1. ___ In the Atlantic coast of western Africa -?- and ceramics appeared in this area about two thousand years ago.

2. ___ The ceramic sculptures of the -?- culture of northern Nigeria (nIjir¥Ea), dating from about 500 B.C. to A.D. 200, are the earliest known examples of figurative sculpture south of the Sahara. It has been suggested that they were made by women

3. ___ The cast metal Royal art of Benin was disrupted at the end of the 19th c. by the removing of thousands of art work from the king's palace by the -?- of 1897

4. ___ In the royal arts of Akan, and kingdoms and chieftaincies of the grasslands in Cameroon, works of art were produced to celebrate chiefly prestige, to decorate shrines, for divination, and to control -?-.

5. ___ We still don't have a complete art history of -?- because of the complexity of art there

6. ___ The -?- civilization existed at the same time as the civilizations of ancient Greece and Rome.

7. ___ Almost the only information that we have about the Nok (knock) culture comes from -?- sculptures,

8. ___ -?- is a branch of the Niger-Congo language family spoken primarily in Sierra Leone, Liberia, Guinea, Ivory Coast, Mali, and Burkina Faso.

9. ___ -?- is a Mande (¥m”n-,dA) language of southern Sierra Leone and eastern Liberia

10. ___ Large groups of ceramic sculpture dating between A.D. 1000 and 1600 have been excavated in the inland delta of the -?-. This is a perhaps an early example of stylization and abstraction that is to become a dominant style in Africa.

11. ___ "The high forehead signifies -?-, whereas the large breasts and belly symbolize fertility and abundance, which are essential to an agrarian society.

12. ___ Among the -?-, religious associations control political, social and supernatural power, and function as the main patrons for Bamana art.

13. ___ The -?- of the Bambara and others, was born of the marriage of the earths first woman and a serpent. It was half man, half animal, and taught early man how to cultivate the earth

14. ___ In the rocky cliffs of the Bondiagara (b”hn(d)-gE-g”-rÂ) escapment south of the great bend of the Niger River live the -?-, an agricultural people who maintain their traditional way of life for centuries, resisting the influence of other cultures

15. ___ The -?- have an important place in the religious and social life of the Dogon (dOg”n) of Mali (¥m”-lE). Carved figures, places in family shrines, provided dwelling places for the ancestral sprits upon whom the living members of the community called for assistance in bringing health, safety, and abundant crops.

16. ___ Approximately 75% of the population of -?- is Muslim. The Muslim religion was introduced into Mali in the eleventh century.

17. ___ Dogon -?- are prized by collectors of African art for their bold, simple forms that remind us of contemporary abstract sculpture.

18. ___ In -?- Styles: elongation, abstract face masks, often emphasized vertical elements. ... The Rhythm Pounder we examined is a clear example of elongation, a [western] Sudanese feature.

19. ___ Among the Senufo, animal-horn -?- are worn by members of the predominantly male Poro society in funerary rituals for distinguished male and female elders.

20. ___ The hornbill, called Porpianong by the Senufo (se-nu-¥fO*) people, is often carved with its long curved beak penetrating its swollen belly, thus incorporating both male and female reproductive elements and serving as an ingenious symbol of -?-

21. ___ The -?- also serves as a guide to deceased souls, leading them safely to the afterlife.

22. ___ Bwa people use plank masks covered with geometric shapes that have symbolic meanings. These are part of a style center, called -?-, which includes the Bwa, Nuna, Nunuma.

a. British Punitive
Expedition

b. Mande

c. metalworking

d. Bamana
(BAH-muh-nuh)

e. ancestors

f. supernatural forces

g. Niger River ('nI-jur)

h. Central Voltic

i. ladders

j. Nok (KNOCK)

k. fertility

l. Nigeria

m. spiritual
enlightenment

n. helmet masks

o. chi wara
(CHEE-wah-rah)

p. Sudanese

q. terracotta

r. Dogan

s. Mende

t. Mali

u. hornbill

23. ___ In Africa's westernmost lands, the nations of Senegal, Gambia, Guinea Bissau, Guinea, Serra Leone, Liberia and Ivory Coast, the peoples speaking -?- languages are believed to be the first inhabitants of the area

24. ___ Small figures carved of soapstone, or steatite (¥stE-Â-,tIt), are often found buried in the earth in Sierra Leone (sE-r¥Â lEO-n¥) and Guinea (g-i-n¥E). Made by the -?-.

