passport to Paradise': Visualizing Islam in West Africa
and the Mouride Diaspora" (working title), opening at the
UCLA Fowler Museum of Cultural History in fall 2002. The
program is previewed in a Web site, www.fmch.ucla.edu/pass-
porttoparadise.htm. Serigne Saliou Mbacke, General Caliph of
the Mourides, has blessed the program. We extend thanks to
Professors Gorgui Ciss and Mamadou Diouf, Remy Sagne, and
Doran H. Ross for intellectual guidance; and to Ousmane
Gueye, Djiko Camara, and Mapathe Kane for research assis-
tance. Jere-jef Serigne Touba For Sid, Seth, and Avery.
2. For further discussion of Papisto's work, see Roberts &
Roberts 2000a and 2000b. Papisto's paintings have been exhib-
ited in Germany; see Axt & Sy 1989 and Fichte & Mau 1980.
Ravenhill, Philip L. 1993. Dreaming the Other World: Figurative
Art of the Baule, C6te d'lvoire. Washington, DC: National
Museum of African Art, Smithsonian Institution.
Ravenhill, Philip L. 1994. The Self and the Other: Personhood and
Images among the Baule, Cote d'lvoire. Monograph Series 28.
Los Angeles: Fowler Museum of Cultural History, University
of California, Los Angeles.
Ravenhill, Philip L. 1996a. Dreams and Reverie: Images of Other-
world Mates among the Baule, West Africa. Washington, DC:
Smithsonian Institution Press.
Ravenhill, Philip L. 1996b. "Baule," in The Dictionary of Art,
ed. Jane Turner, vol. 3, pp. 404-9. London: Macmillan Pub-
lishers Ltd.
Sylvester, David. 1996. Looking at Giacometti. New York: Henry
Holt. 1st American ed.
Vogel, Susan. 1973. "People of Wood: Baule Figure Sculpture,"
Art Journal 33, 1:23-26.
Vogel, Susan. 1980. Beauty in the Eyes of the Baule: Aesthetics
and Cultural Values. Working Papers in the Traditional Arts
16. Philadelphia: Institute for the Study of Human Issues.
Willett, Frank. 1971. African Art: An Introduction. New York:
Praeger
ROBERTS & ROBERTS: Notes, from page 79
1. The research for this paper has been conducted through more
than a dozen visits to Dakar since 1994, thanks to generous
funding from the James S. Coleman African Studies Center,
UCLA; the Vice President for Research, the African Studies
Program, and the Project for Advanced Study of Art and Life in
Africa at the University of Iowa; the J. Paul Getty Trust; the
Wenner-Gren Foundation for Anthropological Research; the
Midwester Universities Consortium for International Affairs;
Dak'Art, the Biennale of Contemporary African Art (Dakar,
Senegal); and the Museum for International Folk Art, Santa Fe.
This paper is an element of a book and exhibition program
called "'Passport to Paradise': Visualizing Islam in West Africa
and the Mouride Diaspora" (working title), opening at the
UCLA Fowler Museum of Cultural History in fall 2002. The
program is previewed in a Web site, www.fmch.ucla.edu/pass-
porttoparadise.htm. Serigne Saliou Mbacke, General Caliph of
the Mourides, has blessed the program. We extend thanks to
Professors Gorgui Ciss and Mamadou Diouf, Remy Sagne, and
Doran H. Ross for intellectual guidance; and to Ousmane
Gueye, Djiko Camara, and Mapathe Kane for research assis-
tance. Jere-jef Serigne Touba For Sid, Seth, and Avery.
2. For further discussion of Papisto's work, see Roberts &
Roberts 2000a and 2000b. Papisto's paintings have been exhib-
ited in Germany; see Axt & Sy 1989 and Fichte & Mau 1980.
On the image of Amadou Bamba and bibliography about
Mouride visuality, see Roberts & Roberts 1998 and 2000c.
References cited
Axt, Friedrich and Moussa Sy (eds.). 1989. Anthology of Contem-
porary Fine Arts in Senegal. Frankfurt am Main: Museum fir
V6lkerkunde.
