1. ___ "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)

2. ___ 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)

3. ___ 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.
4. ___ However, African artists sometimes worked in a -?- style. This includes natural body proportions. But, in these pieces there is still a tendency to stylize and convert parts of the form, especially the head and face, into stylistic patterns, as in most African art.

o. realistic art

s. study of style

d. conceptual-
ization

o. abstract

5. ___ Eastern Africa is geographically complex, ranging from the mountains of central Ethiopia to coastal plains and offshore islands. Farther inland are the great lakes of Africa, forests, and the Rift Valley, the cradle of humankind. Tools and fossil remains of the earliest humans have been found in an area that extends from the -?- Gorge in (tan-zÂ-¥nE-Â) Tanzania and northward into Ethiopia.

6. ___ In 1864, Africa was partitioned among the -?- powers. The colonial period ended in the mid-twentieth century with the independence of most states not only in eastern Africa but throughout the continent.

7. ___ Southward, along the coast, are architectural forms influenced by Arabic sources via the Indian Ocean trade and adapted for local uses; the unique blend of art forms and ideas that resulted is called -?-.

8. ___ Swahili/-?- coast cities, mosques and cemeteries were sacked by the Portuguese in 1509, leading to the decline of sites/cities including Kilwa, Kaolo, Mombasa, Zanzibar, etc. Left are decaying mosques and the remains of beautiful cemetery monuments.

9. ___ For the -?- church, the cross is not merely a symbol of Christ's suffering and death but, more importantly, a mark of his resurrection. ... not only signifying respect for the dead Christ but also functioning as an icon that conveys the salvational and protective effect of averting evil.

10. ___ The numerous processional crosses held by priests during religious services and ceremonies also powerfully establish a space of holiness and -?-, and act as symbolic markers pointing out the way for the faithful. Processional crosses are mostly made of metal (iron, copper, bronze, silver, and, rarely, gold) or occasionally wood.

11. ___ The early processional crosses of the twelfth and thirteenth centuries were mainly of copper and bronze, cast in the -?- method. Another technique involved the tracing of the desired cross image onto a sheet of metal, which was then cut or punched out. Iron staff crosses of the seventeenth and eighteenth centuries were cast and then hammered.

12. ___ To reinforce the Christological message of the Ethiopian church, designs were -?- or stamped on the cross, communicating well-accepted truths and thus increasing the rhetorical power of these holy insignia.

13. ___ Masks with -?- are common in the Sudan. We saw this example in the (mO¥shE) Moshi Face Mask Summoned by a "Figure of a Woman."

14. ___ One very basic feature of African art which is often overlooked is that it is almost entirely based on the -?-. As we have mentioned, however, African artists were rarely interested in simply reproducing the figure, they stylized or modified it.

15. ___ Figuratively elaborated and finely decorated water-pipes generally belonged to individuals of high status such as village or clan leaders and ritual experts. We saw this in the -?- water pipe designs. The pipe would have been intended to serve not only as an effective smoking apparatus but also as an object of display to be carried around, handled, admired, and contemplated.

16. ___ In the (mah-kohn-deh) Makonde initiation rites, boys and girls are taught the rules of adult behavior, about sex, and the rights and obligations of married life. The celebrations that accompany the coming-out ceremonies involve feasting, dance, and the masquerades of -?- (singular, ndimu) spirit maskers wearing body masks like the ones we surveyed. Masks for this purpose are still used, but not body masks.

17. ___ The (mah-kohn-deh) Makonde speak (ban¥t·) Bantu language, live along the border of Southern (tan-zÂ-¥nE-Â) Tanzania and (mO-zam-¥bEk) Mozambique, produce a variety of carvings for marketing. Their work shows a high degree of -?- .

