1. Global Art Presentations

2. Indigenous Americas

3. 1. Bandolier bag. Lenape (eastern Delaware) tribe. c. 1850 C. E
1. Bandolier bag. Lenape (eastern Delaware) tribe. c C.E. Beadwork on leather.

4. 2. Transformation mask. Kwakiutl, Northwest coast of Canada
2. Transformation mask. Kwakiutl, Northwest coast of Canada. Late 19th century C.E. Wood, paint/ string. (pg. 1034, 1036)

5. 3. Hide painting of Sun Dance
3. Hide painting of Sun Dance. Attributed to Cotsiogo (Cadzi Cody), Eastern Shoshone, Wind River Reservation, Wyoming. c C.E. Painted elk hide.

6. 4. Black-on- black ceramic vessel
4. Black-on- black ceramic vessel. Maria Martinez and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. c. mid- 20th century C.E. Blackware ceramic. (pg. 1034, 1035)

7. 5. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana)
5. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana). c C.E. Gold over wood and cast- gold attachments.

8. 6. Ndop (portrait figure) of King Mishe mi Shyaang mambul
6. Ndop (portrait figure) of King Mishe mi Shyaang mambul. Kuba peoples (Democratic Repulican of the Congo). c C.E. Wood

9. 7. Power figure (Nkisi n’ kondi)
7. Power figure (Nkisi n’ kondi). Kongo peoples (Democratic Republic of the Congo). c. late 19th century C.E. Wood and metal. (pg )

10. 8. Portrait mask (Mblo). Baule peoples (Cote d’Ivoire)
8. Portrait mask (Mblo). Baule peoples (Cote d’Ivoire). Late 19th to early 20th century C.E. Wood/ pigment.

11. 9. Female (Pwo) mask. Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century C.E. Wood, fiber, pigment, and metal.

12. 10. Bundu mask. Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century C.E. Wood, cloth, and fiber. (pg. 1075)

13. 11. Ikenga (shrine figure). Igbo peoples (Nigeria). c
11. Ikenga (shrine figure). Igbo peoples (Nigeria). c. 19th and 20th century C.E. Wood.

14. 12. Lukasa (memory board). Mudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century C.E. Wood, beads, and metal.

15. 13. Aka elephant mask. Bamileke (Cameroon, western grassfields region)
13. Aka elephant mask. Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E. Wood, woven raffia, cloth, and beads

16. 14. Reliquary figure (byeri). Fang peoples (southern Cameroon). c
14. Reliquary figure (byeri). Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood. (similar pg. 1064)

17. 15. Veranda post: equestrian figure and female caryatid
15. Veranda post: equestrian figure and female caryatid. Olowe of Ise (Yoruba peoples). Before 1938 C.E. Wood and pigment. (pg )

18. South, East, and Southeast Asia

19. 16. White and Red Plum Blossoms. Ogata Korin. c. 1710- 1716 C. E
16. White and Red Plum Blossoms. Ogata Korin. c C.E. Ink, watercolor, and gold leaf/ paper.

20. 17. Chairman Mao en Route to Anyuan
17. Chairman Mao en Route to Anyuan. Artist unknown; based on an oil painting by Liu Chunhua. c C.E. Color lithograph.

21. The Pacific

22. 18. ‘Ahu’ ula (feather cape). Hawaiian. Late 18th century C. E
18. ‘Ahu’ ula (feather cape). Hawaiian. Late 18th century C.E. Feathers and fiber. (similar 1058)

23. 19. Staff god. Rarotonga, Cook Islands, central Polynesia
19. Staff god. Rarotonga, Cook Islands, central Polynesia. Late 18th to early 19th century C.E. Wood, tapa, fiber, and feathers. (pg. 1054)

24. 20. Female deity. Nukuoro, Micronesia. c. 18th to 19th century C. E
20. Female deity. Nukuoro, Micronesia. c. 18th to 19th century C.E. Wood.

25. 21. Buk (mask). Torres Strait. Mid- to late 19th century C. E
21. Buk (mask). Torres Strait. Mid- to late 19th century C.E. Turtle shell, wood, fiber, feathers, and shell.

26. 22. Hiapo (tapa). Niue. c. 1850- 1900 C.E. Tapa or bark cloth, freehand painting. (similar 1053-4)

27. 23. Tamati Waka Nene. Gottfried Lindauer. 1890 C.E. Oil on canvas.

28. 24. Navigation chart. Marshall Islands, Micronesia
24. Navigation chart. Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fiber.

29. 25. Malagan display and mask. New Ireland Province, Papua New Guinea. c. 20th century C.E. Wood, pigment, ,fiber, and shell. (similar 1049).

30. 26. Processional welcoming Queen Elizabeth II to Tonga with Ngatu Launima (tapa cloth). Tonga, central Polynesia C.E. Multimedia performance (costume; cosmetics, including scent; chant; movement; and pandanus fiber/ hibiscus fiber mats), photographic documentation.

31. Short Response Timed Questions
For each culture you will see 2 or 3 questions.
Choose only 1 question and write a short response.
But remember to answer all parts of the question you choose.
You can use your notes, your presentation notes, essential knowledge handouts, the powerpoint posted, and the list of artworks.
You will be timed- 10 minutes for each culture.

32. Americas (choose either question A or B)
A. Distinguish characteristic styles and techniques developed by two Native American cultures-one in the north, and one in the south- and discuss their realization in one specific work from each culture. B. Evaluate the ways in which two Native North American works from this chapter exhibit influence from European culture.

33. Africa (choose either question A or B)
A. Explain the use of art during African divination rituals and discuss one work from our list that is used in practice. B. Compare the representation of the human figure in two different artworks. How could the differences in style be related to the function of these two works and their origin in distinct cultures?

34. South, East, and Southeast Asia (I posted Terry’s powerpoint too)
How does an artwork’s scale and the choice of media relate to its intended function and audience?
How do influences from trade and conquest affected the art of South and Southeast Asia and the way those influences were shaped locally?
Should we skip this one???...because there are only 2 artworks

35. The Pacific (choose question A, B, or C)
A. How is the human body adorned and/or depicted in art across the Pacific? How do these adornments and depictions define or enhance status, authority, and gender roles?
B. Assess the importance of ancestors and the different ways in which ancestors are engaged, honored, or invoked through various Pacific art forms. Focus your answer on two works from two different cultural and geographic settings.
C. Discuss the impact of contact with Western society on the arts and cultures of the peoples of the Pacific. How are contemporary indigenous artists throughout the Pacific addressing the issues of their own times and place?