Bonvillain Ch.16 The Arts Test Bank Answers

Test Bank

Chapter 16

In this revision of the test bank, I have updated all of the questions to reflect changes in Cultural Anthropology, 4e. There is also a new system for identifying the difficulty of the questions. In earlier editions, the questions were tagged in one of three ways: factual (recall of factual material), conceptual (understanding key concepts), and applied (application of sociological knowledge to a situation). In this revision, the questions are now tagged according to the six levels of learning that help organize the text. Think of these six levels as moving from lower-level to higher-level cognitive reasoning. The six levels are:

REMEMBER: a question involving recall of key terms or factual material

UNDERSTAND: a question testing comprehension of more complex ideas

APPLY: a question applying anthropological knowledge to some new situation

ANALYZE: a question requiring identifying elements of an argument and their interrelationship

EVALUATE: a question requiring critical assessment

CREATE: a question requiring the generation of new ideas

The ninety questions in this chapter’s test bank are divided into two types of questions. Multiple-choice questions span a broad range of skills (over half are “Remember” questions and the remainder are divided among two higher levels). Essay questions are the most demanding because they include the three highest levels of cognitive reasoning (from “Analyze” to “Create”) as well as lower levels.

Types of Questions

Easy to Difficult Level of Difficulty

MULTIPLE CHOICE

1. The story of Mataora relates the origins of the Maori art of __________.

a. painting

b. tattooing

c. song chanting

d. wood carving

2. Philosophies about what has beauty and value in art are called __________.

a. taste

b. culture

c. aesthetics

d. creativity

3. According to Richard Anderson, all of the following are key characteristics of art EXCEPT __________.

a. it is an artifact of human or higher primate creation

b. it is intended to affect the senses

c. it is stylistically groundbreaking and unlike previous works

d. it is realistic

4. Art objects are made by __________.

1. humans and gorillas
2. humans and chimps
3. humans and elephants
4. humans only

5. Aesthetic conventions are __________.

a. biological

b. cultural

c. universal

d. apply only to paintings

6. __________ art portrays the world accurately.

a. Representational

b. Formalist

c. Instrumental

d. Mimetic

7. __________ art imitates, idealizes, or symbolizes form and experience.

a. Representational

b. Formalist

c. Instrumental

d. Mimetic

8. __________ art attempts to have a beneficial effect on society, enriching people’s lives, teaching moral lessons, and providing insights for improving and changing the world.

a. Representational

b. Formalist

c. Instrumental

d. Mimetic

9. The core aesthetic value of art __________ from culture to culture.

a. varies little

b. varies a lot

1. is not comparable
2. is irrelevant

10. Yoruba aesthetics demand that humans should be shown __________.

a. exactly as the model looks in real life

b. engaged only in ritual activities

c. without the physical flaws of ordinary people

d. only if they are social elites

11. Anthropologically speaking, art is required to exhibit what?

a. Symbolism

b. Skill

c. Abstractness

d. Ethnicity

12. __________ art is abstract art that focuses on the formal qualities of art—color, composition, sound, words, or movements.