25. ___ The newer inhabitants, the Mende (¥men-dE) people, who find them call them -?-.

26. ___ The -?- moved into the coastal area of present-day Guinea from the north and may have been influenced by (shur-b(r)O*) Sherbro pieces

27. ___ a group called the -?-, includes the Temne, and the Sherbro (shur-b(r)O*), Baga (b”-gÂ*), and Kisi (kissE*) of the west Atlantic forests.

28. ___ The Temne (tem¥nE) subgroup of the Sapi peoples made export -?-.

29. ___ The -?- also includes the Gio (gEO* - g as in geek) tribe, of Dan (dan*) people, Bete (bAtA*), Guro (gurO), and Baule (bah-O-lay*). ... Their style is characterized by pinched-looking features in a diamond-shaped face, and by a ringed neck.

30. ___ Among the Mende and some of their neighbors in Sierra Leone (sE-r¥Â lEO-n¥) and Liberia, the all-female -?- is responsible for the education of girls, and are patrons of the arts.

31. ___ To the southeast of the Mende, in Liberia, live a related people, the Dan (dan*). The art of both groups shares features with the entire Guinea coast style area. Along the coast, figures tend to be stockier, less elongated; full volumes appear more frequently than they do in Sudanese art. The -?- of African art are found more often on the coast

a. "Mende Style"
(¥men-dE)

b. nomoli

c. West Atlantic

d. conventional body
proportions

e. Sapi (s”pE?)

f. Sherbro-Bullom
(shur-b(r)O*)

g. Baga (b”-gÂ*)

h. Sande Society
(SAHN-day)

i. ivory carvings

32. ___ Ashanti (”sh”n¥tE) was one of the earliest trading nations on the west coast of Africa, since it controlled important gold fields. It was a great empire in the nineteenth century and the British were obliged to fight a series of battles to gain control of the Gold Coast, which is today modern -?-.

33. ___ The -?- is a fertility figure used by the Ashanti (ah-SAHN-tE) and related Fante people of coastal Ghana. These female figures are given to women to ensure fertility and the health and beauty of their unborn children. It embodies the Asante ideal beauty of a child, including feature proportions, a round head with a high oval forehead, a long sometimes ringed neck. It has a flat, discus head, and a cylindrically-carved, stick-like body, with straight arms.

34. ___ Ashanti terracotta -?- are believed to serve as a dwelling place for the spirits of the dead who are thought to benefit their descendants.

35. ___ Portraits of great -?- almost never occur in African artãnor are they desired.

36. ___ The Akan peoples of Ghana are well-known for their textile arts, which include both printed and woven cloth. Their -?- cloth, worn on festive occasions consists of broad strips of cotton cloth that have been divided into rectangular fields filled with symbolic designs. The names of the designs refer to Akan proverbs.

37. ___ The Baule (bah-O-lay*) peoples' Blolo Bla of Blolo Bian statue represents a -?- from the spirit world. Once carved by the village spiritual leader, sacrifices are offered to the statue, which in turn looks over the dilemmas that arise in the owner's life.

38. ___ The most skilled artists, exemplified by Baule (bah-O-lay*) masks and figures, animate their work with the kind of balanced -?-

39. ___ To the Baule the female body as the source of life is one of the most potent spiritually-charged art, called -?-, and they believe that clandestine or brazen looking at a woman's sexual organs can be fatal to men.

