CHAPTER 37—AFRICA, 1800 TO 1980
MULTIPLE CHOICE
1. How do Mende masks symbolize the ancestral female spirits?
a.
The glistening black surfaces of the masks evoke the ancestral female spirits.
b.
The dove forms atop the masks evoke the ancestral female spirits.
c.
The wide-open eyes of the masks evoke the ancestral female spirits.
d.
The cowrie-shell headdresses atop the masks evoke the ancestral female spirits.
2. What are waka sran?
a.
masks of the Dead Ancestors, Baule
b.
First Ancestors, Dogon
c.
people of wood, Baule
d.
Female Spirits, Mende
3. The Royal ancestral shrine of the Benin represents both the kings and the enduring nature of kingship.
Which of the following characteristics represents this notion?
a.
The carved elephant tusks reveal the enduring nature of kingship.
b.
The durability of the material reiterates the enduring nature of kingship.
c.
The carved elephant tusks stand guard over the enduring nature of kingship.
d.
The placement of the heads reiterates the enduring nature of kingship.
4. Which of the following supports the necessity of animal sacrifice made by the Benin king?
a.
It propitiates the Great Ancestor Spirit.
b.
It appeases the evil demons.
c.
It certifies his power over the animal kingdom.
d.
It invokes the collective strength of his ancestor kings.
5. The Akan commemorative head, which is sculpted by a female artist and has a long history in Akan
tradition, served which of the following original purposes?
a.
It was placed as a burial offering.
b.
It served as a reminder of the deceased.
c.
It was used in the home as a shrine ornament.
d.
It was used as paraphernalia for a Diviner.
6. Which of the following describes the Akan style trait that is found in both clay and wood sculpture?
a.
conventionalized, flattened heads
b.
glistening black surfaces
c.
neck ridges
d.
wide, broad foreheads
7. The Akan akua’ba sculptures are consecrated at shrines for young women to carry in order to ____.
a.
placate the great spirits
b.
ensure a good harvest
c.
ensure the safe delivery of a healthy and handsome child
d.
ward off the crocodile spirit of adversity
8. The Akan linguist staff becomes a metaphor for the king or chief and can be carried into a meeting
where an individual would be contesting the king’s title to the stool. Who would carry this staff?
a.
The king’s principal wife
b.
An important counselor and adviser
c.
The king’s first son
d.
The king himself
9. The veranda post carved by Olowe of Ise is a very fine example of his work. It also subtly records the
presence of the Europeans as colonists among the Yoruba. Which of the following supports this
statement.
a.
The billed cap found on one of the male supporting figures.
b.
The Union Jack placed at the top of the post.
c.
One of the supporting figures is modeled after an English solider.
d.
The central figure is holding a parasol.
10. Which of the following accounts for the partial secularization of the masking tradition in 20th century
African societies?
a.
increased Christianization of the peoples
b.
urbanization of African societies
c.
independence of African nations
d.
tribal migrations
11. The following two important masks represent the Kuba king’s legendary ancestors. They are the
founding ancestor, Woot and his daughter the beautiful Ngady Amwaash. During childbirth she sheds
tears. What accounts for these tears?
a.
The knowledge of her role as legendary ancestress
b.
In order to procreate she must commit incest with her father
c.
Her father kills her first child
d.
She must kill her father in order to establish the royal line
12. Kongo peoples have power figures that a trained priest must consecrate. These figures embody
powerful spirits. Which of the following are those figures?
a.
genetrix
b.
nkisi n’kondi
c.
waka sran
d.
mubulu ngulu
13. How does the sculpture of the Dogon differ from the sculpture of the Kongo?
a.
Dogon sculpture is strongly stylized
b.
Dogon sculpture is relatively naturalistic
c.
Dogon sculpture is strongly realistic
d.
Dogon sculpture is relatively realistic
14. Masquerades have long been a quintessential African expressive form loaded with meaning and
cultural importance. Masquerades provided governmental functions for stateless societies. Which of
the following groups of peoples would have masquerades?
a.
Senufo
b.
Baule
c.
Kongo
d.
Kota
15. In Dogon society, the Satimbe mask represents all women and commemorates the creation legend.
Which of the following is part of that legend?
a.
Women were the first ancestors to imitate spirit maskers.
b.
Women were the first ancestors to anger the spirit maskers.
c.
Women were forbidden by the spirit maskers to consort with men.
d.
Women were forbidden by the spirit maskers to wear masks.
16. The gods of the Igbo peoples found in the mbari house are clothed in contemporary and traditional
clothing representing concepts of modernity and tradition for the Igbo. Which of the following
describes the clothing style for the goddess?
a.
modern clothing
b.
body paint and traditional hairstyle
c.
modern clothing with body paint and traditional hairstyle
d.
formal gown and tiara
17. Rock painting was among the most ancient traditions in African art and continued into the 19th century.
Some scenes depict the presence of Europeans. Many examples have been found in which of the
following countries?
a.