18. ___ "Since the 1950s, (mah-kohn-deh) Makonde carvers have been producing two basic types of carvings, those representing either humans called "binadamu" or sprits called "shetani." In addition, larger works incorporating numerous interlaced figures, called "tree-of-life" or -?- carvings, have become popular." (Perani 1998: 328-330)

19. ___ A significant number of the -?- ( in Madagascar) carved figures (but not those shown here) now in European and American collections were stolen in the post-World War II period from their isolated cemeteries, mostly sawed from the poles that supported them. (Visona p. 462)

20. ___ A category of tall, slim effigy figure sculptures is attributed to the -?-, an agricultural people of the southwestern Sudan. These share a general polelike form in which a human figure stands with flexed knees on a post and, generally, with arms held close to the body. Apart from facial features (including occasionally the inlaying of eyes with beads, as in the grave figure shown here), there is rarely any other sculptural detail. The figures were a reflection of the title and rank achieved by the hunter-warrior during his lifetime, and sometimes include effigies of his victims.

21. ___ The -?- of East Africa wear elaborate bodydress that is highly symbolic of their cycles of life. The jewelry of women is more elaborate than men, and the women continue to collect jewelry throughout their life, each addition showing a new life cycle. ... their coiled armlets are the the most striking part of their dress, as we saw in our slide.

22. ___ All -?- were decorated with nonfigurative motifs on the outer surface and usually on the inside as well. These designs were by no means arbitrary. The patterning had to be agreed upon in advance of each initiation, and then applied onto the surface of shields to be used on that particular occasion.

a. Swahili

b. Olduvai
(¥Ol-Â-,vI)

c. "ujamma"

d. Vezo

e. midimu

f. lost-wax

g. Kikuyu wood
shields

h. naturalism

i. European

j. Ethiopian

k. Maasai

l. Pasta

m. superstructures

n. Makonde
(mah-kohn-deh)

o. Bongo

p. human form

q. salvation

r. incised

24. ___ Great (zim-¥b”b-wE*) Zimbabwe was the 13th-15th century capital of the -?-. The builders of Great (zim-¥b”b-wE*) Zimbabwe, were supported by the Indian Ocean gold trade.

25. ___ Eight birds carved in soapstone were found at Great -?- , including the one in our slides. Although each carved bird is different, all eight incorporate a mixture of human and avian, or more properly eagle, features. all the birds from the Hill Ruin appear to have been carved by the same person.

26. ___ In Shona belief, birds are messengers, and eagles, such as the bataleur, bring word from the ancestors. Ancestral spirits in turn are supposed to provide health and success. Soaring like an eagle to heaven, the spirits of former leaders were supposed to intercede with God over national problems such as rain. Indeed, this ability to communicate directly with -?- was the essence of sacred leadership in the (zim-¥b”b-wE*) Zimbabwe culture.

27. ___ The exceptional find of -?- at Lydenburg in the Eastern Transvaal are the earliest-known sculptures from southern Africa. They have been dated to the sixth through eighth century A.D. Although their use is unknown, several may have been worn as masks, possibly for initiation rituals.

28. ___ The arid western Erongo Province of (nÂ-¥mi-bE-Â) Namibia contains one of the largest concentrations of -?- in Africa, including many superbly painted rock shelters and extensive open-air engraving sites. While the paintings are dominated by human figures and the engravings by representations of animals, some subjects are common to both. Prominent among these is the giraffe, a species that also shows great variety in treatment, color, and style of execution.

29. ___ The paintings of the -?- , of the (¥s”n) San, South Africa, 18th- 19th century, form a web of interconnected images, an aggregation of religious symbols, metaphors of shamanic experience, and depictions of hallucinations associated with such experiences. a common motif in (¥s”n) San rock art is a red line fringed with white dots, thought to be several possibilities, including the spiritual travel of the shaman. It includes symbols for the eland, and animal thought to have special powers. These paintings probably comprise the richest and most complex set of African rock paintings in any museum collection

a. Linton panel

b. (¥s”n) San

c. God

d. rock art

e. Shona kingdom

f. Zimbabwe
(zim-¥b”b-wE*)

g. terra-cotta heads

h. masks i. Albania

30. ___ By far the most popular and the most commercially successful of -?- products are the sculptures of the Wakamba tribe of Kenya in East Africa. Produced in the relatively small tribal area between Kitui and Machakos in Kenya, Wakamba carvings are sold widely throughout the continent. This includes salad spoons and forks with handles modeled after their neighbors the (m”-'sI) Masai, including neck rings, and sculpture of wild animals. In 1966 an estimated 3,ooo men were earning part or all of their living through carving.

