|
a. colonization. |
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|
b. syncretism. |
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|
c. topology. |
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|
d. cosmology. |
|
a. End the slave trade |
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|
b. Divide rule of Africa between European nations |
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|
c. Turn over Africa to indigenous |
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|
d. Divide African artifacts among European museums |
|
a. They are mainly danced by women. |
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|
b. They are mainly performed in relation to the life cycle. |
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|
c. They are only performed for funerary ceremonies. |
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|
d. Both A and B. |
|
a. Congo Republic |
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|
b. Democratic Republic of the Congo |
||
|
c. Central African Republic |
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|
d. Chad |
|
a. hegemony. |
||
|
b. colonization. |
||
|
c. syncretism. |
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|
d. aestheticism. |
|
a. Sculpture |
||
|
b. Topography |
||
|
c. Art style |
||
|
d. Islamic belief |
|
a. France |
||
|
b. Spain |
||
|
c. Belgium |
||
|
d. Portugal |
|
a. Men hunting |
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|
b. Animals |
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|
c. Women |
||
|
d. Landscape |
|
a. Tassili N’ajjer |
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|
b. Fezzan |
||
|
c. Morocco |
||
|
d. Drakensberg |
|
a. Tuareg tents |
||
|
b. Mud-based buildings |
||
|
c. A type of scarification |
||
|
d. A mosque in Algeria |
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|
e. It was derived solely for iconographic purpose. |
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|
f. It was derived largely for functional purpose. |
||
|
g. It is found only in a small number of mosques. |
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|
h. It was a modern addition to traditional mosques. |
|
a. Arab |
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|
b. Berber |
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|
c. Fezzan |
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|
d. Fon |
|
a. Ethiopia |
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|
b. Sudan |
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|
c. Egypt |
||
|
d. Meroe |
|
a. Stand out prominently from the backdrop |
||
|
b. Stand out slightly from the backdrop |
||
|
c. Are incised deeply into the backdrop |
||
|
d. Are incised slightly into the backdrop |
|
a. Meroe |
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|
b. Kush |
||
|
c. Lalibela |
||
|
d. Saqqara |
|
a. Egypt |
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|
b. Ethiopia |
||
|
c. Sudan |
||
|
d. Kenya |
|
a. tomb. |
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|
b. palace. |
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|
c. artist’s workshop. |
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|
d. temple. |
|
a. Pre-dynastic |
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|
b. Old Kingdom |
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|
c. Middle Kingdom |
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|
d. New Kingdom |
|
a. Christianity |
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|
b. Islam |
||
|
c. History from ancient Egyptian culture |
||
|
d. Portraiture from life |
|
a. A grave circle |
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|
b. A wadi |
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|
c. A sphinx |
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|
d. A mastaba |
|
a. To house the ka; in case it escapes the mummified body of the deceased |
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|
b. As votive; local priests would pray to sculptures in a pharaoh’s tomb |
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|
c. As historical; to preserve a highly realistic portrait of the deceased |
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|
d. None of these answers |
|
a. 17th century |
||
|
b. 18th century |
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|
c. 19th century |
||
|
d. 20th century |
|
a. Rigid |
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|
b. Natural |
||
|
c. Violent |
||
|
d. Fragile |
|
a. War |
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|
b. Peace |
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|
c. Permanence |
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|
d. Ephemeral |
|
a. Acropolis |
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|
b. Metropolis |
||
|
c. Necropolis |
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|
d. Megalopolis |
|
a. polytheistic. |
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|
b. monotheistic. |