Benjamin, Walter. 1999. The Arcades Project. Trans. Howard
Eiland and Kevin McLaughlin. Cambridge: Harvard
University Press.
Fichte, Hubert and Leonore Mau. 1980. Die Wanderbilder des
Papisto Boy. Frankfurt: Qumram-Verlag.
Roberts, Allen F. and Mary Nooter Roberts. 1998. "L'Aura
d'Amadou Bamba: Photographie et fabulation dans le Senegal
urbain," Societes et Cultures 22, 1:15-40.
Roberts, Allen F and Mary Nooter Roberts. 2000a."Visual
Literature in Urban Senegal," Public Culture 12, 1.
Roberts, Allen F. and Mary Nooter Roberts. 2000b. "Dis-
playing Secrets: Visual Piety in Senegal," in Visuality Before
and Beyond the Renaissance, ed. Robert Nelson. Cambridge
University Press.
Roberts, Allen F. and Mary Nooter Roberts. 2000c. "'Paintings
Like Prayers': The Hidden Side of Senegalese Reverse-Glass
'Image/Texts,' " Research in African Literatures.
MANZO: References cited, from page 89
Bonnet, C. (ed.). 1990. Kerma: Royaume de Nubie. Geneva.
Fattovich, R. 1990. "The Peopling of the Northern Ethiopian-
Sudanese Borderland between 7000 and 1000 BP: A Prelim-
inary Model," Nubica 1, 2:3-45.
Fattovich, R. 1996a. "The Afro-Arabian Circuit Contacts be-
tween the Horn of Africa and Southern Arabia in the 3rd-2nd
Millennia B.C.," in Interregional Contacts in the Later Prehistory
of Northeastern Africa, eds. L. Krzyzaniak, K. Kroeper, and M.
Kobusiewicz, pp. 395-402. Poznan.
Fattovich, R. 1996b. "Punt: The Archaeological Perspective,"
Beitrdge zur Sudanforschung 6:15-29.
Kitchen, K. A. 1982. "Punt (eg. Pwnt)," Lexikon der Agyptologie
4, 8:1198-1201. Wiesbaden.
Kitchen, K.A. 1993. "The Land of Punt," in The Archaeology of
Africa. Food, Metals and Towns, eds. T. Shaw, P. Sinclair, B.
Andah, and A. Okpoko, pp. 587-608. London and New York.
Koenig, Y. 1987. "La Nubie dans les textes magiques. Linquitante
tranget," Revue d'Egyptologie 38:105-10.
O'Connor, D. 1987. "The Location of Irem," Journal of Egyptian
Archaeology 73:99-136.
O'Connor, D. 1991. "Early States along the Nubian Nile," in
Egypt and Africa, ed. W. V. Davies, pp. 145-65. London.
On the image of Amadou Bamba and bibliography about
Mouride visuality, see Roberts & Roberts 1998 and 2000c.
References cited
Axt, Friedrich and Moussa Sy (eds.). 1989. Anthology of Contem-
porary Fine Arts in Senegal. Frankfurt am Main: Museum fir
V6lkerkunde.
Benjamin, Walter. 1999. The Arcades Project. Trans. Howard
Eiland and Kevin McLaughlin. Cambridge: Harvard
University Press.
Fichte, Hubert and Leonore Mau. 1980. Die Wanderbilder des
Papisto Boy. Frankfurt: Qumram-Verlag.
Roberts, Allen F. and Mary Nooter Roberts. 1998. "L'Aura
d'Amadou Bamba: Photographie et fabulation dans le Senegal
urbain," Societes et Cultures 22, 1:15-40.
Roberts, Allen F and Mary Nooter Roberts. 2000a."Visual
Literature in Urban Senegal," Public Culture 12, 1.
Roberts, Allen F. and Mary Nooter Roberts. 2000b. "Dis-
playing Secrets: Visual Piety in Senegal," in Visuality Before
and Beyond the Renaissance, ed. Robert Nelson. Cambridge
University Press.
