1. Which statement is NOT part of the definition of art?
a. The process should be creative and playful and not focused purely on functionality.
b. Art should be transformational, as in an event derived from nature.
c. Art should imply a certain level of skill not equally shared by all members of society.
d. Art should communicate to the consumer.
e. Art should have some commercial value.
2. What does it mean to say that art should be transformational?
a. It should demonstrate a certain level of technical skill.
b. It should clearly produce an emotional response.
c. It should make a statement about what is being portrayed.
d. It should represent a converted image.
e. It should be have a defined meaning attached.
3. Painting, carving, weaving, and sculpting are all classified as:
a. fine art.
b. plastic art.
c. material art.
d. representational art.
e. physical art.
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4. The anthropological definition of art:
a. is a universal one, accepted by all professionals.
b. refers to processes, products, and transformation of forms in ways that are aesthetically pleasing to members
of the society.
c. emphasizes permanent material forms of art as the most important.
d. does not recognize symbolic communication as art.
e. considers any product that is human-made as an artistic form that attempts to communicate.
5. Professional art critics:
a. are part of the art establishment in the U.S. that determines what constitutes good art.
b. are found in all societies.
c. set the standards that determine what constitutes good art in all societies.
d. are found in the U.S. and Europe only.
e. are not actually authorities on art and are not consulted by anthropologists when they approach art cross-
culturally.
6. Anthropologistsconsidertheterm“primitive:”
a. to refer to the art of the more backward non-Western societies.
b. misleading, because it connotes inferiority and evolutionary sequencing.
c. to only refer to non-permanent forms of art.
d. to only refer to the non-material art forms of societies that are organized as bands, tribes, or chiefdoms.
e. incorrect because all cultures are absolutely equal and cannot be compared to each other.
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7. In complex societies:
a. art forms and aesthetic knowledge are uniformly spread across all classes.
b. only members of the upper class have the time, money, and knowledge to be able to produce art objects.
c. aesthetic critics responsible for establishing artistic standards are invariably members of the upper classes or
are employed by them.
d. art is more democratic and all people have relatively equal access to it.
e. theterm“primitive”isusedtodenoteartthatisproducedbythelowerclasses.
8. When displayed in museums, descriptions of non-Western art (as compared to Western art) often include all of the
following EXCEPT:
a. the specific culture from which it comes.
b. the function the piece serves.
c. the materials used to make it.
d. the name of the artist who produced it.
e. how the piece reflects other aspects of culture.
9. AnthropologistsdoNOTusetheterm“primitive”torefertoartbecause:
a. they cannot agree on a definition for the term.
b. primitive art is a craft, not really an art.
c. it has connotations of inferiority.
d. contemporary societies do not make such art at the present.
e. small-scale societies do not use the term.
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10. What is a “random act of culture?”
a. It is a planned artistic event that appears to its audience as unscripted and spontaneous.
b. It is an act of charity or giving, such as donating paintings to museums.
c. It is any kind of instinctual behavior, such as the need to create art.
d. It is any type of interactive art, such as a film or play.
e. It is any type of heightened emotional event that causes a reaction in the viewing audience.
11. Which of the following statements is FALSE?
a. Art in complex societies most often becomes associated with the elite.
b. Aesthetic standards in small-scale societies tend to be less well-defined.
c. Art tends to be more democratic in small-scale societies, where everyone has equal access to it.
d. Art in small-scale societies tends to be highly portable.
e. Art in small-scale societies is associated with the lower classes.
12. Navajo sandpainting is not only an art form, but also a primary part in all of the following aspects of Navajo life
EXCEPT:
a. religion.
b. myth.
c. healing practices.
d. commercial subsistence.
e. social order.
Chapter15—Art
13. Why is the Crest Hardware store a somewhat unique example of an art museum in the United States?
a. It is an art museum where visitors can watch the artists producing their pieces from local products.
b. It sells everyday functional items alongside exquisite pieces of art.
c. It is an art museum that focuses specifically on functional tools as art.
d. It is a museum where the patrons themselves make their own art during their visits.
e. It is a museum that focuses exclusively on American commercialism.
14. The release of creative energy is a personal gratification that is most often associated with which of the following?
a. Viewer
b. Art critic
c. Collector
d. Artist
e. Curator
15. Through music, Bert, Ernie, and Kermit of Sesame Street:
a. entertain the bored children of a complex society.
b. are not part of an aesthetic process.
c. are forms of art that educate children about conflict resolution and race relations.
d. are forms of representational art that are produced for a single class segment in society.
e. are types of plastic art because they are interpreted differently by everyone who sees them.
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16. TheMano“godspirit”mask,whichembodiesthespiritualforceinLiberia:
a. serves as an agent of social control and conflict resolution, as well as an expression of religious belief.
b. plays only a religious role in the society, although it is used to create social conformity.
c. serves primarily as a crude reminder of the dead ancestor.
d. is an important social control mechanism that has little or no religious significance.
e. is a type of art that is both representational and transformational, but not symbolic.