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|
c. atheistic. |
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|
d. dynastic. |
|
a. By using reconstituted Roman ruins |
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|
b. By cutting into rock |
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|
c. By the mud brick technique |
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|
d. None of these options |
|
a. antelope. |
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|
b. lion. |
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|
c. elephant. |
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|
d. lizard. |
|
a. Ancient mothers |
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|
b. Funeral rites |
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|
c. Birth ceremonies |
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|
d. The founding of agriculture |
|
a. Carved wooden helmet masks |
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|
b. Woven cloth costumes |
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|
c. Costumes of natural grasses |
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|
d. Dancers on stilts |
|
a. Nigeria |
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|
b. Chad |
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|
c. Algeria |
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|
d. Mali |
|
a. Elongation of form |
||
|
b. Mix of geometric and figurative form |
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|
c. Both A and B |
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|
d. None of these answers |
|
a. Young women |
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|
b. Young men |
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|
c. Older men and women |
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|
d. Older men |
|
a. Berber |
||
|
b. Bamana |
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|
c. Tuareg |
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|
d. Fulani |
|
a. Scientific testing for authentication of age |
||
|
b. The return to Nigeria of Nok art currently owned by institutions outside the country |
||
|
c. Distributing reinterpretations of Nok art to public museums |
||
|
d. All of these answers |
|
a. Clay |
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|
b. Stone |
||
|
c. Wood |
||
|
d. Plastic |
|
a. It is associated with males of the Bamana. |
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|
b. It is associated with females of the Bamana. |
||
|
c. It is associated with females of the Dogon. |
||
|
d. It was first developed for the tourist trade. |
|
a. It is primarily a funeral ritual. |
||
|
b. It expresses aspects of Dogon cosmology. |
||
|
c. The head crest is an abstract form. |
||
|
d. All of these answers. |
|
a. The name of the historian who first wrote about it |
||
|
b. The place it was found |
||
|
c. The language spoken in the region it was found |
||
|
d. None of these answers |
|
a. Ancestral mothers |
||
|
b. Twins |
||
|
c. The supreme deity |
||
|
d. The Orisa Obatala |
|
a. Guinea |
||
|
b. Liberia |
||
|
c. Ghana |
||
|
d. Senegal |
|
a. Cowrie shells |
||
|
b. Paints |
||
|
c. Stretched animal skins |
||
|
d. Metal studs |
|
a. Functions of saint-like figures |
||
|
b. Dynastic history |
||
|
c. Verbal proverbs/sayings |
||
|
d. Gender |
|
a. Igbo |
||
|
b. Yoruba |
||
|
c. Bamana |
||
|
d. Fon |
|
a. Carving |
||
|
b. Casting |
||
|
c. Welding |
||
|
d. Modeling |
|
a. adinkra. |
||
|
b. asafo. |
||
|
c. ukara. |
||
|
d. adire. |
|
a. Yoruba |
||
|
b. Asante |
||
|
c. Baule |
||
|
d. Fon |
|
a. A water spirit across cultures in Africa and the African diaspora |
||
|
b. A supreme being in Yoruba and Igbo kingdoms |
||
|
c. Mother Earth mainly in West Africa |
||
|
d. A pan-African women’s heritage group |
|
a. Monarchs |
||
|
b. Deities |
||
|
c. Soldiers |
||
|
d. Priests |
|
a. Styles of West African art |
||
|
b. Objects reserved for use by royal elite of a culture |
||
|
c. Objects reserved for use by religious clerics of a culture |
||
|
d. None of these answers |
|
a. uli. |
||
|
b. nsibidi. |
||
|
c. ukara. |
||
|
d. adire. |
|
a. Benin |
||
|
b. Nigeria |
||
|
c. Cameroon |
||
|
d. Ghana |
|
a. Twins |
||
|
b. Ancestral mothers |
||
|
c. The king at Oyo |
||
|
d. All the Orisas |
|
a. A temple for worship |
||
|
b. A residence for the head diviner of a community |
||
|
c. A spirit house |
||
|
d. A men’s association |
|
a. Nigeria |
||
|
b. Benin |
||
|
c. Ghana |
||
|
d. Mali |
|
a. Messenger |
||
|
b. Fertility |
||
|
c. Agriculture |
||
|
d. Age initiation |
|
a. Art criticism |
||
|
b. Aesthetic theory |
||
|
c. Curatorial |
||
|
d. Connoisseurship |
|
a. Northern Nigeria |
||
|
b. Southern Nigeria |
||
|
c. Southern Mali |
||
|
d. Benin City |
|
a. No drumming is used. |
||
|
b. Dancers do not cover their faces. |
||
|
c. Women organize and perform in the prominent masquerades. |
||
|
d. Men play woman’s roles. |
|
a. Naturalistic |
||
|
b. Geometric |
||