Roberts, Allen F. and Mary Nooter Roberts. 2000c. "'Paintings
Like Prayers': The Hidden Side of Senegalese Reverse-Glass
'Image/Texts,' " Research in African Literatures.
MANZO: References cited, from page 89
Bonnet, C. (ed.). 1990. Kerma: Royaume de Nubie. Geneva.
Fattovich, R. 1990. "The Peopling of the Northern Ethiopian-
Sudanese Borderland between 7000 and 1000 BP: A Prelim-
inary Model," Nubica 1, 2:3-45.
Fattovich, R. 1996a. "The Afro-Arabian Circuit Contacts be-
tween the Horn of Africa and Southern Arabia in the 3rd-2nd
Millennia B.C.," in Interregional Contacts in the Later Prehistory
of Northeastern Africa, eds. L. Krzyzaniak, K. Kroeper, and M.
Kobusiewicz, pp. 395-402. Poznan.
Fattovich, R. 1996b. "Punt: The Archaeological Perspective,"
Beitrdge zur Sudanforschung 6:15-29.
Kitchen, K. A. 1982. "Punt (eg. Pwnt)," Lexikon der Agyptologie
4, 8:1198-1201. Wiesbaden.
Kitchen, K.A. 1993. "The Land of Punt," in The Archaeology of
Africa. Food, Metals and Towns, eds. T. Shaw, P. Sinclair, B.
Andah, and A. Okpoko, pp. 587-608. London and New York.
Koenig, Y. 1987. "La Nubie dans les textes magiques. Linquitante
tranget," Revue d'Egyptologie 38:105-10.
O'Connor, D. 1987. "The Location of Irem," Journal of Egyptian
Archaeology 73:99-136.
O'Connor, D. 1991. "Early States along the Nubian Nile," in
Egypt and Africa, ed. W. V. Davies, pp. 145-65. London.
On the image of Amadou Bamba and bibliography about
Mouride visuality, see Roberts & Roberts 1998 and 2000c.
References cited
Axt, Friedrich and Moussa Sy (eds.). 1989. Anthology of Contem-
porary Fine Arts in Senegal. Frankfurt am Main: Museum fir
V6lkerkunde.
Benjamin, Walter. 1999. The Arcades Project. Trans. Howard
Eiland and Kevin McLaughlin. Cambridge: Harvard
University Press.
Fichte, Hubert and Leonore Mau. 1980. Die Wanderbilder des
Papisto Boy. Frankfurt: Qumram-Verlag.
Roberts, Allen F. and Mary Nooter Roberts. 1998. "L'Aura
d'Amadou Bamba: Photographie et fabulation dans le Senegal
urbain," Societes et Cultures 22, 1:15-40.
Roberts, Allen F and Mary Nooter Roberts. 2000a."Visual
Literature in Urban Senegal," Public Culture 12, 1.
Roberts, Allen F. and Mary Nooter Roberts. 2000b. "Dis-
playing Secrets: Visual Piety in Senegal," in Visuality Before
and Beyond the Renaissance, ed. Robert Nelson. Cambridge
University Press.
Roberts, Allen F. and Mary Nooter Roberts. 2000c. "'Paintings
Like Prayers': The Hidden Side of Senegalese Reverse-Glass
'Image/Texts,' " Research in African Literatures.
MANZO: References cited, from page 89
Bonnet, C. (ed.). 1990. Kerma: Royaume de Nubie. Geneva.
Fattovich, R. 1990. "The Peopling of the Northern Ethiopian-
Sudanese Borderland between 7000 and 1000 BP: A Prelim-
inary Model," Nubica 1, 2:3-45.
Fattovich, R. 1996a. "The Afro-Arabian Circuit Contacts be-
tween the Horn of Africa and Southern Arabia in the 3rd-2nd
Millennia B.C.," in Interregional Contacts in the Later Prehistory
of Northeastern Africa, eds. L. Krzyzaniak, K. Kroeper, and M.
