Q&A Hero

Q: Discuss Amir Nours work Grazing at Shendi (Fig. 29-1) in terms of form, iconography, and style.

Q: How has photography and new media influenced African artists?

Q: How does traditional African art differ from Western art of the nineteenth century?

Q: Discuss the prominence of the wood figure in African art and its relationship to power. Provide examples.

Q: How is contemporary African art different than tradition-based African art?

Q: How does African art portray the spirits of community leaders and others?

Q: What significance do Bwa masks have in African art?

Q: How is modernity defined on the African continent, and what has it meant for the arts there?

Q: What was the Berlin Conference?

Q: Describe the aesthetic qualities of Seydou Ketas photographs.

Q: How are Nankani adobe homes made?

Q: How were the earliest collections of African art displayed?

Q: What qualities of Lidded Vessel (Fig. 29-11) seem to be inspired by the burgeoning trade with Europe?

Q: How does Yinka Shonibare MBE combine European and African imagery into his work Scramble for Africa (Fig. 29-25)?

Q: The Fang people use what type of wooden sculpture as a point of mediation between ancestors and the living? A. temple shaman B. twin figure C. tomb guardian D. reliquary guardian

Q: How did the women of the Sande society in London adjudicate the Sowei Mask from the Sherbro District (Fig. 29-16) from its colonial history? A. They named it. B. They burned it. C. They cleaned it. D. They transported it.

Q: The work of Zanele Muholi has always been part of her political activism, geared toward raising awareness of A. education reform. B. global warming. C. civil rights. D. animal rights.

Q: What culture informs the work of Wangechi Mutu in Le Noble Sauvage (Fig. 29-24)? A. Egyptian B. Greek C. British D. American

Q: What does the man in Aim Mpanes Congo: Shadow of a Shadow (Fig. 29-23) personify? A. the museum B. the spirit world C. the colonialists D. the country

Q: What does Tshibumba Kanda Matulu use in his painting Tombeau Sans Cercueil (Tomb without a Coffin) (Fig. 29-22) that embodies his African roots? A. linear perspective B. hierarchical scale C. textural variety D. traditional media

Q: What media allowed African artists to reclaim their own image from the colonial gaze? A. collage B. installation C. painting D. photography

Q: What was the last country to be freed from colonial rule? A. Djibouti B. Seychelles C. Angola D. Ghana

Q: In the Sakalava language, what does hazo mean? A. house B. idol C. wood D. blue

Q: What did European traders look to in the nineteenth century after the trade in human slaves became less profitable and less accepted? A. traditional sculpture B. natural resources C. kente cloth D. industrial products

Q: How can the ndop of Mishe miShyaang maMbul be identified? A. his mouth B. his forehead C. his hand D. his dress

Q: Who succeeded the self-proclaimed Bamum king Njoya after his exile by the French? A. his uncle B. his brother C. his wife D. his son

Q: Until the kings of the Asante were forced into power sharing with the British beginning in the mid-1800s, they ruled from their capital city of A. Kumasi. B. Nsheng. C. Benin. D. Sirigu.

Q: African artists aimed to make their objects convey A. realistic figures. B. the intangible. C. the natural world. D. colonial themes.

Q: The Yoruba Palace Door by Olowe of Ise (Fig. 29-8) depicts A. a common Yoruba initiation ritual. B. the king receiving a colonial administrator. C. portraits of the royal family. D. the creation story of the Yoruba people.

Q: Which statement applies to the kente cloth produced by the Asante culture? A. It is a modern tradition in the culture. B. It was originally used for trade. C. It was traditionally woven by males. D. It is made entirely of gold.

Q: Which of the following applies to the black sowei masks worn in Sande initiation rites? A. It is worn by the initiates as a sign of their transformation. B. It symbolizes the ideal of masculine beauty in the culture. C. It is worn by the person responsible for preparing girls for adulthood. D. It compares the transformation to womanhood to slavery and servitude. .

Q: Who sacked and burned the Benin Royal Palace in 1897? A. the Portuguese B. the British C. the Swiss D. the Russians

Q: Why is the display of African art in museums problematic? A. According to tradition, many masks should not be viewed by outsiders. B. Their full meaning can only be understood in the context of ritual performance. C. Most masks are made of ephemeral materials and deteriorate rapidly. D. The works are supposed to be ritually destroyed or disassembled.

Q: Yoruba palaces had elaborately decorated A. lintels. B. cantilevering. C. corbelling. D. woodcarvings.

Q: The stillness and pose of the Blolo Bla (Female Spirit Spouse) (Fig. 29-13) suggest that the woman is capable of A. being rational. B. reaching the afterlife. C. expressing remorse. D. living piously.

Q: What do the bent knees of the nkisi nkonde suggest? A. alertness B. power C. athleticism D. fearfulness

Q: One aspect of the Bwa initiation ceremony includes instructing the initiates about the world of A. written history. B. nature C. economics. D. politics.

Q: Nankani women decorate their adobe architecture with horizontal molded ridges, called yidoor, expressing A. cultural identity. B. good wishes for the family. C. the familys wealth. D. solidarity in the community.

Q: Which of the following movements arose across Africa after World War I? A. feminist B. religious C. Marxist D. nationalist

Q: What was the purpose of much of the art that indigenous Australian peoples developed? A. to commemorate historical events B. to celebrate the cultures heroes and leaders C. to relive and transmit stories about ancestors D. as part of burial and death rituals

Q: The structure of the Maori meeting house (whare nui) stands on an open plaza called a A. turanga. B. hapu. C. iwi. D. marae.

