2. Student surveys

3. CONTENT AREA 9: THE PACIFIC
C.E.
(11 WORKS)
Flashcards, no unit templates

4. ENDURING UNDERSTANDING 9-1
Ecology, social structure, commerce, colonialism, missionary activity influence Pacific art.

5. ESSENTIAL KNOWLEDGE 9-1a
ESSENTIAL KNOWLEDGE 9-1b
25,000 islands, 1,500 inhabited
Fibers, pigments, bone, sea ivory and shell, tortoise shell, wood, coral, and stone
Asia and Australia land bridge 30,000 years ago
Lapita people migrated 4,000 years ago
Europeans explored the region from 16th to 18th centuries
Region divided into three regions – Micronesia, Polynesia, and Melanesia

6. The Pacific

7. Remind people of their heritage and shared bonds
ESSENTIAL KNOWLEDGE 9-1c
Art objects give form to and preserve human history and social practices
Remind people of their heritage and shared bonds
Art intended to be destroyed once memory is created

9. Navigation chart Marshall Islands, Micronesia
19th to early 20th century C.E.
Wood and fiber
Micronesians live on coral atolls, ring shaped coral reef
Built seafaring canoes
Excellent navigators
Islands are low, can be seen only a few miles away
Horizontal and vertical sticks support
Diagonal sticks, wave swells
Shells represent islands
Information was memorized and the charts would not be carried on voyages

12. hard, heavy wood
no facial features
pointed chin
Breasts, navel, knees – horizontal line
elegant proportions
clean lines
sense of spiritual tranquility
unity of line and form
pubic triangle (a tattoo required for small number of elite women)

13. Female Deity Kept in amalau, community temple
Nukuoro, Micronesia
c. 18th to 19th century C.E.
Wood
Kept in amalau, community temple
Polynesian settlers brought ideas of hierarchy and rank & aesthetic stylized human figures
Belief- Local deities resided in wooden figurines (tino aitu) for religious ceremony, beginning of harvest
Festivities for weeks, food offerings, male and female dances performed, women tattooed

14. Female Deity
Nukuoro, Micronesia
c. 18th to 19th century C.E.
Wood
Sculptures considered resting place for god or ancestor´s spirit
Placed in temples and decorated, wrapped in costume
Trade and missionary activity by 1850´s first sculptures taken out by Westerners, by then traditional rituals abandoned

15. Nan Madol
Man made islands on top of a coral reef linked by network of canals
Complex divided into 2 parts by central canal
One part is administrative, ruler´s residences, kept an eye on their people
Other is ritual, encompassing the priests residences
200 acres, 151 football fields!
Transporting and stacking basalt (volcanic rock) up to 50 tons w/out pulleys-levers, metal, don´t know how
According to legend, constructed by twin sorcerers to worship god of agriculture

16. Saudeleur Dyansty, rule 500 years, descendants of 2 brothers who founded it as a religious community focus on worship
Highly stratified social system
Earliest known example of political power
Political, religious, residential center

17. How does architecture reflect power and authority and ritual significance?
Huge amount of labor implies control of population and strong organizational efforts
Structures of permanent materials, larger
Social hierarchy reflected in size of residences, homes of chiefly elite

18. Land of the Flying Stones
What is the controversy about the ownership of the Nan Madol?
What do Pohnpeians and archeologists, and tourists believe about the Nan Madol?

19. ENDURING UNDERSTANDING 9-2
The sea is ubiquitous as a theme of Pacific art and as a presence in the daily lives of a large portion of Oceania, as the sea both connects and separates the lands and peoples of the Pacific. The sea is an important theme for seafaring peoples.

20. Ship building and navigation allowed: Migration Exploration
ESSENTIAL KNOWLEDGE 9-2a
ESSENTIAL KNOWLEDGE 9-2b
In the last 4,000 years the Lapita culture spread eastward and carried plants, animals, and pottery
By 800 the distribution known as Micronesia, Polynesia, and Melanesia was established
Ship building and navigation allowed:
Migration
Exploration
Exchange of objects
Cultural patterns

22. CONTENT AREA 9: THE PACIFIC
C.E.
(11 WORKS)

24. Nan Madol

25. Land of the Flying Stones
What is the controversy about the ownership of the Nan Madol?
What do Pohnpeians and archeologists, and tourists believe about the Nan Madol?