Kobusiewicz, pp. 395-402. Poznan.
Fattovich, R. 1996b. "Punt: The Archaeological Perspective,"
Beitrdge zur Sudanforschung 6:15-29.
Kitchen, K. A. 1982. "Punt (eg. Pwnt)," Lexikon der Agyptologie
4, 8:1198-1201. Wiesbaden.
Kitchen, K.A. 1993. "The Land of Punt," in The Archaeology of
Africa. Food, Metals and Towns, eds. T. Shaw, P. Sinclair, B.
Andah, and A. Okpoko, pp. 587-608. London and New York.
Koenig, Y. 1987. "La Nubie dans les textes magiques. Linquitante
tranget," Revue d'Egyptologie 38:105-10.
O'Connor, D. 1987. "The Location of Irem," Journal of Egyptian
Archaeology 73:99-136.
O'Connor, D. 1991. "Early States along the Nubian Nile," in
Egypt and Africa, ed. W. V. Davies, pp. 145-65. London.
On the image of Amadou Bamba and bibliography about
Mouride visuality, see Roberts & Roberts 1998 and 2000c.
References cited
Axt, Friedrich and Moussa Sy (eds.). 1989. Anthology of Contem-
porary Fine Arts in Senegal. Frankfurt am Main: Museum fir
V6lkerkunde.
Benjamin, Walter. 1999. The Arcades Project. Trans. Howard
Eiland and Kevin McLaughlin. Cambridge: Harvard
University Press.
Fichte, Hubert and Leonore Mau. 1980. Die Wanderbilder des
Papisto Boy. Frankfurt: Qumram-Verlag.
Roberts, Allen F. and Mary Nooter Roberts. 1998. "L'Aura
d'Amadou Bamba: Photographie et fabulation dans le Senegal
urbain," Societes et Cultures 22, 1:15-40.
Roberts, Allen F and Mary Nooter Roberts. 2000a."Visual
Literature in Urban Senegal," Public Culture 12, 1.
Roberts, Allen F. and Mary Nooter Roberts. 2000b. "Dis-
playing Secrets: Visual Piety in Senegal," in Visuality Before
and Beyond the Renaissance, ed. Robert Nelson. Cambridge
University Press.
Roberts, Allen F. and Mary Nooter Roberts. 2000c. "'Paintings
Like Prayers': The Hidden Side of Senegalese Reverse-Glass
'Image/Texts,' " Research in African Literatures.
MANZO: References cited, from page 89
Bonnet, C. (ed.). 1990. Kerma: Royaume de Nubie. Geneva.
Fattovich, R. 1990. "The Peopling of the Northern Ethiopian-
Sudanese Borderland between 7000 and 1000 BP: A Prelim-
inary Model," Nubica 1, 2:3-45.
Fattovich, R. 1996a. "The Afro-Arabian Circuit Contacts be-
tween the Horn of Africa and Southern Arabia in the 3rd-2nd
Millennia B.C.," in Interregional Contacts in the Later Prehistory
of Northeastern Africa, eds. L. Krzyzaniak, K. Kroeper, and M.
Kobusiewicz, pp. 395-402. Poznan.
Fattovich, R. 1996b. "Punt: The Archaeological Perspective,"
Beitrdge zur Sudanforschung 6:15-29.
Kitchen, K. A. 1982. "Punt (eg. Pwnt)," Lexikon der Agyptologie
4, 8:1198-1201. Wiesbaden.
Kitchen, K.A. 1993. "The Land of Punt," in The Archaeology of
Africa. Food, Metals and Towns, eds. T. Shaw, P. Sinclair, B.
Andah, and A. Okpoko, pp. 587-608. London and New York.
Koenig, Y. 1987. "La Nubie dans les textes magiques. Linquitante
tranget," Revue d'Egyptologie 38:105-10.
O'Connor, D. 1987. "The Location of Irem," Journal of Egyptian
Archaeology 73:99-136.
O'Connor, D. 1991. "Early States along the Nubian Nile," in
Egypt and Africa, ed. W. V. Davies, pp. 145-65. London.