Q: Which of the following was prized in New Zealand and considered to have sacred powers? A. emerald B. sapphire C. jadeite D. coral

Q: What do the artists of The Barunga Statement (Fig. 28-1) use to relay the ancestral narratives of both cultures represented? A. composition B. iconography C. perspective D. implied motion

Q: The Feather Cloak, or Kearny Cloak (Fig. 28-16) has a foundation made from A. coconut fibers. B. strung pearls. C. pineapple leaves. D. cornhusks.

Q: Discuss the role of the Maori Meeting House, including its iconography.

Q: Compare and contrast Mans Love Story (Fig. 28-20) and The Barunga Statement (Fig. 28-1).

Q: In what ways does the art of the Pacific cultures convey the connection of the peoples to their environments?

Q: Discuss the production and purposes of bark cloth in Samoa.

Q: Discuss the idea of gender and gender roles in Oceanic cultures.

Q: What distinctive designs and styles developed throughout Oceania?

Q: How does Shigeyuki Kihara challenge typical gender roles in Ulugalii Samoa: Samoan Couple (Fig. 28-21)?

Q: What is Dreamtime for Indigenous Australians?

Q: Why were the visual arts of the Pacific cultures connected to music, dance, and oral literature?

Q: What are the four geographic areas of Oceania?

Q: What was Nan Madol?

Q: How did the Hawaiians use feathers in their art?

Q: What are moai, and how is their iconography interpreted?

Q: How do the Asmat people create spirit poles?

Q: What do Tubuan masks represent?

Q: In the Maori culture the poupou is used for what architectural purpose on a meeting house? A. house panel B. painted interior pattern C. lattice panel D. support pole

Q: The monumental moai figures on Rapa Nui are carved from A. granite. B. tuff. C. marble. D. coral.

Q: Which ancient culture probably migrated from Taiwan to Melanesia about 6,000 years ago? A. Mongolian B. Chinese C. Lapita D. European

Q: The most extensively tattooed of all Polynesians lived A. in New Zealand. B. on the Marquesas Islands. C. on New Ireland. D. on Samoa.

Q: As they migrated across the Pacific, Polynesians brought with them the knowledge of producing media, such as A. tuff. B. bark cloth. C. bamboo. D. coral.

Q: Which Micronesian site known for its extensive architectural complex had been abandoned before Europeans discovered it in the nineteenth century? A. Marshall Islands B. Palau C. Yap D. Nan Madol

Q: What symbolized the female womb in korambo spirit houses of the Abelam culture? A. triangular floorplan B. small door C. figurative sculpture D. open hearth

Q: In the Wahgi tribe of New Guinea, loosely woven netted work bags called bilum (Fig. 28-5) indicate . A. whether a woman is eligible to marry. B. the social rank of the wearer. C. an individuals profession. D. different ancestral affiliations.

Q: How has the production of bark cloth changed in modern times? A. Environmental concerns about extinct species of trees has ended its production. B. The bark is now beaten using a mechanical process. C. Contemporary fabric paint is often used for decoration. D. Synthetic material resembling bark is used.

Q: The moai found at Rapa Nui have no A. hair. B. eyes. C. hands. D. legs.

Q: The Maori tradition of building a large wooden meeting house evolved after A. the population experienced dramatic growth. B. contact with Westerners. C. the introduction of steel tools. D. Raharuhi Rukupo introduced a new design.

Q: The Asmat cultures production of bisj spirit poles reflects their belief that A. spirits can be called on to settle disputes, stop fights, and punish lawmakers. B. relatives must avenge the deaths of their ancestors. C. wealth and status can be attained through homage to ones ancestors. D. ancestral Spirit Beings arrived from the sea and took many different forms.

Q: Which ritual involves the initiation of girls? A. korambu B. malagan C. bisj D. nggwal

Q: What element of tattooing was most sacred to people of the Marquesas Islands? A. the symbolism of the designs and patterns B. the process of shedding blood C. the display of status and wealth D. the ceremony involved on the completion of the tattoo

Q: What common artistic interest appears in most Pacific cultures? A. monumental structures used for religious purposes B. tattooing and performative arts C. narrative imagery depicting cultural history D. emphasis on the sea and marine life

Q: What unusual feature appears in the relief carvings of ancestors covering the supporting structures of the Te-Hau-Ki Turanga meeting house? A. a plaque calling for the rights of indigenous peoples in New Zealand B. soft, shallow surface carving resulting from the use of stone tools C. a naturalistic portrait of the artist D. figures shown with their tongues sticking out

Q: The moai on Rapa Nui (Fig. 28-17) have parallel lines on their ears, suggesting A. religious worship. B. ear ornaments. C. human sacrifice. D. class structure.

Q: Among New Guinea and its neighboring islands, there are more than 700 A. languages. B. lizards. C. roads. D. animals.

Q: What was the function of the stick charts called wapepe or mattang (Fig. 28-9) that were created by the people of the Marshall Islands? A. show navigational routes connecting islands B. relay ritual information to younger generations C. record historical events, such as war and succession D. document astrological relationships

Q: Although today some Asmat bisj poles (Fig. 28-6) are sold to outsiders, traditionally they were A. buried with the bodies of the deceased. B. left in swamps to deteriorate. C. placed behind residential houses. D. burned in ritual ceremonies.

Q: Compare and contrast the styles, composition, and content of The Founding of Tenochtitlan (Fig. 27-3) and Whirling Log Ceremony (Fig. 27-24).