26. What do we know about Polynesians?
The first inhabitants of this region are called the Lapita peoples
Had navigation skills and two-way voyages on outrigger canoes
Highly developed aristocracies.  At the top of the social structure were divinely sanctioned chiefs, nobility, and priests.
Artists were part of a priestly class, followed in rank by warriors and commoners.
Valued genealogical depth, tracing lineage back to the Gods.

28. Hiapo (tapa)
Niue c C.E. Tapa or bark cloth, freehand painting
Clothing, bedding, wall hangings
Mana – supernatural power, a person´s vital force
Mana accumulates in textiles
Gender major role
Men´s arts hard materials – wood, stone, bone /Women´s arts soft materials – cloth

29. Hiapo (tapa)
Niue c C.E. Tapa or bark cloth, freehand painting
Concentric circles
Geometric designs w/fine lines
Plant forms
Influence of Lapita
Tapa displayed ceremonially on special occasions
Used in cultural exchange
Which other artwork do these intricate geometric designs reference?

31. Staff god Rarotonga, Cook Islands, central Polynesia Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers smooth head, figures, thought to represent line of descent

32. Most sacred of Rarotonga´s objects
Known as god stick, represents deity
Central Wood shaft wrapped in barkcloth
Shaft – elongated body with carvings of head, small figures, and phallus (missing), feather pendant
Wrapped – god inhabits, unwrapped – god leaves
Tapa (wrapping) protects mana of deity

33. Male and female elements
Wood core made by men
Bark cloth made by women
Massive social change 1820´s, Chief converts to Christianity, staff gods presented to missionaries, burned or took back to London, lost meaning
Destructive impact of European contact

34. ‘Ahu ‘ula (feather cape) Hawaiian Late 18th century C. E
‘Ahu ‘ula (feather cape) Hawaiian Late 18th century C.E. Feathers and fibers Team up with a partner. Read your selection. Work together to learn about the feather cape, exchange information. Take notes on descriptions, materials, central ideas, symbolism, and context.

35. Homework, extra credit

37. Homework, extra credit

38. CONTENT AREA 9: THE PACIFIC
C.E.
(11 WORKS)
Quiz and flashcards due for 11 works 9/13

39. Global Prehistory quiz review
15. Short Essay
This work of art is called the Great Hall of the Bulls created in 15,000BCE. Red, yellow, brown, and ochre pigments were used on cave walls. This work of art presents a relationship between human and the natural world because people manipulated natural materials in their environment in order to paint animals, using natural pigments on cave walls. Additionally, because hunter-gatherers relied on animals as their primary food source for survival, it is believed that animals were depicted for hunting magic, a ritual used to ensure a successful hunt.
Identifiers: title or designation, name of the artist/or culture (group of people, not a location) of origin, date of creation, and materials
Underline artwork, unless it is architecture
Connect visual content to relationship, explain the connection

40. Global Prehistory quiz review
17. Long Essay
Select and identify another work of art from the Prehistoric period using at least two accurate identifiers* (#1, #2) that uses animal faces, anthropomorphism or animal motifs conceptually to transmit meaning.
What meaning is transmitted in each work? (#3, #4) Not asking what is depicted, but what is the meaning?
Using visual or contextual evidence, analyze the similarities (#5) between the two works in terms of how animal faces, anthropomorphism or animal motifs are used conceptually to transmit meaning.
In other how do BOTH works transmit meaning using animal faces, anthropomorphism, animal motifs in the SAME way. Both use stylized animal motifs, then explain. Both use abstract anthropormorphism, then explain.
Then, using visual or contextual evidence analyze the differences (#6) between the two works in terms of how animal faces, anthropomorphism or animal motifs are used conceptually to transmit meaning.
*If you select a work from the list below, you must include at least two accurate identifiers beyond those that are given.
Great Hall of the Bulls, Bushel with ibex motifs, The Ambum Stone, Apollo 11 stones, Anthropomorphic stele

41. ENDURING UNDERSTANDING 9-3
The arts of the Pacific are expressions of beliefs, social relations, essential truths, and collection of information held by designated members of society. Pacific arts are objects, acts, and events that are forces in social life.

