2. ___ Most people are engaged in _agriculture and herding_, and smaller groups in fishing and trapping.

3. ___ Central Africa has seen the rise of many _kingdoms_, mostly before European colonialism. Some, like the Luba and Lunda lasted into the last century.

4. ___ All developed _royal arts_ related to the political and religious sources of leadership.

5. ___ Belief in the ability of -?- to aid the living gave rise to sculptures of various types, ranging from portraits to figures that protected the relics of the dead.

6. ___ "On the banks of -?- are about 300 monolithic carvings, supposedly Ekoi ancestor figures from between 1600 and 1900."

7. ___ Called by -?- meaning "dead people in the ground" by the Ejagham

8. ___ The -?- themselves are better known for their skin-covered masks and headdresses. ... Among the -?-, masks belonged to a secret society which maintained social control and enforced its edicts in the manner of vigilantes. It is usual for mask makers of others of the Cross River region to enhance the realism of their work by applying a layer of animal skin and then painting it with plant dye to accentuate facial features.

9. ___ "The small tribes of the -?- grasslands display a fairly homogeneous style. Sculpture is bold in execution and vital in expression.

10. ___ Among the -?- people of Gabon, the decorative motifs on stringed musical instruments, drums, and spoons emphasize the human figure, often elongated with smooth surface planes.

11. ___ The art of the -?- people is best known for highly stylized wood and metal figures that were placed in reliquaries.

12. ___ The generic title for kings in the Grasslands of Cameroon

13. ___ The festivals displaying the royal arts of Bamun are called -?-.

14. ___ carved prows of Duala racing canoes that help activate power to win a race.

15. ___ Meaning "gorilla"; Fang society and masquerade, concerned with anti-sorcery activities, and Visona says regulate social behavior

16. ___ -?- are among the earliest African objects brought to Europe, which influenced the art of early 20th century avant-garde artists, including Matisse and Picasso. (Perani & Smith, 1998.)

17. ___ -?- first discovered at the end of the nineteenth century may be the culmination of a long tradition, dating back to before the last migration of groups from the eastern savannas of Cameroon and central Africa.

18. ___ A reminder: "The study of African art, like the art itself, has a different orientation from that of European art history. Although the personal styles of only a limited number of artists can presently be identified, it is still through the -?- that African art can best be understood. We may use the term "style area" to designate vast regions like the western Sudan or groups as small as a clan, like the (Or-”n*) Oron." (NGA scholars)

19. ___ The -?- style is recognized by certain constant features; a restrained naturalism, arching eyebrows over downward eyes, "bee sting" lips, a diamond-shaped scarification on a high domed forehead, and hair in a central crest.

20. ___ While -?- faces are found in other parts of Africa, they are particularly prevalent in the Gabon and Middle Congo area among ethnic groups with no direct relationship to the (O-gO-wE*) Ogowe River peoples. The art of the (k-willE*) Kwele people, is characterized by a very obvious -?- face formed by the brow and cheek line of their masks.

21. ___ -?- is widespread in West and Central Africa. In former times in Gabon (gah-BON), figures like this one were placed as guardians on (¥re-lÂ-,kwer-E) reliquary containers--baskets or bark boxes containing the skulls and bones of important family ancestors. ... The (KO-tuh) Kota peoples of Gabon attach guardian figures in baskets that contained the relics of an ancestor. The figure consists of a highly geometric carved head covered with copper or brass sheeting. The body is only minimally indicated.

22. ___ The (¥re-lÂ-,kwer-E) reliquary figures of the (KO-tuh) Kota and their neighbors in Gabon are among the most abstract representations of the -?- in traditional African art. (part R. Nagy, NCMA)

b. Ekoi

(E-¥coy(E)*)

c. spirit ancestors

d. ngil/ngi

e. tange

f. Middle Cross
River

g. human form

h. fon

i. Cameroon

j. Fang statuary
(fahng)

k. Ancestor
veneration

l. Bakota

m. Mangbetu

n. axis of evil

o. akwanshi

p. heart-shaped

q. nja

r. Ogowe River
(O-gO-wE*)

s. study of style

t. Congo River

u. kingdoms

v. royal arts

w. agriculture
and herding

24. ___ Portuguese sailors arrived at the Congo River in -?- ; at this time, Portugal was a powerful mercantile nation, intent on establishing new trade routes to the Indies. Its commercial expansion was accompanied by a committed Catholic missionary spirit that actively sought to convert any peoples encountered. In 1499, Pope Alexander VI granted King Manuel I of Portugal patronage over all African lands that had been or were to be discovered by the Portuguese. Part of the plan was external influence through Christianity, and the Kongo king was baptized with the name Alfonso I (1506-43)

25. ___ As in the early expansion of Christianity in Europe, conversion was reinforced by the use of -?- . Among these were bronze figures of the Virgin and the Portuguese-born Saint Anthony of Lisbon (also known as Saint Anthony of Padua), cast by Kongolese artists after Portuguese models.