Zaire
b.
South Africa
c.
Benin
d.
Gabon
18. Senufo men dance many masks, most in the context of the Poro society. Which of the following
describes this society?
a.
An association for clan elders
b.
An association for wives
c.
An association for socialization and male initiation
d.
An association for socialization and female initiation
19. In Mende culture a broad, high forehead signifies which of the following?
a.
fertility
b.
wisdom and success
c.
motherhood
d.
kinship
20. Which of the following describes Baule bush spirits?
a.
They are tall with elongated necks and torsos.
b.
They are tall and muscular.
c.
They are short, horrible-looking, and sometimes deformed.
d.
They are short with exaggerated heads.
21. Elaborate cyclical masquerades occur in which of the following societies?
a.
Baule
b.
Mende
c.
Kongo
d.
Dogon
22. The Mbari construction process is a stylized ____.
a.
world renewal ritual
b.
royal ritual
c.
ancestor worship ritual
d.
kinship ritual
23. Which of the following can describe Kongo nkisi n’kondi figures.
a.
They were all alike.
b.
They all wore cowrie shells and shared medicines.
c.
Each had its own role and particular medicines.
d.
Each had its own particular medicines and shared many roles.
24. Which of the following describes a Mbari house?
a.
It is never open.
b.
It is never closed.
c.
It is never repaired.
d.
It is never symbolic.
25. Kongo Nkisi n’kondi are believed to do which of the following?
a.
heal
b.
take on the spirit of its creator
c.
communicate with the animals
d.
house the soul of the first-born
26. The Mamy Wata cult was a product of the early 20th century. The “mother of water” was a
light-skinned, straight-haired woman who controlled snakes. Which of the following described this
cult?
a.
It was a reaction against European colonialism.
b.
It was an assimilation and expression of contemporary and traditional values.
c.
It was a reaction against Christianity.
d.
It was an amalgamation of Christianity and traditional spiritual values.
27. A Dogon men’s house or Togu na is important to the community because the deliberations, which take
place under the sheltering roof, are vital to the community. Which of the following would accurately
translate into English the meaning of Togu na?
a.
the house of the elders
b.
the house of judgment
c.
the house of men
d.
the house of words
28. Mamy Wata shrines feature at least one image of the snake-entwined woman and a mirror. Which of
the following is the reason for the mirror?
a.
Mamy Wata is vain.
b.
The devotee uses it to call Mamy Wata.
c.
Mamy Wata uses it to control her spiritual power.
d.
The devotee uses it to analyze dreams.
29. In Kongo society “white chalk” figures refer to which of the following?
a.
the royal family
b.
ancestors
c.
spiritual strength
d.
royal power
30. Which of the following is the name for the ceremonies the Dogon hold every several years in order to
honor the lives of those who have died since the last celebration?
a.
Poro Celebration
b.
Dama
c.
Gelede Masquerade
d.
Samburu
31. The Kuba mask known as Bwoom represents which of the following of the legendary royal ancestors?
a.
the first female and all women
b.
the founding ancestor
c.
the pygmy or dwarf who signifies the indigenous peoples of the king
d.
the heavy, terrorizing first male and all men
32. In which of the following societies can women control and dance certain masks?
a.
Mende
b.
Benin
c.
Kongo
d.
Kuba
33. Most Baule figural sculptures appear in which of the following?
a.
personal shrines
b.
public shrines
c.
holy enclosures
d.
village plazas
34. Most figures and masks are visualizations of which of the following?
a.
political forces
b.
supernatural forces
c.
natural occurrences
d.
royalty
35. The linked seated couple that clearly documents the gender roles would have been created in which of
the following groups?
a.
Dogon
b.
Baule
c.
Kongo
d.
Senufo
36. Which of the following describes how Mamy Wata appears in the dreams of her devotees?
a.
as a small female child
b.
as a voluptuously obese woman
c.
as a wizened old woman
d.
as an exotic temptress
37. What kind of veneration is quite common among African cultures?
a.
astrological
b.
ancestor
c.
elders
d.
child
38. What is the special province of Mamy Wata?
a.
the initiation of young boys into the ways of manhood
b.
the initiation of young girls into the ways of womanhood
c.
traditional bush life
d.
modern life
SLIDE IDENTIFICATION
39. (Figure 37-14)
a.
Asante
b.
Kota
c.
Kuba
d.
Dan
40. (Figure 37-24)
a.
Akan
b.
Samburu
c.
Kongo
d.
Kuba
41. (Figure 37-18)
a.
bronze
b.
wood
c.
clay
d.
relief
42. (Figure 37-8)
a.
