ART 120

SHORT ANSWER QUESTIONS EXAM #3

CHAPTER 3: THE EAST

1. When did Native Americans wear their formal dress and where did the images and designs come from?

2. What were the visual expressions of guardian powers?

3. Why did woodlands Native Americans stop tattooing their bodies and what other type of body adornment took its place?

4. How were brooch’s created?

5. What was the purpose of the Iroquois stamped openwork brooch?

6. How did the design of this brooch change after European influence?

7. When is a work considered less authentic?

8. Why did Anishnabe artists return to rock painting?

9. What myth is associated with wampum and what purpose does this material serve?

10. What type of personal adornment was popular during the pre-contact period and how did this change during the post-contact period?

11. Describe the various types of tattoos and how they are applied to the body.

12. Describe the process used to prepare porcupine quills and how were they developed into designs?

13. Which native produced object was the first to be commoditized for sale to non-natives and why?

14. What is the trail of tears?

15. What is a Calumet and what purpose does it serve?

16. What does red catlinite symbolize?

17. What are manitos and what was contained inside?

18. What is misshipeshu?

19. What effect did European interaction have on the designs of various SE objects?

20. Why did many Native American groups accept the European floral design?

21. What did berries symbolize to many groups?

CHAPTER 4: THE WEST (PLAINS REGION)

22. What is the Lakota foundation myth?

23. What groups resided in the Great Plains region?

24. When was the horse introduced to the plains region and how did this effect change?

25. What was the popular form of artistic production during the pre-contact period?

26. What was the medium of most arts during the post-contact period?

27. Why did George Catlin document Native Americans?

28. Why is Catlin’s work somewhat authentic?

29. Why is Catlin’s work important and at the same time detrimental to the representation of Native Americans?

30. What symbolism is shown in Four Bears image?

31. Why is the Four Bears image a form of nostalgia?

32. Why was it important for men of the group to wear regalia?

33. What is a parfleche and who was responsible for its construction and design?

34. What types of designs were gender specific in the Plains region and what meaning was associated with these designs?

35. What types of works were women responsible for?

36. What community ideas in relation to women were associated with tipi construction?

37. Who is Double-Woman?

38. What are honor marks?

39. Who was responsible for specific designs?

40. How were tipi’s constructed?

41. Who was responsible for constructing them and painting them?

42. What types of materials were used to construct tipis and why were these materials used?

43. What types of images were drawn on tipis?

44. Describe the distinctive beadwork amongst the Great Plains people.

45. What was the purpose of the Lakota beadwork costumes?

46. Describe the designs on a Lakota costume after the peak in 1875.

47. Why was it important for Lakota girls to wear a beaded costume?

48. What is meant by the phrase “collective identifier”?

49. What affect did trading have on the design and production of objects produced by women?

50. Who painted and who constructed the painted hide robes?

51. What was the purpose of the symbols on a hide shield? (see fig. 4-1)

52. How were roles divided in the creation of men’s shirts?

53. How do women and men’s designs differ?

54. What types of works were men responsible for?

55. What types of events are portrayed on men’s works?

56. What takes place during a Vision Quest?

57. Why were Vision Quests important in relation to the hide shield?

58. What are winter counts?

59. What was the purpose of the bison robe?

60. Describe some of the symbolism found on the bison robes and what did they commemorate?

61. What is an Okipa, K’ado, and Massaum ceremony?

62. Why was the bison important to Mandan (Plains) Indians?

63. What did the dragonfly symbolize?

64. What is a medicine wheel and what purpose did it serve?

65. Describe the unique design of a medicine wheel and how its design enhances its purpose.

66. What is a sun dance?

67. What is the Sun-dance pole?

68. What events led to the breakdown of many Plains nations?

69. When did the “reservation era” take place?

70. How did painting change after Plains people were placed on reservations?

71. What is ledger book art was it important for the Plains men to keep ledgers?

72. How did European art affect the formal elements of Plains ledger paintings?

73. Describe the Ghost Dance cult.

74. Describe the symbolism of the ghost dance dress and how it related to the beliefs of the cult.

75. Describe 2 different types of cradleboard design?

76. When would cradleboards be given and by whom?

77. Describe the Hunka ceremony.

78. Discuss the concept of “Bride’s Wealth” and the social structure of Wisham societies.

CHAPTER 5: THE NORTH

“ESKIMO/INUIT”

79. Define the terms Eskimo and Inuit and why are they offensive to many Native Americans?

80. Describe the relationship between human beings and animals?

81. Name a few of the Deities from the Northern region.

82. Who are the Dene pople and which language group do they belong to?

83. Describe the designs of the Naskapi Tailored coat, their individual and overall meaning.

84. Where did the design for the coat originate?

85. Compare and contrast the Naskapi, Cree and Dene type of clothing noting similarities and differences in formal elements and symbolism.