42. ESSENTIAL KNOWLEDGE 9-3a ESSENTIAL KNOWLEDGE 9-3b
Power and forces: deities, ancestors, founders, and hereditary leaders, and symbols
Protection (tapa): wrapping, sheathing, and other forms of covering to prevent human access.
Ritual dress, forms of armor, and tattoos encase and shield the focus of power from human interaction.
Mana – power, effectiveness, prestige
Tapu – regarding something as holy by spiritual restriction, limited access
Rulers of Hawaii were clothed in feather capes that announce their status and shield them from contact.
In Melanesia, exchange of objects earn status and power.
Chants, dances, scents, costumes, and people of particular lineage and social position are called into play to create a performance that engages all of the senses.

43. What materials are present in the staff god?
What does the staff god tell us about the conecpts of mana and tapa?

44. Malagan display and mask New Ireland Province Papua New Guinea c
Malagan display and mask New Ireland Province Papua New Guinea c. 20th century C.E. Wood, pigment, fiber, and shell
Malagan – cycle of rituals
send souls to realm of death
restore balance in community after chaos of death
increase prestige of deceased and family
Death, funeral, mourning period, ceremonies, fasting, performances, culminates with revealing malagans.
Belief that souls enter sculptures then leave after ceremony, carvings/masks are destroyed

45. Malagan display and mask New Ireland Province Papua New Guinea c
Malagan display and mask New Ireland Province Papua New Guinea c. 20th century C.E. Wood, pigment, fiber, and shell
Each sculpture honors specific person – represents mana
Ceremonies extreemly expernsive, take place months after death
Ritural creates new memory
Ritual matters, not the object itself
Sculptures created then destroyed
Symbolic of identity, kinship, gender, death, and spiritual world

46. After the ceremony the structures considered worthless - destroyed or left to rot
Ownership similar to modern copyright – seller surrenders style and rites
Can´t be copied/reproduced, each is unique

47. Tamati Waka Nene, Gottfried Lindauer 1890 C.E. Oil on canvas
Maori – indigenous people of New Zealand
Portraits are like ancestors
Can be spoken to, wept over, cherished (importance of family heritage – genealogy)
Subject of portrait is chief, important war leader from NZ
Likely born 1780´s, died 1871
A time of rapid change in NZ, influx of missionaries brought permanent change

48. Tamati Waka Nene, Gottfried Lindauer 1890 C.E. Oil on canvas
Named after Thomas Walker, patron of church, thought to have great mana
Feather cloak, kiwi feathers, earring of greenstone
Weapon, tewhatewha, blade, feathers, paua eye – symbolic eye of ancestors
Portrait shows him as a man of mana – status

49. Tamati Waka Nene, Gottfried Lindauer 1890 C.E. Oil on canvas
Moko – art of tattoo, each is unique
4 zones of face
L forehead/ L lower face – mother´s family, rank, tribal affiliation, social position
R forehead/ R lower face – father’s family, social rank
Other areas show professing, position in society
Belief that mana is protected through wrapping/shielding (tattoo – wrapping body in spiritual armor)

50. Tamati Waka Nene, Gottfried Lindauer 1890 C.E. Oil on canvas
Czech artist, trained in Europe
Henry Partridge, patron
Commissioned Lindauer to paint portraits of well – known Maori
Painted in two approaches –
Maori clothing for European purchasers
Everyday clothing for family commissions

51. Tamati Waka Nene, Gottfried Lindauer 1890 C.E. Oil on canvas
Nene died in 1871
Portrait painted in 1890 from photograph by John Crombie
Artist worked directly on canvas, pencil outline, applying Paint
Worked from black and White photography – artistic intervention

52. CONTENT AREA 9: THE PACIFIC
C.E.
(11 WORKS)
Quiz and flashcards due for 11 works 9/13

53. MOKO – Origins of the tattoo ritual

54. ENDURING UNDERSTAND 9-4
Pacific arts are performed (danced, sung, recited, displayed) in an array of colors, scents, textures, and movements that enact narratives and proclaim primordial truths. Belief in the use of costumes, cosmetics, and constructions assembled to enact epics of human history and experience is central to the creation of and participation in Pacific arts. Pacific arts are multisensory.