Bamun
b.
Kuba
c.
Benin
d.
Kongo
43. (Figure 37-12)
a.
Baule
b.
Kuba
c.
Kota
d.
Kongo
44. (Figure 37-13)
a.
Mamy Wata Shrine
b.
bush spirits shrine
c.
mbari altar
d.
ancestral shrine
45. (Figure 37-11)
a.
Baga
b.
Kota
c.
Kuba
d.
Dogon
46. (Figure 37-18)
a.
Gbon mask
b.
Mende mask
c.
Beautiful Lady mask
d.
Satimbe mask
47. (Figure 3-15)
a.
linguist staff
b.
veranda post cap
c.
mbari house post
d.
Togu na house post
48. (Figure 37-17)
a.
Benin
b.
Kuba
c.
Senufo
d.
Kongo
49. (Figure 37-25)
a.
bronze
b.
wood
c.
clay
d.
stone
50. (Figure 37-15)
a.
Benin
b.
Kongo
c.
Kuba
d.
Akan
51. (Figure 37-20)
a.
Mende
b.
Fante
c.
Kongo
d.
Kuba
52. (Figure 37-21)
a.
Kuba
b.
Senufo
c.
Mende
d.
Kongo
53. (Figure 37-22)
a.
Ngady Amwaash
b.
Mwashamboy
c.
Bwoom
d.
Satimbe
54. (Figure 37-10)
a.
Asante
b.
Kuba
c.
Chokwe
d.
Senufo
55. (Figure 37-13A)
a.
Ghana
b.
Asante
c.
Mende
d.
Kongo
56. (Figure 37-16)
a.
kente cloth
b.
painted wood
c.
ivory
d.
polished stone
57. (Figure 37-17A)
a.
Senufo
b.
Ghana
c.
Chokwe
d.
Benin
SHORT ANSWER
1. Briefly describe African art production.
2. How does the regalia of the Kuba king reflect that society?
3. What is the purpose of a finely decorated stool or chair?
4. How do the rock paintings of the South African San people document their environment?
5. How does the seated couple carved by the Dogon represent defined gender roles?
6. How does the mbari house represent the male view of modernity and tradition?
7. Why did the Igbo not repair the mbari house?
8. How does the royal ancestral shrine reflect the power of the Benin king?
9. How does the description of Pieter der Marees, a Dutch visitor to 17th century Ghana assist in
documenting Akan burial practices?
10. What is the function of the Poro society in Senufo culture?
11. What is the Sande society of the Mende?
12. How do the large composite Senufo masks function in their society?
13. How does the Akan linguist staff represent the king and the proverb, “Food is for its rightful owner,
not for the one who happens to be hungry”?
14. What does the royal regalia of the Kuba king represent?
15. How do Dogon masquerades assist in the transformations of the deceased?
16. What is the Dama?
17. How does the female Mende mask evoke the female spirit?
18. What characterizes African art?
19. How are the Mende and their masking tradition unique?
20. How has the role of masks and masquerades changed since African nations gained their independence?
ESSAY
1. Describe the change and continuing evolution of African art. Use examples to support your essay.
2. Contrast Kuba and Senufo masks. How does each function within its respective society?
3. Contrast Dogon and Baule figural sculpture. How do these works represent their respective societies?
4. How does the Kongo figural sculpture mirror Kongo society? How does it represent their belief
systems, and how does this differ from the figural sculpture of the Dogon? Use examples to support
your essay.
5. Contrast royal authority and regalia and kingly presentation of the Benin and Kuba. How did history
shape their respective views and how have they responded to the 20th century? Use examples to
support your essay.
6. Describe the impact of European and American contact on 20th century African art. Include the
contemporary influences as well. How have European and American contact changed African art and
perceptions? Use examples to support your essay.
7. Describe the use of personal adornment to indicate social status in Africa. How does it reflect cultural
values? Use examples to support your essay.
8. Explain the interplay of realism and abstraction in African art. How does it amplify spiritual belief
systems and how is it changing? Use examples to support your essay.
9. Describe the roles of men and women in African societies. How do these roles affect the art forms?
How are the roles changing, and what impact do these changes have on the art forms? Use examples to
support your essay.
OTHER
SLIDE QUESTIONS
1. What is the narrative displayed on these doors?
2. How is this sculpture unique?
3. How does this mask differ from a Beautiful Lady mask?
4. What is being expressed in this representation?
5. What groups are responsible for these two heads? What materials are used, and what function did the
objects serve?
6. What is the figure that tops this mask and what does it signify?
7. Describe the purpose of these two constructions.
8. How do these people represent their personalities?
9. What is the function of this figure?
10. How does this figure represent royalty?
11. What do these figures represent?