17. Wherewasthe“PeaceWall”constructedasawayofintegratingandsolidifyingsocialbinds?
a. Atlanta
b. New York City
c. Boston
d. Chicago
e. Philadelphia
18. Which of the following is NOT true about Liberation Theater?
a. It is based on the philosophies of Franz Boas.
b. It is designed to focus on the involvement of the audience.
c. It is used for social change.
d. It started in the 1960s.
e. It focuses specifically on issues of social justice.
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19. In more complex societies, state governments:
a. deliberately use art to ensure freedom of expression.
b. always carefully control art to prevent social agitation.
c. frequently repress artistic forms that criticize national symbols.
d. sponsor art for the sake of instilling obedience and maintaining the status quo.
e. subsidize the production of art as a way of calming the social classes.
20. Chilean arpilleristas did NOT:
a. tell the story of political oppression on scraps of cloth.
b. use their art to support the government in power.
c. become banned in their own country.
d. attempt to raise the consciousness of their oppressed countrymen to bring about political and social change.
e. use art as a vehicle of protest.
21. With what form of art was Secretary of State Madeleine Albright associated as a way of communicating political
statements in a non-threatening manner?
a. Pins
b. Scarves
c. Shoes
d. Handbags
e. Bracelets
Chapter15—Art
22. All ethnomusicologists are interested in:
a. the search for musical universals.
b. focusing on the enormous musical diversity that exists.
c. studying music in its cultural context.
d. recreating music through self-made instruments.
e. performing music live for different cultural audiences.
23. The art form which has received the greatest amount of anthropological attention is:
a. body decoration.
b. dance.
c. music.
d. graphic and plastic arts.
e. folklore.
24. An Inuit artist carving ivory:
a. is producing a craft and not art.
b. mostly works for commissions.
c. is involved in a total act of will, which transforms the ivory into whatever he wants to create.
d. sees his activity as a liberation of whatever form is already in a piece of ivory.
e. believes that this piece of art will be a perfect sacrifice to the ancestors.
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25. Slobin and Titon identified four major areas of concern for ethnomusicologists. Which of the following does NOT
belong?
a. Material culture of music
b. Social structure of music
c. Ideas about music
d. Characteristics of the music
e. Political impact of music
26. Dance:
a. has been defined as purposeful and intentionally rhythmical nonverbal body movements.
b. is culturally patterned and has aesthetic value.
c. may expresses political concerns.
d. involves nonverbal body movements.
e. all of these choices are correct.
27. Which of the following is NOT one of the multiple functions of dance?
a. It may be performed simultaneously.
b. It can express political values and attitudes.
c. It is unique and is not associated with other communicative forms of art.
d. It varies widely from society to society in performance value.
e. It is supported substantially by governments in some state societies.
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28. AlanLomax’scrossculturalresearchonmusicfound:
a. almost no similarities from one society to another.
b. somebroadcorrelationsbetweenvariousaspectsofmusicandaculture’slevelofsubsistence.
c. that music in egalitarian, small-scale societies was essentially similar to music in complex, industrialized
societies.
d. that music in small-scale societies had nonrepetitious texts.
e. that music cross-culturally involves precise articulation.
29. All of the following are characteristics of music associated with stratified societies EXCEPT:
a. few instruments.
b. elaborate, embellished songs.
c. solo singing.
d. nonrepetitous texts.
e. narrow melodic intervals.
30. Capoeira is a form of dance that originated in:
a. Argentina.
b. Brazil.
c. Cuba.
d. Mexico.
e. Portugal.
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31. What is the origin of capoeira?
a. Capoeira originated as a way of adapting to an oppressed environment in which there was almost no other
outlet for frustration and anger.
b. Capoeira originated among the oppressed slaves and was a way of telling their history as entertainment to the
slave owners.
c. Capoeira emerged out of the Carnivale tradition and is a European-Afro-Brasileiro dance style.
d. Capoeira originated with the upper classes of slave owners who brought this dance form from Portugal and
then combined it with the slave traditions in Brazil.
e. Capoeira originated in West Africa and was imported with slavery to Brazil.
32. In ethnomusicology, which of the following questions would NOT usually be classified as a characteristic of the
music itself?
a. How is the music learned?
b. How is the music composed?
c. What is the nature of the musical text itself?
d. How does the musical style vary?
e. What types of musical instrument are used in a culture?
33. Which of the following statements is correct?
a. The accumulation of art objects is more common in foraging societies than state societies.
b. Liberation theater has been used extensively to preserve the traditions of a culture.
c. Art can be used both for preserving the status quo and also changing it.
d. Art is always a force for change in every society, as it never supports the monotony of status quo.
e. As societies become more complex, the social status structures actually become simpler and clearer.
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34. Which of the following is NOT usually considered a graphic or plastic art by anthropologists?
a. Print making
b. Music
c. Weaving
d. Painting
e. Tailoring
35. Which of the following events is considered the “shot heard around the Middle East” because it ignited the Arab
Spring?
a. A dance by Egyptian Abubakar Humani
b. A song by Tunisian Hamada Ben Amor
c. A play by the Liberian liberation group Al Hamada
d. A painting by Syrian Krayam Awad
e. A film by Egyptian Ibrahim El-Batout
36. Humor is:
a. appropriate in all cultural situations.
b. the same cross-culturally.
c. universal to all cultures and always adaptable.
d. culturally specific and not easily translated.
e. specific to each culture and can never be translated.
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