31.___ Wakamba mostly use two types of wood. One is a local, very hard, two-toned wood, dark brown with a very light brown outer layer, called muvuvuu. Recently they have been using ebony, imported from (tan-zÂ-¥nE-Â) Tanzania, a two-toned wood that is black with an outer white layer, because it is very popular in -?- .

Neo-East and S. Africa

32. ___ Growing up in Ethiopia, the artist Skunder -?- was inspired by that country's centuries-old tradition of Coptic Christian religious painting. In 1955 he went to Europe to study art, first in London, then Paris. Painted in Paris, "Night Flight of Dread and Delight" is a visionary fantasy that reveals the influence of the Surrealists' fascination with dreams and metamorphosis.

33. ___ Ibrahim -?- , head of the painting and drawing department at the (k”r-¥t¸m) Khartoum school, is a fine Sudanese artist. Born in Omdurman in 1930, he was trained at the school and began teaching there in 1952, while still a student. From 1954 to 1957 he studied at the Slade School of Art in London. He has made trips to the United States and South America on fellowships from UNESCO and the Rockefeller Foundation, and his work has been shown in Europe and the United States. A number of his paintings are in American collections, including that of the Museum of Modern Art.

34. ___ When Salahi was questioned about his including human and natural images in his art, some say his -?- faith opposes, he replied: "There are many -?- scholars who have been asked this question and they say there is nothing at all to restrict you from reproducing the human image as you want. In a way it's a kind of a prayer, too, because you are appreciating God's creations and trying to think about them and meditate on his creativity." (Mount 1973)

35. ___ Valente Goenha -?- of (m”-¥p¸-(,)tO) Maputo, (mO-zam-¥bEk) Mozambique, is the only important contemporary artist in Portugal's former large African colonies ((mO-zam-¥bEk) Mozambique, Guinea, and Angola). That there are no other artists of importance is undoubtedly a consequence of Portugal's complete lack of interest in stimulating the growth of any African art.

E & S Crafts

36. ___ Throughout southern Africa, the taking of snuff and smoking of tobacco are valued as activities that help to sustain social relationships. They are also associated with the -?- , with both virility and (fertility), and with displays of wealth, power, and generosity. Snuff containers are among the smallest but most personal objects produced in southern Africa.

37. ___ Jewelry and other body adornments, including -?-, are used for beautification and as a show of social rank and statue throughout Africa.

38. ___ The technique of -?- , which permits the production of durable, lightweight and inexpensive objects, is perfectly suited to the African way of life. It is widely practised and, depending on the region, considered variously as work for men or for women.

39. ___ To meet the demands of preparing food daily for large numbers of people for conviviality, reserves had to be collected and stored, which meant making and using all kinds of vessels and containers. Currently, metal enamelware is the most popular item on the marketplaces, but it has not completely eliminated the 'old-fashioned' types of vessels. These may be grouped into three types: pottery, -?- (calabashes) and baskets. These three types were used all across the social scale. More prestigious - and generally older - wares, made of carved wood, bronze, ivory, or covered with bead-work, were used at the courts of certain kings.

40. ___ Spoons are symbols of blessing, hospitality, responsibility, and domestic importance in Africa, and many of them are decorated with fine carvings, some resembling sculpture. As an attribute of a woman's generosity and hospitality, it may take the shape of a woman's body, and may be given to a woman as appreciation, and symbol of status. The Dan and We large carved spoons are famous, and called -?- . Others famous for their spoons include the Baule, Zulu, Lega, Boni, and others. Only the Baule make a feast fork.

a. Malangatana

b. America

c. ancestral world

d. wakemia

e. Islamic

f. gourd bowls

g. Boghossian

h. scarification

i. basketweaving

j. el Salahi

k. souvenir-art

42. ___ What neolithic art was found in Lemcaiteb (Saquia el-Hamra), Western Sahara, Morocco

43. ___ What art was found at Wadi Sefar, Tassili des Adjjer, Algeria

44. ___ the general name given to the indigenous peoples of northern Africa

45. ___ But modern populations who inhabit the central and southern Sahara (modern Algeria, (¥li-bE-Â) Libya, Chad, Mali, ('nI-jur) Niger, (burkE¥n fa¥sO) Burkina Faso, and Nigeria) are called the ?