a. Representational

b. Formalist

c. Instrumental

d. Mimetic

13. Yoruba art is an encapsulation of their ideas about __________.

a. beauty, goodness, and morality

b. social justice and an idealized society

c. the afterlife of good people

d. social ills and how they should be corrected

14. Abstract art is usually __________.

a. mimetic

b. representational

c. formalist

d. aesthetic

15. Which of the following societies have traditionally used tattooing as a form of body art?

a. Yoruba

b. Inuit

c. Australian Aboriginal

d. Aztec

16. People who particularly have a lot of body art are __________.

a. agriculturalist societies

b. horticulturalist societies

c. nomadic societies

d. industrial societies

17. Which of the following societies have traditionally used scarification as a form of body art?

a. Maori

b. Inuit

c. Navajo

d. Yoruba

18. In the Aztec Empire, clothing and jewelry served the function of all of the following EXCEPT __________.

a. differentiating groups within the social hierarchy

b. differentiating men from women

c. differentiating some occupations from others

d. differentiating age

19. Inuit tattoos are __________.

a. private

b. to announce something about the bearer

c. for the Gods

d. done as a puberty ritual

20. In the Suriname Maroon society of Saramaka, male and female carvings on calabash gourds are different __________.

a. in that females are professional artists while men are not

b. in the kinds of tools each uses as well as the kinds of designs each carves

c. because males travel widely and adopt new styles from neighboring societies

d. because men are professional artists while women are not

21. All __________ women carve and decorate some of their own calabashes.

a. Saramaka

b. Diné

1. Aztec
2. Maya

22. Navajo healers use __________ as part of healing ceremonies.

a. carved wooden bowls

b. sandpaintings

c. body painting

d. human sculptures carved from stone

23. Helen Frankenthaler was a __________ painter.

a. realist

b. abstract impressionist

1. mixed media
2. pointillist

24. After healing rituals, Navajo sandpaintings are __________.

a. preserved in lacquer and kept under the sick person’s bed

b. carefully recorded on paper

c. ritually destroyed

d. left to slowly disappear

25. __________ were made in Europe about 30,000 years ago and are thought to represent pregnant women.

a. Cave paintings

b. Willendorf sculptures

c. Venus figurines

d. Spirit sticks

26. Which of the following has been suggested as a possible reason why Venus figurines were made?

a. They were gifts given by men or women to their lovers.

b. They were self-portraits made by women while pregnant.

c. They were attempts at magical birth control.

d. They were portraits of pregnant women made by their husbands.

27. Incan quipus were used __________ but also may have had artistic dimensions.

a. as storage boxes

b. for record keeping

c. as altars

d. as temporary shelters

28. One of the greatest problems with __________ is the inability of anthropologists to know what creators thought about their artistic creations.

a. ethnographic studies of art

b. ethnographic studies of dance

c. archaeological studies of art

d. formal art from other cultures

29. Among the __________ of British Columbia, songs come spontaneously to people when they are called by the spirits to be healers or other religious practitioners.

a. Tiwi

b. Crow

c. Yoruba

d. Gitksan

30. In Diné society, songs __________.

a. are not meant to last and be preserved but, rather, to be created and expressed

b. are carefully preserved property passed from generation to generation within families

c. never used in ritual, but commonly used during menial tasks

d. reserved for use in ritual settings only

31. All of the following are areas of study for ethnomusicologists EXCEPT __________.

a. symbols, including language

b. musical instruments

c. communication, including folklore

d. house structures

32. If you were a Diné and had a song that you sang on the way to class every day, you would __________.

a. write it down quickly

b. sing it on other occasions too

c. feel it enhanced the action of walking to class

d. not sing it again

33. Often ethnic songs can be used to __________.

a. increase tension through competition

b. reduce tension through competition

c. entertain others

d. create individuality

34. In the Trobriand Islands of Melanesia, __________ is accompanied by intense singing by men.

a. eating

b. working

c. mourning

d. marriage

35. The Inuit understand artistic expression in songs to __________.

a. be a characteristic of gifted individuals blessed by spirits

b. allow the expression in inner feelings in a way ordinary words cannot

c. be the artistic area in which women excel

d. be reserved for use in song duels

36. West African music in general __________.

a. is not accompanied by singing

b. places greater stress on tonal qualities than rhythm

c. is slow and stately in order to stress the dignity of the performance

d. places equal stress on every note

37. The anthropologist Anya Royce identifies dance as __________.

a. a social drama

b. the second oldest art form after cave painting

c. not truly an art form

d. a corollary to the art of music

38. Hand gestures by Indian and Balinese dancers refer specifically to __________.

a. the dancer’s social status

b. the dancer’s marital status

c. characters or events in sacred narratives and folktales

d. a dancer’s place of birth

39. Music, song, and dance performances must be understood __________.

a. through the cultural contexts in which they occur

b. in accordance to rigorous aesthetic standards

c. in formalist terms

d. as a single art form

40. Oral literature includes __________.

a. the stories people tell about their lives

b. stories about the sacred past

c. secular histories

d. all of the above; anything spoken within a group can be used

41. __________ tell of a primordial world that existed before this one and of the events that led to the formation of our present world.