55. ESSENTIAL KNOWLEDGE 9-4a ESSENTIAL KNOWLEDGE 9-4b
Objects and behaviors stimulate a particular response.
Materials are used to demonstrate wealth and status.
The act and ritual of performance carries the meaning of the work of art.
Meaning is communicated at the time of performance.
Art is destroyed once memory is created.
Heroes, ancestors, and animals are symbolic and important

56. ESSENTIAL KNOWLEDGE 9-4c ESSENTIAL KNOWLEDGE 9-4d
The ritual of exchange is important
The process of exchange is complex.
Chants, dances, scents, costumes, and people of particular lineage and social position are called into play to create a performance that engages all of the senses.
Duality - opposing forces express the balance of relations necessary between those seemingly divergent forces.

57. Buk (mask) Smarthistory

58. Buk (mask) Torres Strait, Mid – to late 19th century C. E
Buk (mask) Torres Strait, Mid – to late 19th century C.E., Turtle shell, wood, feathers, and shell
Torres Strait is the water passage between Australia and New Guinea
3 registers – human face, face and body of bird, feathers
Materials incorporated from many island, showing trade links
Tortoise shell precious material, tourist trade
Helmet mask
Frigate bird with raffia as hair
One part of elaborate costume

59. Buk (mask) Torres Strait, Mid – to late 19th century C. E
Buk (mask) Torres Strait, Mid – to late 19th century C.E., Turtle shell, wood, feathers, and shell
Performance engages all senses, creating memories
Performance affirms community, history, traditions
Hero? Ancestor? Totem – object of spiritual significance?
Multisensory: would have been seen in motion, with music, dance at initiation rituals, funerary rituals, or rituals for good harvest
Funerary ritual, ritual to ensure bountiful harvest, abundance of fish/game… like what prehistoric work of art we know?

60. Buk (mask) Torres Strait, Mid – to late 19th century C. E
Buk (mask) Torres Strait, Mid – to late 19th century C.E., Turtle shell, wood, feathers, and shell
1800’s presence of missionaries, masks burned/destroyed
Important, kept in special houses, had prestige
Masks connect wearer and culture to supernatural
Majestic frigate birds – like bald eagle
Birds inhabit sky, place where heaven + earth meet, birds connect world with spirit world

61. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II Fiji, Polynesia 1953 C.E., Multimedia performance
Queen Elizabeth II just crowned, on tour
Ceremonially welcomed with gifts, feasts, music, dance
Women moving in unison, cosmetics, wearing decorated tapa cloth, singing
Tapa cloth – valuable/wealth
Traditional gifts for special occasions to honor Queen
They are welcoming/including her in their traditions

62. Presentation of Fijian mats and tapa cloths to Queen Elizabeth II Fiji, Polynesia 1953 C.E., Multimedia performance
Performance art: multisensory
Dramatic sight many women, procession, costumes, cosmetics, tapa skirts, singing in harmony, chanting, carrying gifs, ritual exchange
Performance is short lived, creating a memory is more important

63. Moai (Smarthistory)

64. Moai on platform (ahu) Rapa Nui (Easter Island), c. 1100-1600 C. E
Moai on platform (ahu) Rapa Nui (Easter Island), c C.E., Volcanic tuff figures on basalt base
Most remote inhabited island
Rapa Nui – Easter Island
Named by Dutch explorer on Easter Sunday
Strong class system, island founder Hotu Matu
887 statues in all, mostly male, almost all facing inland, keep watch over island
Moai means statue

65. Deep set eyes with coral placed in eyes to “open” them
Heavy eyebrow ridge, pointed nose, thin lips curing downward, massive jawline
Carved to commemorate important ancestors
Average 13 feet and 14 tons
Erected on large stone platforms “ahu”
Commissioned by high ranking individuals

66. Ecological collapse – overpopulation, deforestation, rats, 2 groups in constant warfare
Led to replacement of ancestor worship
Cult of bird man
Moai toppled
Missionary activity, 1860’s first church establish
How were moai moved? (TEDtalk)

67. What is the role of the museum in preserving cultures
What is the role of the museum in preserving cultures? Discuss with a group and formulate your opinion.

69. CONTENT AREA 9: THE PACIFIC
C.E.
(11 WORKS)
Quiz and flashcards due

70. What does Oceanic art tell us about Pacific Islanders
What does Oceanic art tell us about Pacific Islanders? Identify and explain each work.

71. CONTENT AREA 6: Africa
Read the unit outline and take notes for each essential knowledge summary (6-1a to 6-3c)