46. ___ and the Arabic-speaking "Moors" who inhabit the western Sahara, (mm-rE-tn-nE) Mauritania, Mali, and western Algeria are called the ?

47. ___ In the seventh century A.D., ? armies from Arabia dislodged the forces of the Romans' successors, the Byzantines, from northwestern Africa (introducing artistic influences from the east).

49. ___ architect of Pyramid of King Zoser, first recorded architect in history

50. ___ large burial area: city of the dead

51. ___ column in shape of male figure

52. ___ immortal human essence

53. ___ monumental entrance of an Egyptian temple

54. ___ a section of a building that rises above the aisles and allows light to enter

55. ___ female who ruled as pharaoh and a great temple bears her name

56. ___ New Kingdom queen, wife of Akhenaton

57. ___ new artistic style established by Akhenaton

58. ___ boy-king whose tomb was discovered with contents intact

60. ___ The ceramic sculptures of the -?-(KNOCK) Nok-?- 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

61. ___ 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 -?-British Punitive Expedition-?- of 1897

62. ___ The -?-Nok (knock)-?- civilization existed at the same time as the civilizations of ancient Greece and Rome.

63. ___ -? -Mende (¥men-dE/-dA)-?- is a Mande (¥m”n-,dA) language of southern Sierra Leone and eastern Liberia

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

65. ___ The -?-chi wara (CHEE-wah-rah)-?- 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

66. ___ The -?-ancestors-?- 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.

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

a. British Punitive
Expedition

b. Mande

c. metalworking

d. Bamana
(BAH-muh-nuh)

e. ancestors

f. Niger River
('nI-jur)

g. Central Voltic

h. ladders

i. Nok (KNOCK)

j. fertility

k. helmet masks

l. chi wara
(CHEE-wah-rah)

m. Sudanese

n. Dogan

o. Mende

p. Mali

69. ___ The -?-"Mende Style (¥men-dE)"-?- 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.

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

71. ___ 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 -?-conventional body proportions -?- 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. Sande Society
(SAHN-day)

h. ivory carvings

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

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

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

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

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

78. ___ 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 -?-daily existence-?-

a. Mblo

b. Ghana

c. funerary heads

d. daily existence

e. adinkra

f. physical and
moral ideal

g. akua-ba/akuba
(ah-¥kooah-bah)

h. realism

i. asymmetry

j. masks

k. traditions

80. ___ 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.

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

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

83. ___ 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

84. ___ "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)

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. ___ 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.

a. Ere lbeji

b. "African
proportion"

c. Yoruba universe
(¥yor-Â-bÂ)

d. Ife (¥E-(,)fA*)

e. Owo

f. Olowe of Ise

g. Bamgboye

h. indigenous
religions

i. Benin (bÂ-¥nin)

j. Oyo (ÙyÙ¥)

k. creativity

l. divination

m. Ela (ÎlA)

88. ___ 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

a. realistic art

b. conceptual

c. spirit

d. naturalism e. kinkyism

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

91. ___ -?- 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.)

92. ___ 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.

93. ___ 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)

a. Fang masks
(fahng)

b. Middle Cross
River

c. human form

d. fon

e. Fang statuary
(fahng)

f. Bakota

g. heart-shaped

95. ___ 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.

96. ___ (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

97. ___ 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.

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

99. ___ 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.

100. ___ 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.

101. ___ 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

102. ___ 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. carved cups

h. spirits

i. power
figures

104. ___ 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.

105. ___ 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.

106. ___ 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.

a. spirit capital

b. royal women

c. spherically-
lined

d. efficacious
substances

e. body parts/3

f. restrained
naturalistic