40. ___ Perhaps the most readily available art forms in the lives of Baule people are the -?- masks

41. ___ Among the Baule, restricted sacred art include gold objects, men's masks, and figures inhabited by powerful -?-. These are kept covered or hidden. Some cannot be seen by women, others are wrapped in bundles and not seen for decades. These are the only Baule art that have the power to kill an unauthorized viewer

42. ___ Among the Baule as elsewhere in Africa, a legend attributes the discovery of masks to -?-

43. ___ the explanation is given that women cannot deal with -?- because they menstruate.

44. ___ a woman with a "strong heart" might have contact with the masks, just as exceptional women in the past occasionally filled the normally male post of -?-

45. ___ These masterpieces of Baule art depict a -?-: they are upstanding, composed, and their eyes show an intelligent and respectful presence in society.

46. ___ none of the artistic -?- are local, either geographically or temporally. ...there obviously are in Africa some broad regional characteristics, style areas, and concepts that span vast distances

47. ___ The study of Baule art, in particular, probably has a broad application to other African art -?-, and should be useful for thinking about some art beyond Africa.

48. ___ Fear of theft, and the decreasing numbers of important art objects left in the villages, have probably caused artworks to be even less visible in the -?-

49. ___ Like the Baule concept, the -?- concept de-emphasized the art object as object or material thing

50. ___ The Baule, like many others in Africa, describe art as modifiers of personal lives; as modifiers of moral and physical struggles; and as modifiers of the drabness of -?-

51. ___ The Anyi (an((g))y(E)*) have a religious system based upon the continued honoring of one's -?-.

a. Mblo

b. Ghana

c. village chief

d. Igbo (ig¥bO)

e. funerary heads

f. daily existence

g. adinkra

h. amuin

i. women

j. physical and
moral ideal

k. departed ancestors

l. akua-ba/akuba
(ah-¥kooah-bah)

m. spouse

n. realism

o. asymmetry

p. late 20th century

q. masks

r. bush spirits

s. traditions

52. ___ The Yoruba (¥yor-Â-bÂ)-speaking peoples of Nigeria (nIjir¥Ea) and the Popular Republic of (bÂ-¥nin) Benin, together with their countless descendants in other parts of Africa and the Americas, have made remarkable contributions to world civilization.1 Their urbanism is ancient and legendary, probably dating to A.D. 800-1000, according to the results of archaeological excavations at two ancient city sites, Oyo (ÙyÙ¥) and -?-

53. ___ In the arts, the -?- are heirs to one of the oldest and finest artistic traditions in Africa, a tradition that remains vital and influential today.

54. ___ Among the 900 years of Yoruba kingdoms, one of the earliest was -?- near the Niger River, and and its feared cavalry flourished between 1600 and 1830 and came to dominate a vast territory.

55. ___ After -?- there is a gap of about 800 years before the appearance of Ife (¥E-(,)fA*)

56. ___ Another Yoruba kingdom in the southeast, -?-, maintained close ties to Ife and also experienced the powerful artistic and cultural influences of (bÂ-¥nin) Benin between the fifteenth and nineteenth centuries.

57. ___ The Yoruba were the first to establish trading ties with Europeans in the late fifteenth century. Over the next four centuries, the Yoruba kingdoms prospered and then declined as the devastating effects of the slave trade and internecine warfare of the nineteenth century took their toll. The stage was set for the ascendancy of the -?- and the advent of colonial rule at the end of the nineteenth century.

58. ___ The -?- late arrival and enormous numbers ensured a strong -?-Yoruba-?- character in the artistic, religious, and social lives of Africans in America.

59. ___ In the Yoruba view, all the arts are closely related and are often meant to be understood and seen as images in the mind's eye. Such mental images (iran) are related to oju inu (literally "inner eye" or -?-).

60. ___ African -?- are experiencing a revival after years of oppressive domination by Muslims and Christians. The knowledge of these were maintained by secret societies, especially by the Yoruba.

61. ___ To the Yoruba, -?- is the life force possessed by everything that exists.

