APAH Unit 6 test review

Which of the following characteristics do the Augustus of Prima Porta and Ndop (portrait figure) of King Mishe miShyaang maMbul share?

• Both are life-size sculptures carved from local stone.

• Both celebrated rulers' attributes that contributed to their successful reigns.

• Both were created for the worship of rulers who had been elevated as deities.

• Both were intended to serve as realistic likenesses of specific individuals.

Tags

CCSS.RI. 9-10.7

CCSS.RI.11-12.7

CCSS.RL.11-12.7

CCSS.RL.8.7

CCSS.RL.9-10.7

The design on the Aka Elephant mask shows a sense of

• stability and strength

• dynamism and energy

• dignity and calmness

• aggression and chaos

Tags

CCSS.RI.11-12.7

CCSS.RI.9-10.7

CCSS.RL.11-12.7

CCSS.RL.8.7

CCSS.RL.9-10.7

this artwork depicts

• an intimidating image of a creator god

• a warrior skilled in the art of battle

• a guardian figure protecting a shrine

• an idealized representation of a king

Tags

CCSS.RI.11-12.7

CCSS.RI.8.7

CCSS.RI.9-10.7

CCSS.RL.11-12.7

CCSS.RL.9-10.7

The glossy black patina of the Bundu mask’s surface represents

• the dark and difficult transition that Sande initiates

• the female ancestor spirits that reside in the earth

• the need for women to embrace their deep wisdom

• the idealized beauty of smooth and glistening dark skin

Tags

CCSS.RI.11-12.7

CCSS.RI.8.7

CCSS.RI.9-10.7

CCSS.RL.11-12.7

CCSS.RL.9-10.7

The Bundu mask, as a part of a masquerade ritual related to gender roles, is worn by the

• female elders, who serve as teachers and mentors during the girls’ initiation

• initiates’ parents, who ceremonially dedicate their sons to a trade or profession

• senior members of a secret society, who select young male candidates for initiation

• male leaders, who select young women for training as Bundu mask carvers.

Tags

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

CCSS.RL.11-12.2

CCSS.RL.8.2

CCSS.RL.9-10.2

The work shown most strongly emphasizes a connection to ancestors through the depiction of

• a projecting navel

• an elongated torso

• an idealized oval face

• a ceremonial headpiece

Tags

CCSS.RI.11-12.7

CCSS.RI.9-10.7

CCSS.RL.11-12.7

CCSS.RL.8.7

CCSS.RL.9-10.7

Why did the Fang people not practice earthen burials?

• were historically a nomadic people and did not practice earthen burials

• believed the remains of their deceased would otherwise be stolen by colonists

• believed in reincarnation and felt a responsibility to be symbolically present for the rebirth

• wanted the sculptures to inspire spiritual believers to offer blessings and tithes

The annual preservation of the structure does which of the following?

• Engages all members of the community in a social activity

• Promotes the spread of cultural ideals beyond the city

• Creates the opportunity for ritualized gift exchange

• Serves as the stimulus for trans-Saharan tourism.

The Great Mosque of Djenné is situated next to a marketplace for which of the following reasons?

• To reinforce colonial French authority over Malian culture

• To emphasize its role as an epicenter of religious and cultural life

• To support the mosque through commercial industry

• To reference ancient Roman complexes such as the Forum of Trajan.

Tags

CCSS.RI.11-12.5

CCSS.RI.6.5

CCSS.RI.7.5

CCSS.RI.8.5

CCSS.RI.9-10.5

The ikenga (shrine figure) shown is intended to:

• serve as a family deity used in the household shrine

• represent a tribal deity cared for and presided over by elite elders

• demonstrate the owner’s achievements and physical prowess

• commemorate a political alliance between neighboring kin groups.