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 |