a. Folktales

b. Sacred narratives

c. Fables

d. Histories

42. Secular stories that relate events that teach moral lessons or entertain listeners are __________.

a. sacred narratives

b. fairy tales

c. folktales

d. biographies

43. The phrase “once upon a time” is a __________ of English tales.

a. cliché

b. stylistic feature

c. narrative event

d. proverbial device

44. Stylistic devices in folktales serve to __________.

a. free the storyteller to ad lib parts of the story

b. relieve dramatic tension in the story

c. cue listeners that they are hearing a particular type of artistic event

d. make storytelling easy

45. The Akan of Ghana sometimes use proverbs to do all of the following EXCEPT __________.

a. indirectly give advice

b. make requests

c. criticize other people’s behavior

d. teach ritual dances

46. A traditional Zuni performance sets stories off as __________.

a. artistic events

b. ceremonies

c. rituals

d. formal speeches

47. “An egg never sits on a hen” is an example of a __________.

a. proverb

b. folktale

c. sacred narrative

d. ritual speech

48. Riddles are used __________ as well as to entertain.

a. to confuse

b. to impart cultural knowledge

c. to prove intellectual ability

d. to ask for advice

49. The __________ of oral narratives and written narrative share(s) few, if any, common elements across cultures.

a. narrative structures

b. cadence

1. length
2. characters

50. Current trends in music have resulted in __________.

a. the abandonment of traditional music forms in favor of Western music in most of the world

b. hybridization of traditional music as musicians from different parts of the world and traditions collaborate

c. a strong preference for European classical forms of music in most of the world

d. a decrease in average IQ

51. Ownership of art from both dominant and traditional cultures is often used to express all of the following EXCEPT__________.

a. aesthetic values

b. economic success

c. social status

d. power

52. The Western style of performing music in concert halls has been noted by Shannon to __________.

a. divorce ethnic and traditional music from its “lived” context

b. make it possible to concentrate on the music more completely

c. improve the sound quality of music that otherwise may be poorly performed

d. be largely unsuccessful and unpopular

53. In the early twentieth century, Western art connoisseurs referred to non-Western art as __________ art.

a. non-Western

b. tribal

c. primitive

d. basic

54. __________ is taught and played in every country of the world.

a. European classical music

b. European pop music

1. European rap music
2. European folk music

55. African and Asian artistic traditions have __________ Western art since the nineteenth century.

a. influenced

b. not influenced

c. been influenced by

d. not been influenced by

56. Ethnic artists are now regarded by museums as what?

a. Part of their tribes

b. Individuals

c. Followers of “primitivism”

d. Too primitive to put in permanent collections

57. Some indigenous communities have found their art forms __________.

a. impractical in the modern world

b. to be the basis of new religious movements

c. a way to become prosperous as commercial demand for them has increased

d. naive compared to Western art forms

58. For many ethnic groups in multicultural nations, __________ has remained an important identity marker.

a. sculpture

b. folklore

c. dance

d. weaving

59. The Asmat of Indonesian New Guinea have relied on dance as a way to maintain their cultural identity because __________.

a. they are now city dwellers who live in apartments

b. Islamic law forbids the traditional human forms used to decorate houses

c. dance is the most distinctive of Asmat art forms

d. they are too poor to afford the materials needed for other art forms

60. The Zapotec of Mexico engage in __________ at social gatherings when non-Zapotec persons are present in order to reinforce their ethnic identity.

a. Zapotec language singing

b. traditional Zapotec riddles and joking

c. body painting

d. traditional Zapotec dancing

61. The __________ is an example of a Native American tradition that has spread to other areas and become associated with Native Americans in general.

a. powwow

b. Sari

1. rug
2. war dance

62. The Kuna of Panama sell __________, called molas, worldwide because they were popularized by tourists in the 1960s.

a. wooden statues

b. embroidered blouses

c. drawings of mythical creatures

d. leather shoes

63. Powwows have contributed to __________ because styles of dance and dress have spread to new groups and resulted in the appearance of new artistic expression.

a. the dilution of Native American identity

b. historical loss

c. international native identity

d. the preservation of distinct local dance and dress styles

64. Global market forces have led to a diversification of Inuit __________ because of its increased popularity with collectors.

a. sculpture

b. music

c. musical instruments

d. decorated leather goods

65. __________ is an example of a traditional art form that has lost much of its original meaning due to tourist interest and commodification.