26. ___ Portuguese missionaries introduced bronze crucifixes of European origin, but the Africans soon learned to make them. Long after Christian influence had ceased to be felt, such crosses became -?- and were used by chiefs when they acted as judges.

27. ___ As in many African societies, women in Yombe society hold a privileged position; as mothers, they are the source of human life. ... Emblems of womanhood such as -?- and a child are often expressed in sculpture. ... In the Yombe images we exampled, the mother's filed teeth, elaborate geometric scarification, and incised cap are emblems of beauty and status.

28. ___ The most powerful, most spectacular, and now (in the art world) the best-known (kong¥-go) Kongo (min-KEE-see) minkisi belonged to the class called -?- , a name that means "hunter." The role of the -?- nkisi (singular of minkisi) was to identify and hunt down unknown wrongdoers, such as thieves and those who were believed to have caused sickness and death among their neighbors by occult means.

29. ___ powerful nkisi are usually activated by pieces of -?-

30. ___ (min-KEE-see) Minkisi are not meant to appear or act alone. They are a part of an elaborate ritual program, which includes a variety of participants, objects, and activities. Among these are the -?- , the expert who performs the ritual. The -?- who "creates" the (in-KEE-see) nkisi (singular of minkisi) object may or may not be its sculptor

31. ___ The best-known art works of the Bateke of the W Congo are small -?- , like those we surveyed coated with white pigmet. The white associates it with the spirit world. These figures stand with arms close to the body in a stiff, frontal pose. Fetish figures such as these were used for the protection of male children from infancy until the time of puberty. A piece of placenta and other potent materials were placed in the opening of the figure's body and covered with clay. When the boy was initiated as an adult member of the community, the figure lost its ritual importance and was sold or otherwise disposed of.

32. ___ White paint was used by many African tribes, either to evoke -?- , or as a sign of mourning.

33. ___ A greatly admired type of Chokwe mask, called -?- mask, depicts an ancestress as a beautiful young woman. Large round eyes accented with white clay (kaolin) dominate this mask. The eyes and forehead are outlined by a delicate line of scarification patterns. An intricate coiffure is created from knotted and plaited fibers. Worn by a male dancer wearing a netted garment, the -?- mask is performed in post-initiation celebrations for young men.

34. ___ As Visona points out: In migrations the Pende were split up, all of which were eventually incorporated into Lunda political structures. Pende art styles in the east are more abstract and -?- , and in the central area and west are more naturalistic.

35. ___ Among the Pende people of Zaire, mbuya masks are worn by dancers performing in celebrations to re-integrate recently circumcised young men into their village. Masks like these represented many village characters and their performance entertained as well as taught important -?-

36. ___ Pende masks are among the most dramatic works of all African art. All told, about twenty characters and seven „-?- ¾ appear in ceremonies such as millet-planting celebration or circumcision and initiation ritual, and the ritual of enthronement of a chief.

37. ___ Kuba king figures are said to have been carved at the beginning of each region and according to oral tradition, the practice was begun by King -?- about the beginning of the 17th century. the high platform base and their chiefly attributes are reminiscent of the royal figures of the (koo-bah) Kuba kingdom to the east.

38. ___ Each Kuba king was associated with an emblem or anecdote which could be read virtually as a label on his statue by the court historians, like the drum in front of the king in the statue we examined of King Bom Bosh, possibly 1650 to 1660. The flat-topped crown, the belt of cowrie shells, and the state sword the king carried in his left hand are -?- which appear in all the (bah-koo-bah) BaKuba king figures.

39. ___ Artists of the Kuba complex are famous for small decorated wooden objects which served to increase the prestige of their owners. These objects are skillfully decorated with human elements and the geometric designs which were popular among the Kuba. Traditionally, beautiful -?- were used for the ceremonial drinking of palm wine made from the sap of ('ra-fE-Â) raffia palm trees

40. ___ A zigzag hairline and a skull somewhat protruding at the back and sides were fashionable among the Kuba and appear in a more exaggerated form in -?- art. They favor more stylized figures altogether and exaggerate other features of Kuba figures.

41. ___ Mukenga elephant mask, without showing the elephant-trunk on the top of the head. The Mukenga elephant mask type is used in performing at the funerals of Royal titleholders. The trunk curving forward represents the "giving over" to the central authority. -?- brought the (koo-bah) Kuba wealth in the 19th century.