AD V E R T ISER INDEXAD V E R T ISER INDEXAD V E R T ISER INDEXAD V E R T ISER INDEX
Aboriginals, Art of the First Person,
Sanibel Island, FL 85
Affrica, Washington, DC 10
Africa Place, Inc., So. Strafford, VT 12
Art and Life in Africa Project, The University of Iowa,
Iowa City, IA 5
Joan Barist Primitive Art, Short Hills, NJ 11
Black Arts Studio 82
Contemporary African Art, New York, NY 84
Coyote's Paw Gallery, St. Louis, MO 85
Cultural Expressions, Clawson, Ml 85
Ethnix, New York, NY 84
Gallerie La Taj, Alexandria, VA 83
Gallery DeRoche, San Francisco, CA 83
Gallery Walu, Zurich, Switzerland 3
Charles S. Greco 16
Philippe Guimiot, Brussels, Belgium
outside back cover
Hamill Gallery of African Art, Boston, MA 16
Hemingway African Gallery, New York, NY 83
Indigo, Minneapolis, MN 85
Aboriginals, Art of the First Person,
Sanibel Island, FL 85
Affrica, Washington, DC 10
Africa Place, Inc., So. Strafford, VT 12
Art and Life in Africa Project, The University of Iowa,
Iowa City, IA 5
Joan Barist Primitive Art, Short Hills, NJ 11
Black Arts Studio 82
Contemporary African Art, New York, NY 84
Coyote's Paw Gallery, St. Louis, MO 85
Cultural Expressions, Clawson, Ml 85
Ethnix, New York, NY 84
Gallerie La Taj, Alexandria, VA 83
Gallery DeRoche, San Francisco, CA 83
Gallery Walu, Zurich, Switzerland 3
Charles S. Greco 16
Philippe Guimiot, Brussels, Belgium
outside back cover
Hamill Gallery of African Art, Boston, MA 16
Hemingway African Gallery, New York, NY 83
Indigo, Minneapolis, MN 85
Aboriginals, Art of the First Person,
Sanibel Island, FL 85
Affrica, Washington, DC 10
Africa Place, Inc., So. Strafford, VT 12
Art and Life in Africa Project, The University of Iowa,
Iowa City, IA 5
Joan Barist Primitive Art, Short Hills, NJ 11
Black Arts Studio 82
Contemporary African Art, New York, NY 84
Coyote's Paw Gallery, St. Louis, MO 85
Cultural Expressions, Clawson, Ml 85
Ethnix, New York, NY 84
Gallerie La Taj, Alexandria, VA 83
Gallery DeRoche, San Francisco, CA 83
Gallery Walu, Zurich, Switzerland 3
Charles S. Greco 16
Philippe Guimiot, Brussels, Belgium
outside back cover
Hamill Gallery of African Art, Boston, MA 16
Hemingway African Gallery, New York, NY 83
Indigo, Minneapolis, MN 85
Aboriginals, Art of the First Person,
Sanibel Island, FL 85
Affrica, Washington, DC 10
Africa Place, Inc., So. Strafford, VT 12
Art and Life in Africa Project, The University of Iowa,
Iowa City, IA 5
Joan Barist Primitive Art, Short Hills, NJ 11
Black Arts Studio 82
Contemporary African Art, New York, NY 84
Coyote's Paw Gallery, St. Louis, MO 85
Cultural Expressions, Clawson, Ml 85
Ethnix, New York, NY 84
Gallerie La Taj, Alexandria, VA 83
Gallery DeRoche, San Francisco, CA 83
Gallery Walu, Zurich, Switzerland 3
Charles S. Greco 16
Philippe Guimiot, Brussels, Belgium
outside back cover
Hamill Gallery of African Art, Boston, MA 16
Hemingway African Gallery, New York, NY 83
Indigo, Minneapolis, MN 85
International Warri Society, New York, NY 16
Charles Jones African Art, Wilmington, NC 7
Susan Lerer, Images of Culture, Los Angeles, CA 8