86. Describe materials did the Okvik use to create objects?

87. What does the small figure on the Okvik female figure represent?

88. What message is the female figure supposed to send?

89. Describe types of designs are on the female figure and why?

90. Describe the features of an Ivory burial mask.

91. Define polyiconic and why the term can be used to describe Ipiutak masks.

92. What various purposes did Inuit masks serve?

93. What reasons were given as to why Inuit sculptors carved a figure of a Norseman.

94. Describe the types of structures that are characteristics of the artic region.

95. What type of clothing was worn by Artic people and what distinctive features are incorporated into the design that can denote status?

96. Describe the process to construct a garment using mammal intestines, including practices that ensure spiritual protection.

97. Describe the cross-cultural use of materials in Nivisanaaq’s beaded amauti (parka)

98. Describe the Inuit tattoo process (materials as well).

99. What purpose do tattoos serve?

100. Why are tattoos created at joints?

101. Define inua?

102. Define tunghak? (see powerpoint)

103. Describe the Bladder festival.

104. Describe the differing views on the production of masks between the Southwestern groups and the Yup’ik.

105. Describe the Yup’ik artists views on ancient artifacts that are owned by museums.

106. Define angalkuq.

107. Describe the significance of the designs and materials used to create the shaman’s drum (fig. 5-21).

108. Describe the various symbolism portrayed on Inuit masks?

109. Why are many masks discarded after one use?

110. What does the Loon represent?

111. Describe the process to construct a visor masks created and why were certain materials used?

Modern and contemporary artists will be covered in next section go to Chapter 6.

CHAPTER 6: NORTHWEST COAST

112. What Nations inhabit the Northwest Coast (NWC) region of North America?

113. Briefly summarize the artistic styles of NWC nations.

114. What is the Raven creation myth and why is Reid’s Raven sculpture effective in visualizing the story?

115. What symbolism is on the Salish bowl and why were the designs chosen?

116. What may have been contained inside the Salish Bowl in form of a human figure and why was it used?

117. What is stored in chest and how do the designs enhance its purpose?

118. Why did artists in the NWC region decorate the food boxes?

119. Describe the three styles of carving/painting images in the NWC.

120. Why was copper an important material for NWC people?

121. How were people able to acquire copper and what changes in production occurred when metals were more readily available?

122. What colors are frequently used in NWC art?

123. Describe the formline style (detailed answer).

124. Describe the formal elements (line, color, shape) of the stacked U design.

125. Describe the development of the stacked U design (Charles Edenshaw).

126. What is represented on the Nuu-chah-nulth house screen?

127. When would the house screen be displayed and why?

128. What is a kinetic/transformation mask?

129. Why is transformation important in the design of NWC masks?

130. Who wears and constructs the transformation masks?

131. Why is it necessary for the masker (in some communities) to go into the forest before the performance?

132. What occurs during the wearing of the mask?

133. How are totem and mask designs connected to face paintings (content and formal elements)?

134. Describe the designs on the male ancestor mask and why would these types of designs be used?

135. What purpose do ancestral masks serve?

136. Describe the design of the Chilkat blanket.

137. What symbolism is seen on the Chilkat blanket?

138. How does the Chilkat blanket display “dual symbolism”?

139. What transformation takes place when the shaman wears the Chilkat blanket?

140. What role does the shaman play in NWC societies?

141. Why did the Tlingit paint their faces?

142. What is the Soul Recovery Ceremony (Spirits-Curing –in-a-Line) and how does art aid in this ritual?

143. What types of objects were used by shamans?

144. What are Yek?

145. Which animals were most important amongst shamans?

146. Who does the Tlingit shaman’s mask represent?

147. Why is the tongue sticking out on the Shaman’s mask?

148. What was the purpose of a shaman’s rattle?

149. What is represented on the shaman’s rattle and what meaning is associated with this symbols?

150. Describe the swaixwe, Dzunuk’wa and naxnox masks and what they represent?

151. What is the purpose of a totem/mortuary posts?

152. What icons and symbols are carved into totems?

153. Define Adaawk.

154. What do totems symbolize to the owner(s)?

155. How are designs restricted?

156. Describe the designs seen on a totem/mortuary posts?

157. Define snag?

158. How do masks and totem poles represent the society that produces them?

159. Describe the symbolism on the reproduction of Chief Clellamin’s house.

160. Describe a Potlatch?

161. Why is gift giving important during the Potlatch?

162. Who is responsible for maintaining this exchange of gifts?

163. Describe Hamatsa?

164. Describe the Tseka cycle.

165. Describe the design and purpose of the Galukwam (crooked beak) and Huxwhukw (long beak) masks.

166. Describe the myth of the wild women as represented in the Dzunuk’wa’s feast dish.

167. Why is the wild woman a symbol of goodness as well as darkness.

168. Why is Charles Edenshaw recognized as one of the finest NWC artists?

169. Describe some of Edenshaw’s designs.

170. How does Simon Stilthda/Charles Gwaytihl’s style differ from Charles Edenshaw?

171. What is argillite?

172. What is a Godroon?

173. What types of works were produced using argillite?