a. Yoruba sculpture

b. Zapotec dancing

c. Hawaiian hula dancing

d. West African music

66. Globalization has changed some __________ relations in native societies.

a. gender

b. age

c. sex

d. animal

67. The first Navajo adaptation to market forces was __________.

a. silver-smithing

b. the production of larger sized blankets

c. the mass production of pottery

d. the switch to commercially dyed wool

68. By the __________, Navajo blankets were making their way into national trade networks.

a. 1850s

b. 1860s

c. 1880s

d. 1920s

69. Pueblo __________ weave blankets; on the other hand, Navajo __________ weave blankets.

a. men; women

b. women; men

c. children; elderly

d. elderly; children

70. Lower-status Toraja have benefited most from tourism because __________.

a. they have been able to compete against higher-status Toraja for tourists’ attention

b. they act as middlemen between high-status Toraja and tourists

c. they have more experience with tourists as a result of working in cities

d. high-status Toraja refuse to let their funerals be viewed

71. The art items we most associate with the Diné have their origins in __________.

a. prehistoric times

b. around the Contact period (with the Spanish)

c. the 1870s

d. the 1900s

72. A change that Navajo arts has undergone as a response to market forces is the __________.

a. beginning of weaving as a Navajo art

b. emergence of full-time artist specialists

c. contracting of non-Navajo artists to produce Navajo art

d. switch from hand weaving to machine weaving of Navajo blankets

73. Although a national market for Navajo goods brought some prosperity, the Navajo also became __________.

a. uninterested in maintaining their ethnic identity

b. more interested in producing non-Navajo art

c. unable to afford materials for artistic goods as prices increased

d. vulnerable to market fluctuations in prices

74. As the popularity of Navajo goods has increased in the twentieth century, Navajo artisans have been harmed by __________.

a. new taxes on their products

b. foreign production of fake Navajo goods

c. the loss of sheep herds and dependence on factory processed wool

d. tariffs on the export of reservation produced goods

75. In Indonesia, Toraja __________ have attracted great interest from tourists.

a. puberty rites

b. marriage ceremonies

c. funerals

d. houses

76. Toraja society is __________, and tourism has led to competition among formerly harmonious segments of society.

a. ranked

b. egalitarian

c. heterogeneous

d. nonviolent

77. Today, an estimated __________ of all families in the art producing towns of the Oaxaca Valley in Mexico make a living by producing wooden carvings.

a. 5 percent

b. 20 percent

c. 30 percent

d. 50 percent

78. As the popularity of ethnic art has grown in the global market, many artists have __________ as a way to protect themselves against market fluctuations.

a. invested their profits in land

b. moved to the United States and Europe

c. diversified production to include nontraditional arts and motifs

d. switched to factory production

79. What is the term for art produced by a particular group of people that comes to express and symbolize their ethnic identity?

a. Symbolic expression

b. Identity art

c. Representational art

d. Ethnic art

80. Javanese wayang are __________ that are used to transmit stories from Hindu epics.

a. paintings

b. embroidered blankets

c. puppet shows

d. choral singing concerts

ESSAY QUESTIONS

81. What are the four key characteristics suggested by anthropologist Richard Anderson to define art? Discuss why these characteristics are important in defining art.

(UNDERSTAND)

82. What are the four aesthetic paradigms in Western art? How do they differ in their approaches to artistic representation?

(UNDERSTAND)

83. Discuss the aesthetics of Yoruba art (including music and dance) in terms of the values it emphasizes.

(UNDERSTAND)

84. What are the connections between art and ritual? How are the two mutually reinforcing? Why do you think such connections are so strong between art and ritual?

(UNDERSTAND)

85. What are the earliest forms of art known and where do they come from? Outline two theories that address the origins of art. Which do you prefer and why?

(ANALYZE)

86. Oral literature and folktales are among the most cross-culturally prevalent forms of art. Explain why given the functions of these art forms in society and the particular artistic skills needed to perform them.

(EVALUATE)

87. Using examples, discuss how body art, including clothing, intersects with gender, status, and religion.

(EVALUATE)

88. What are the commonalities and differences between oral and written literature?

(ANALYZE)

89. What role do proverbs and riddles play in societies? Why are these considered art too?

(EVALUATE)

90. How does clothing act as art and social identity in Western society? Why does this happen and what role does capitalism play in it?

(CREATE)