62. ___ Ase is given by -?-, considered the supreme being in much of Africa's indigenous religions, and applies to everythingãgods, ancestors, spirits, humans, animals, plants, rocks, rivers, and voiced words such as songs, prayers, praises, curses, or even everyday conversation. ...Ase is the power to make things happen and change.

63. ___ -?- is "mother Earth," it is often spoken and written "at birth we rest on her, at death we return to her womb." Yoruba & others

64. ___ when art captures the essential -?- of something, the work will be considered "beautiful." That is the significance of the saying iwa l'ewa--"essential -?- is beauty"

65. ___ The eight hundred -?- found at Esie (E-CE*) are another problem in Nigerian art history. They bear some similarities to present day Yoruba art as well as to the art of Ife, but are not really close to either style.

66. ___ -?-. This is a widespread artistic convention which substitutes a very large head, long torso, and short legs for normal human proportions

67. ___ The height of an elaborate -?- is often equal to that of the face, emphasizing the importance of the head, typical of many Esie (E-CE*) and later (¥ymr-Â-bÂ) Yoruba figure sculptures.

68. ___ -?- are important markers of status among the Yoruba people

69. ___ some of the earliest African artworks to enter -?- in the sixteenth century came from Owo. These comprised intricately carved ivory spoons and bracelets.

70. ___ Owo culture was greatly influenced by -?-. Evidence of this influence is seen in the age-grade system, titles, palace architecture, and costumes of Owo. We saw this in the Owo "Ram Ornament," Nigeria, 17th- 19th century.

71. ___ -?- is regarded as the center of Yoruba ivory carving

72. ___ In Owo, ram heads or human heads with ram horns (osomasinmi), decorate -?- (oju'po). They represent the attributes of courage, pugnacity, speed, and strength, all of which the lineage ancestors are supposed to possess in order to be effective as protectors of the lineage's living members.

73. ___ Archaeologically, -?- has yielded much valuable data which could prove crucial in the interpretation of the naturalistic terracottas and bronzes of Ife

74. ___ One of the most remarkable periods in Yoruba history was that of the -?- Empire. From about 1680 to 1830 the capital city, and its king were a powerful presence shaping the course of events for almost all of the (¥yor-Â-bÂ) Yoruba subgroups and their foreign neighbors

75. ___ For the art historian, the variety of sculptural forms and the richness of iconography as well as the oral poetry associated with the worship of -?- may be (ÙyÙ¥) Oyo-Ile's greatest legacy to the history of (¥ymr-Â-bÂ) Yoruba art

76. ___ Size was important in -?- court art, as it is in Yoruba art today. This was exampled in "Warrior Carried on the Shoulders of a Retainer."

77. ___ Trays such as the Ifa Tray, 19th-20th c., with it's two kneeling figures, coiled snakes on each side, above these pairs of intertwined fish, and surrounded design of juxtaposed triangles and circles, demonstrate the dynamic at the heart of the -?- with "a remarkable interplay of formal and geometric patterns and images of harmony and tension."

78. ___ "Yoruba value reasoned openness and -?- -- a mental outlook that carefully evaluates creative production in the past and the present in order to lead to new, appropriate, and efficacious creations in the future. Such a dynamic is one reason for the longevity, strength, and continuing vitality of Yoruba art." (Drewal. 1989)

79. ___ The -?- council/society of the eldest and wisest male and female elders, is one of the most important institutions of the Yoruba

80. __k_ The carver of the "Equestrian Figure" is by -?- who was one of the great carvers for orisa shrines in the area of Osogbo, Ilohu and Ede at the turn of the century. He died about 1927 and his son, Toiho, an equally gifted artist, died about a decade later. The "Equestrian Figure" is one of his finest works.

81. ___ In the mid to late 1800s a long civil war, pressure from a (¥f¸-,l”-nE) Fulani Muslim jihad, and invading British, devastated the Yoruba Old Kingdom, forcing migrations. After several years a rebuilding of culture and art took place in -?- in the Northeast, where carvers became famous.