Charles D. Miller III, St. James, NY 10
Paolo Morigi Gallery, Lugano, Switzerland 15
Museo del Collezionista d'Arte, Milan, Italy 9
OAN, Oceanie-Afrique Noire, New York, NY 13
Ornament, San Marcos, CA inside back cover
Pace Primitive, New York, NY inside front cover
Merton D. Simpson Gallery, New York, NY 1
Tawa, New York, NY 84
Totem Meneghelli Galleries, Johannesburg,
South Africa 6
Tribal Arts, Brussels, Belgium 12, 84
Tribal Reality, New York, NY 12
UCLA Fowler Museum of Cultural History,
Los Angeles, CA 14
Kathy Vanderpas * Steven Vanderaadt,
Rotterdam, Holland 14
T.G.B. Wheelock, T.G.B.W. Inc., New York, NY 7
International Warri Society, New York, NY 16
Charles Jones African Art, Wilmington, NC 7
Susan Lerer, Images of Culture, Los Angeles, CA 8
Charles D. Miller III, St. James, NY 10
Paolo Morigi Gallery, Lugano, Switzerland 15
Museo del Collezionista d'Arte, Milan, Italy 9
OAN, Oceanie-Afrique Noire, New York, NY 13
Ornament, San Marcos, CA inside back cover
Pace Primitive, New York, NY inside front cover
Merton D. Simpson Gallery, New York, NY 1
Tawa, New York, NY 84
Totem Meneghelli Galleries, Johannesburg,
South Africa 6
Tribal Arts, Brussels, Belgium 12, 84
Tribal Reality, New York, NY 12
UCLA Fowler Museum of Cultural History,
Los Angeles, CA 14
Kathy Vanderpas * Steven Vanderaadt,
Rotterdam, Holland 14
T.G.B. Wheelock, T.G.B.W. Inc., New York, NY 7
International Warri Society, New York, NY 16
Charles Jones African Art, Wilmington, NC 7
Susan Lerer, Images of Culture, Los Angeles, CA 8
Charles D. Miller III, St. James, NY 10
Paolo Morigi Gallery, Lugano, Switzerland 15
Museo del Collezionista d'Arte, Milan, Italy 9
OAN, Oceanie-Afrique Noire, New York, NY 13
Ornament, San Marcos, CA inside back cover
Pace Primitive, New York, NY inside front cover
Merton D. Simpson Gallery, New York, NY 1
Tawa, New York, NY 84
Totem Meneghelli Galleries, Johannesburg,
South Africa 6
Tribal Arts, Brussels, Belgium 12, 84
Tribal Reality, New York, NY 12
UCLA Fowler Museum of Cultural History,
Los Angeles, CA 14
Kathy Vanderpas * Steven Vanderaadt,
Rotterdam, Holland 14
T.G.B. Wheelock, T.G.B.W. Inc., New York, NY 7
International Warri Society, New York, NY 16
Charles Jones African Art, Wilmington, NC 7
Susan Lerer, Images of Culture, Los Angeles, CA 8
Charles D. Miller III, St. James, NY 10
Paolo Morigi Gallery, Lugano, Switzerland 15
Museo del Collezionista d'Arte, Milan, Italy 9
OAN, Oceanie-Afrique Noire, New York, NY 13
Ornament, San Marcos, CA inside back cover
Pace Primitive, New York, NY inside front cover
Merton D. Simpson Gallery, New York, NY 1
Tawa, New York, NY 84
Totem Meneghelli Galleries, Johannesburg,
South Africa 6
Tribal Arts, Brussels, Belgium 12, 84
Tribal Reality, New York, NY 12
UCLA Fowler Museum of Cultural History,
Los Angeles, CA 14
Kathy Vanderpas * Steven Vanderaadt,
Rotterdam, Holland 14
T.G.B. Wheelock, T.G.B.W. Inc., New York, NY 7
african arts * summer 2000african arts * summer 2000african arts * summer 2000african arts * summer 2000
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