42. ___ The Kuba -?- mask symbolized serene beauty and represents the sister-wife of the dynastic myth of Woot. It is linked to the essence of Kuba kingship and the spiritual power of the king. The masquerader, a man, wears a female wrapper of embroidered raffia cloth, placed over a bark cloth skirt. The mask is slit-eyed, and elaboratly decorated with paint, seeds, beads and shells. Alternating white, black and ochre-brown striped and triangular motifs embellish the mask and a band of beads covers the nose and mouth.

a. masks of
power

b. geometric

c. Ngaady
a mwaash

d. nkondi

e. nganga

f. naturalistic

g. religious images

h. carved cups

i. Ivory

j. iron

k. 1483

l. Dengese art
(den-gEzE*)

m. power tokens

n. moral values

o. royal symbols

p. mwana pwo

q. spirits

r. 1550

s. King Shamba
Bolongongo
(bE-lon-gon-gO*)

t. firm breasts

u. Bwame Nada

v. spirits of
mass destruction

w. power figures

44. ___ From the 15th to the -?- centuries, the Luba created kingdoms of varying overall unity which at times controlled an enormous territory stretching from the (kÂ-¥sI) Kasai River to Lake (tan-gÂ-¥nyE-kÂ) Tanganyika. Their cultural unity, however, was at all times greater than their political cohesion

45. ___ The (LOO-buh) Luba empire, and their influence on other peoples is considered one of the three most significant styles of the Congo River basin. The Luba style of figures includes a dome shape of the forehead, emphasis of rounded -?- , and fluid curving lines. The consistent dome shape of the forehead is perhaps the most frequently seen trait in the art of the Luba-influenced peoples.

46. ___ Artistic traditions established during the glory days of the (LOO-buh) Luba empire, from the sixteenth to the nineteenth centuries, have survived into the twentieth century in traditional (LOO-buh) Luba communities. The importance of (LOO-buh) Luba -?- is reflected by the widespread use of the female figure in (LOO-buh) Luba court art.

47. ___ The symbols found in scarification and other Luba art forms are called -?-.

48. ___ Kifwebe" or "bifwebe"? Visona calls these masks "kifwebe" masks when discussing Luba and Songye -?- masks. However, Perani and Smith, p. 254, distinguish between these Luba and Songye masks, and call the Luba mask kifwebe masks, and the Songye mask bifwebe masks. Willett, p. 157-8, makes no distinction in the name, writing that the Songye call them "kifwebe, their name for mask, and examples the Songye mask with a projected mouth and bulging eyes, and the Luba as rounded with a flat eyes and mouth projecting only slightly.

49. ___ Stools are still used as seats of power and prestige, but they are also places of memory, situating power and memory in the past and present, and their subtle iconography can be read as sculptural narrative. Stools and other objects are used as reminders by people in this part of central Africa to remember what is right and glorious. In particular, a stool may be considered a kitenta or "-?- ," that is, a place joining a chief and his people to the ancestors and other spirits seeking to guide everyday affairs.

50. ___ The term by which the Songye designate their magical figures--(in-KEE-see) nkisi (plural, -?- --is encountered elsewhere in widely dispersed parts of central Africa. (in-KEE-see) Nkisi, then, is a "key word" deeply embedded in many different Bantu languages. ... Many, but by no means all, are in human form yet symbolize spirits.

51. ___ (min-KEE-see) Minkisi is untranslatable. What all the various usages have in common, however, is that they allude to an assemblage of objects and entities whose efficacy and capacity to influence the affairs of the living depend upon some external agency, usually identified with -?- .

52. ___ The most important and detailed study of Songye masks and figures published to date is by Dunja Hersak, who noted that the -?- placed inside minkisi are thought of as dating back to the beginning of creation, and are said to have been originally contained in horns and calabashes.... It is significant that the carved properties of the figure are considered secondary.

53. ___ Visona writes that the association regulating Lega communities is called "bwami." Objects, like masks, used by Bwami are called "iginga", and the highest form is called "iduma."

54. ___ To reuse a point made earlier in the course, the kind of stylization found in African sculpture is sometimes called -?- . This means that the artist is expressing what he knows about the subject rather than its actual appearance.

55. ___ A figure of wood or fired clay used by the Mani association of the Azande and their neighbors is called -?-.

56. ___ To emphasize a point I made in the course introduction, African artists were not interested in reproducing things as they saw them. Like most artists, they modified reality. The tradition of -?- that Europe inherited from Greece and Rome can be considered a minority movement in the history of world art. (Nagy) We discussed this with the (w””(h)m*) Wum, Seated Figure of a Woman."

57. ___ The ((n)-kom¥*) Nkom "Figure of a Woman" in the National Gallery of Art, Smithsonian Institution, shows that African artists sometimes worked in a -?- style. This Cameroun figure shows this in the natural body proportions, in the modeling of the legs and the bony structure of the face, cheekbones, and chin. The almond-shaped eyes and the double crescent carving of the chest show, however, the same tendency to stylize and convert body forms into stylistic patterns which we have seen in other figures.

58. ___ Most figural sculpture in Africa appears motionless. The exception is the -?- figures, which show vitality, energy, and bulging and growing forms, and even the calves seem to be bursting with energy.

a. Bangwa of
Cameroun
(bang-wÂ*)

b. Congo River

c. heads

d. conceptualization

e. spirit capital

f. 19th

g. royal women

h. restrained
naturalistic

i. 20

j. spherically-lined

k. efficacious
substances

l. minkisi
(min-KEE-see)

m. body parts

n. spirits or
ancestors

o. realistic art

p. ntapo

q. iduma

r. yanda