82. ___ In the first quarter of the century, Efon-Alaiye was the center of carving in southern Ekiti. A master carver in Ekiti, who died in 1945, was -?-, who probably carved the "Figure with Bowl," we examined. The theme of the kneeling female figure with cock is referred to by Ekiti peoples as Olumeye, "One-Who Knows-Honor," and is said to depict a woman who is a messenger of spirits.

83. ___ We saw in sculptures comprising female figures with cock and bowl, these were used for the kola nuts offered to visitors, as shrine containers for offerings to an orisha/onsa, and to hold the palm nuts used in Ifa -?-. We saw this in the "Ifa kneeling female figure with cock and bowl."

84. ___ Artists who created the masks, figures, and other artwork reproduced in Ekiti did not sign their work, but they were known to their patrons and townspeople. Highly regarded artists were famous far beyond the towns in which they worked. Their names are unknown to us because most of the -?- failed to ask who made the art.

85. ___ -?- was a renowned artist who was active during the early decades of the twentieth century. He became the master at the arinjale's palace at Ikere, which he decorated with elaborately carved doors and veranda posts, and posts at Ise (E-sE).

86. ___ Olowe of Ise carved the -?-," early 20th c., H. 25 l/2 in., in the William McCarty-Cooper collection, which is considered one of the masterpieces of twentieth century Yoruba art.

87. ___ The power or authority (ase) of the king, resides in the -?-. Breasts framing the king's -?- indicates the relationship between male and female powers and the dependence of the king upon his queen.

88. ___ Posts carved with figures are used to support the roofs of veranda and inner courts in Yoruba homes and shrines. The carvings often depict historical scenes involving the owner of the house, but they may also symbolize the -?-, the spirits of (¥ymr-Â-bÂ) Yoruba religious belief.

89. ___ A master of complex compositions on a monumental scale, the sculptor -?- held the title alaga (chief) of Odo-Owa and was an Ife (¥E-(,)fA*) priest. (We examined his "Epa Mask w/mothers & children.) During the later part of his career, regional patronage systems had begun to change and commissions from Europeans created a market for new types of sculpture. In an effort to preserve traditional art forms, some British colonial officials sponsored an experimental school and employed him as an instructor.

90. ___ Enormous masks with towering superstructures are carved for the rituals of the Yoruba Epa society in a variety of forms. The example we studied,"Epa society mask," at the Natl. Mus. Af. Art, Smithsonian, was probably carved by the sculptor -?-.

91. ___ The -?-, whose membership is primarily male, are major partons of the arts, are found primarily among the western Yoruba living on either side of the Nigeria-Benin border. The society teaches Yoruba social values through costumes, songs, and dances. They also appeal to women to use their special spiritual powers constructively.

92. ___ The patrilineal Yoruba believe that women, especially elderly females, female ancestors, and -?-, possess extraordinary spiritual powers (ashe)

93. ___ Most Gelede headdresses are composed of two parts: face and superstructure. The face depicts a human being and is usually carved in -?-. It may be painted an unnatural white to convey spirituality. The superstructure may include pythons, birds, and other creatures.

94. ___ A Yoruba king's tall, beaded crown, worn for ceremonial occasions, has an elongated shape which emphasizes the head, which the Yoruba believe to be the center of a person's intelligence, character, and -?-.

95. ___ In traditional Yoruba communities people honor their ancestors during the annual or biennial -?- ceremony. The costume may include multiple layers of cloth with varied colors, patterns, and textures, the number of which probably reflects the age of the costume. The acrobatic performance of the dancer includes rapid spinning, which causes the panels of the costume to fly out in a spectacular display of color and pattern.

96. ___ Yoruba commemorative carvings of Twin Figures are called -?-, and are carved when a twin dies. They embody the Yoruba ideal, which defines beautiful art as that which captures the essential nature of a person or thing, balancing realism and abstraction.