|
c. Colossal |
||
|
d. Ceramic |
|
a. Mauritania |
||
|
b. Sierra Leone |
||
|
c. Guinea |
||
|
d. Liberia |
|
a. Fante |
||
|
b. Baule |
||
|
c. Senufo |
||
|
d. Asante |
|
a. The bronze equestrian figure |
||
|
b. The bronze head |
||
|
c. Kuduo containers |
||
|
d. Wood votives |
|
a. Ebony wood |
||
|
b. Gold |
||
|
c. Soapstone |
||
|
d. Silver |
|
a. Akua ma |
||
|
b. Personal stools |
||
|
c. Brass weights |
||
|
d. Adinkra |
|
a. It is meant to be a permanent monument. |
||
|
b. It is closely associated with the earth mother deity. |
||
|
c. It is created in relation to community issues. |
||
|
d. It is an ephemeral form. |
|
a. Most art was produced at the court of the Oba. |
||
|
b. Europeans are represented in traditional sculpture of Benin City. |
||
|
c. Bronze plaques featured representations of the Oba. |
||
|
d. All of these answers. |
|
a. Dancers are completely covered in textile costumes. |
||
|
b. Women are the main performers. |
||
|
c. It commemorates early victories of the Yoruba over neighboring groups. |
||
|
d. All of these answers. |
|
a. It is distinguished by a stamp printing technique. |
||
|
b. It is ornamented with symbolic forms. |
||
|
c. It was associated with mourning. |
||
|
d. All of these answers. |
|
a. It is distinguished by a stamp printing technique. |
||
|
b. It is ornamented with symbolic forms. |
||
|
c. It was associated with mourning. |
||
|
d. All of these answers. |
|
a. A woven textile of the Igbo |
||
|
b. The largest traditional mask type in Africa |
||
|
c. The palace compound of an Igbo chief |
||
|
d. A fertility votive of the Yoruba |
|
a. Stone figures found in Sierra Leone |
||
|
b. Carved ivory figures found in Sierra Leone |
||
|
c. The Senufo men’s association |
||
|
d. None of these answers |
|
a. A women’s society in Mende culture |
||
|
b. A men’s society in Dan culture |
||
|
c. A Bamana masquerade |
||
|
d. A type of nomoli |
|
a. West Atlantic Coast |
||
|
b. Central Sudan |
||
|
c. Gold Coast |
||
|
d. Sahara |
|
a. The history of ownership of an object |
||
|
b. The stylistic lineage of an object |
||
|
c. The market value of an object |
||
|
d. The relative quality of an object |
|
a. Carves the core wooden votive |
||
|
b. Adds organic substances to the core votive |
||
|
c. Both A and B |
||
|
d. None of these answers |
|
a. Fertility |
||
|
b. Funeral rites |
||
|
c. Historical memory |
||
|
d. Age initiations |
|
a. Bangwa |
||
|
b. Kongo |
||
|
c. Fon |
||
|
d. Mangbetu |
|
a. Cameroon |
||
|
b. Gabon |
||
|
c. Nigeria |
||
|
d. Guinea |
|
a. Congo Republic |
||
|
b. Democratic Republic of the Congo |
||
|
c. Central African Republic |
||
|
d. Angola |
|
a. syncretism. |
||
|
b. appropriation. |
||
|
c. hegemony. |
||
|
d. repatriation. |
|
a. Portraiture of specific individuals |
||
|
b. Symbolic lineage |
||
|
c. Anatomical abstraction |
||
|
d. Carving technique |
|
a. Bamum |
||
|
b. Bamileke |
||
|
c. Both A and B |
||
|
d. None of these answers |
|
a. Scarification |
||
|
b. Elaborate hairstyles |
||
|
c. Head elongation |
||
|
d. Tooth shaping |
|
a. Wood type used |
||
|
b. Position |
||
|
c. Exposed breasts |
||
|
d. Represented scarification |
|
a. They have a rigid canon of form. |
||
|
b. The belly is a symbolic focus. |
||
|
c. They are sculpture types of the Bangwa culture. |
||
|
d. All of these answers. |
|
a. Bamum |
||
|
b. Bamileke |
||
|
c. Both A and B |
||
|
d. None of these answers |
|
a. Egyptian and Sudanese |
||
|
b. Arabic and Indian |
||
|
c. French and English |
||
|
d. Congolese and Bantu |
|
a. The meanings associated with them |
||
|
b. Aesthetic judgments |
||
|
c. Individual artistic decisions |
||
|
d. Both A and B |
|
a. Life |
||
|
b. Death |
||
|
c. Light |
||
|
d. Fire |
|
a. The Khoi |
||
|
b. The San |
||
|
c. The Zulu |
||
|
d. The Shona |
|
a. Rigid, geometric organization |
||
|
b. Organic, curved structures |
||
|
c. A series of low, small enclosures |
||
|
d. Knowledge of Egyptian building techniques |
|
a. Mud brick |
||
|
b. Coral cement |
||
|
c. Marble |
||
|
d. Adobe |
|
a. Tanzania |
||
|
b. Kenya |
||
|
c. Uganda |
||
|
d. Madagascar |
|
a. Bronze |
||
|
b. Ceramic |
||
|
c. Wood |
||
|
d. Stone |
|
a. Stacked stone without mortar |
||
|
b. Cement |
||
|
c. Ceramic brick |
||
|
d. Wood |
|
a. Zambia |
||
|
b. Durban |
||
|
c. Drakensberg |
||
|
d. Johannesburg |
|
a. A mosque in Swahili |
||
|
b. A traditional food of the Swahili coast |
||
|
c. A large house |
||
|
d. An indigenous language in Kenya |
|
a. Arabic |
||
|
b. Mande |
||
|
c. Swahili |
||
|
d. Zulu |
|
a. Politics |
||
|
b. Identity |
||
|
c. Tradition |
||
|
d. All of these answers |
|
a. Installations |
||
|
b. Found objects |
||
|
c. Video |
||
|
d. All of these answers |
|
a. Alienation |
||
|
b. Appropriation |
||
|
c. Allocation |
||
|
d. Annexation |
|
a. The abstracted anatomy |
||
|
b. The materials used |
||
|
c. The cultural symbolism of the works for the cultures in which they were created |
||
|
d. Their potential monetary worth as curiosities |