| a. colonization. | ||
| b. syncretism. | ||
| c. topology. | ||
| d. cosmology. |
| a. End the slave trade | ||
| b. Divide rule of Africa between European nations | ||
| c. Turn over Africa to indigenous | ||
| d. Divide African artifacts among European museums |
| a. They are mainly danced by women. | ||
| b. They are mainly performed in relation to the life cycle. | ||
| c. They are only performed for funerary ceremonies. | ||
| d. Both A and B. |
| a. Congo Republic | ||
| b. Democratic Republic of the Congo | ||
| c. Central African Republic | ||
| d. Chad |
| a. hegemony. | ||
| b. colonization. | ||
| c. syncretism. | ||
| d. aestheticism. |
| a. Sculpture | ||
| b. Topography | ||
| c. Art style | ||
| d. Islamic belief |
| a. France | ||
| b. Spain | ||
| c. Belgium | ||
| d. Portugal |
| a. Men hunting | ||
| b. Animals | ||
| c. Women | ||
| d. Landscape |
| a. Tassili N'ajjer | ||
| b. Fezzan | ||
| c. Morocco | ||
| d. Drakensberg |
| a. Tuareg tents | ||
| b. Mud-based buildings | ||
| c. A type of scarification | ||
| d. A mosque in Algeria | ||
| e. It was derived solely for iconographic purpose. | ||
| f. It was derived largely for functional purpose. | ||
| g. It is found only in a small number of mosques. | ||
| h. It was a modern addition to traditional mosques. |
| a. Arab | ||
| b. Berber | ||
| c. Fezzan | ||
| d. Fon |
| a. Ethiopia | ||
| b. Sudan | ||
| 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 | ||
| b. Kush | ||
| c. Lalibela | ||
| d. Saqqara |
| a. Egypt | ||
| b. Ethiopia | ||
| c. Sudan | ||
| d. Kenya |
| a. tomb. | ||
| b. palace. | ||
| c. artist's workshop. | ||
| d. temple. |
| a. Pre-dynastic | ||
| b. Old Kingdom | ||
| c. Middle Kingdom | ||
| d. New Kingdom |
| a. Christianity | ||
| b. Islam | ||
| c. History from ancient Egyptian culture | ||
| d. Portraiture from life |
| a. A grave circle | ||
| b. A wadi | ||
| c. A sphinx | ||
| d. A mastaba |
| a. To house the ka; in case it escapes the mummified body of the deceased | ||
| b. As votive; local priests would pray to sculptures in a pharaoh's tomb | ||
| c. As historical; to preserve a highly realistic portrait of the deceased | ||
| d. None of these answers |
| a. 17th century | ||
| b. 18th century | ||
| c. 19th century | ||
| d. 20th century |
| a. Rigid | ||
| b. Natural | ||
| c. Violent | ||
| d. Fragile |
| a. War | ||
| b. Peace | ||
| c. Permanence | ||
| d. Ephemeral |
| a. Acropolis | ||
| b. Metropolis | ||
| c. Necropolis | ||
| d. Megalopolis |
| a. polytheistic. | ||
| b. monotheistic. | ||
| c. atheistic. | ||
| d. dynastic. |
| a. By using reconstituted Roman ruins | ||
| b. By cutting into rock | ||
| c. By the mud brick technique | ||
| d. None of these options |
| a. antelope. | ||
| b. lion. | ||
| c. elephant. | ||
| d. lizard. |
| a. Ancient mothers | ||
| b. Funeral rites | ||
| c. Birth ceremonies | ||
| d. The founding of agriculture |
| a. Carved wooden helmet masks | ||
| b. Woven cloth costumes | ||
| c. Costumes of natural grasses | ||
| d. Dancers on stilts |
| a. Nigeria | ||
| b. Chad | ||
| c. Algeria | ||
| d. Mali |
| a. Elongation of form | ||
| b. Mix of geometric and figurative form | ||
| c. Both A and B | ||
| d. None of these answers |
| a. Young women | ||
| b. Young men | ||
| c. Older men and women | ||
| d. Older men |
| a. Berber | ||
| b. Bamana | ||
| c. Tuareg | ||
| 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 | ||
| b. Stone | ||
| c. Wood | ||
| d. Plastic |
| a. It is associated with males of the Bamana. | ||
| 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 |