97. ___ A Ceremonial Vessel may be fashioned to the river god Eyinle (AY-in-lay), by Yoruba women potters. Together with its contents, river stones, sand and water, the vessel symbolized abundance, longevity, and the promise of an -?-, endless like the waters in which the river god dwells.

a. afterlife

b. Ere lbeji

c. "African proportion"

d. Yoruba universe
(¥yor-Â-bÂ)

e. early collectors

f. Ife (¥E-(,)fA*)

g. Owo

h. female deities

i. Olowe of Ise

j. Bamgboye

k. indigenous religions

l. Yoruba

m. soapstone figures

n. Benin (bÂ-¥nin)

o. Ekiti

p. Oyo (ÙyÙ¥)

q. orishas (or-rE-sh”s)

r. Agbonbiofe

s. crown

t. coiffure

u. naturalistic style

v. creativity

w. divination

x. Ela (ÎlA)

y. British

z. Osugbo ((O)sug-bO?)

aa. Egungun
(AY-guhn-guhn)

bb. Sango/Shango

cc. insight

dd. ase

ee. Gelede Society

ff. spirituality

gg. lineage altars

hh. nature

ii. Nok (KNOCK)

jj. Figure with Bowl

kk. Maku of Erin

ll. Olodumare
(OllO-doo-m”-rA)

mm. Aloga of Ado Owa

nn. European
collections

oo. costumes

98. ___ Ibo (E¥bO) art is quite different from that of the other Guinea Coast peoples. Throughout the area, -?- or painted sculpture is found, along with a tendency towards intricate, richly carved, rather baroque forms: a proliferation of figures and elements piled on top of one another.

99. ___ The (fohn) Fon of Dahomey (dÂ-¥hO-mE) conquered a number of neighboring peoples and grouped themselves into the kingdom of -?- in the seventeenth century.

100. ___ The -?- were a Yoruba-speaking people who had frequent contacts with (bÂ-¥nin) Benin, sometimes of a violent nature.

101. ___ In the 19th century, writers discussing African art didn't understand this lack of concern with realism. They believed that all art, if it developed long enough, would become -?-. They called African art "primitive" because it seemed to be at an early stage in its development. Even though we now know better, the name has stuck and we still use it.

102. ___ The Ibibio (E-bE-bE-O(w)*) are at the northern edge of the -?- -speaking people who cover most of the southern half of the continent. Although they are linguistically related to the Congo, their art is closer to that of their immediate neighbors, the Ibo (E¥bO).

103. ___ The Kingdom of Benin (bÂ-¥nin) in eastern Nigeria was at its height of political power and cultural achievement from around 1400 to the end of the -?-.

104. ___ The Ife (¥E-(,)fA*) style was adopted by the artists of the Benin Kingdom, and the earliest 13th century examples of -?-, thin-walled and very naturalistic, show direct Ife influence.

105. ___ When British forces entered Benin City in 1897, they were surprised to find large quantities of cast brass objects. The technological sophistication and overwhelming -?- of these pieces contradicted many nineteenth- century Western assumptions about Africa in general

106. ___ While the Oba (O-buh) was associated with powerful aggressive animals such as the -?-, queen mothers had a special link with the cockerel, representations of which appeared on altars dedicated also to the mothers of kings.

107. ___ In Benin, it seems to be the case that brass heads in general served as bridges between the -?- and the ordinary worlds.

108. ___ Unlike the rather naturalistic royal heads, in the lower Niger bronze industry, most heads are smaller, and closer to the tribal art of Africa because its approach is l-?-. That is, the artist was more interested in portraying his concept of a head than in reproducing the appearance of an actual head.

a. Abomey (a-bO-mA*)

b. 19th century

c. polychrome

d. realistic art

e. conceptual

f. spirit

g. naturalism

h. Igala (E-g”lÂ*)

i. leopard

j. "bronzes"

k. Bantu (¥ban-(,)t¸