Question 1

People in the Marshall Islands relied on stick charts called wapepe or mattang , which ____________.

Accepted Answer

A)  show navigational routes connecting islands 
B)  show a schematic diagram of ocean currents and wave patterns 
C)  are shells and sticks held together by coconut fibers 
D)  all of the above 
A)  show navigational routes connecting islands 
B)  show a schematic diagram of ocean currents and wave patterns 
C)  are shells and sticks held together by coconut fibers 
D)  all of the above

Question 2

Which was NOT a factor in the destruction and knocking over of moai at Rapa Nui?

Accepted Answer

A)  contact with European explorers 
B)  warfare among the islanders 
C)  overpopulation strained the island's resources 
D)  the emergence of the bird-man cult 
A)  contact with European explorers 
B)  warfare among the islanders 
C)  overpopulation strained the island's resources 
D)  the emergence of the bird-man cult

Question 3

How did the Hawaiian use feathers in their art?

Accepted Answer

The Hawaiians used feathers in their art

Question 4

The moai Rapa Nui have parallel lines on their ears suggesting __________.

Accepted Answer

A)  religious worship 
B)  ear ornaments 
C)  human sacrifice 
D)  class structure 
A)  religious worship 
B)  ear ornaments 
C)  human sacrifice 
D)  class structure

Question 5

What changes have occurred in the modern manufacture and use of bilum work bags in New Guinea?

Accepted Answer

A)  Machines are used for greater efficiency. 
B)  Contemporary fibers including nylon and acrylic yarn are used. 
C)  They are worn by men as well as women. 
D)  All of the above. 
A)  Machines are used for greater efficiency. 
B)  Contemporary fibers including nylon and acrylic yarn are used. 
C)  They are worn by men as well as women. 
D)  All of the above.

Question 6

Which ritual structure is involved in the initiation of girls?

Accepted Answer

A)  Korambu 
B)  Malagan 
C)  Bisj 
D)  Te-Hau-ki-Turanga 
A)  Korambu 
B)  Malagan 
C)  Bisj 
D)  Te-Hau-ki-Turanga

Question 7

How did missionaries play a role in the production of fiber arts?

Accepted Answer

Missionaries have historically played a

Question 8

The Royal Mortuary Compound of Nan Madol is located in __________.

Accepted Answer

A)  Australia 
B)  Lapita 
C)  Micronesia 
D)  New Zealand 
A)  Australia 
B)  Lapita 
C)  Micronesia 
D)  New Zealand

Question 9

Clan leaders in New Ireland rose to prominence through malagan ceremonies that honored their _______ recently deceased ancestors.

Accepted Answer

A)  father's 
B)  son's 
C)  wive's 
D)  mother's 
A)  father's 
B)  son's 
C)  wive's 
D)  mother's

Question 10

How has the production of bark cloth changed in modern times?

Accepted Answer

A)  Environmental concerns about extinct species of trees has ended its production. 
B)  The bark is now beaten using a mechanical process. 
C)  Contemporary fabric paint is often used for decoration. 
D)  Synthetic material resembling bark is used. 
A)  Environmental concerns about extinct species of trees has ended its production. 
B)  The bark is now beaten using a mechanical process. 
C)  Contemporary fabric paint is often used for decoration. 
D)  Synthetic material resembling bark is used.

Question 11

The people of New Guinea are as __________ as its lands.

Accepted Answer

A)  diverse 
B)  homogenous 
C)  turbulent 
D)  quiet 
A)  diverse 
B)  homogenous 
C)  turbulent 
D)  quiet

Question 12

How were designs traditionally made on bark cloth?

Accepted Answer

A)  freehand painting 
B)  stamps made from bamboo 
C)  rubbing pigment on cloth placed over a carved patterned surface 
D)  all of the above 
A)  freehand painting 
B)  stamps made from bamboo 
C)  rubbing pigment on cloth placed over a carved patterned surface 
D)  all of the above

Question 13

__________ prevented women from entering Maori meetinghouses.

Accepted Answer

A)  Taboos 
B)  Spirits 
C)  Mothers 
D)  Fathers 
A)  Taboos 
B)  Spirits 
C)  Mothers 
D)  Fathers

Question 14

What natural resource was used by the people of Nan Madol to construct an architectural complex of 92 artificial islands set within a network of canals that was protected by massive seawalls and breakwaters?

Accepted Answer

A)  volcanic stone (tufa) 
B)  basalt from nearby cliffs 
C)  mangrove trees 
D)  coral 
A)  volcanic stone (tufa) 
B)  basalt from nearby cliffs 
C)  mangrove trees 
D)  coral

Question 15

Raharuhi Rukupo was a nineteenth-century master __________ of the Maori.

Accepted Answer

A)  chef 
B)  tattoo artist 
C)  chief 
D)  carver 
A)  chef 
B)  tattoo artist 
C)  chief 
D)  carver

Question 16

As Polynesians migrated across the Pacific, they brought with them the production of __________, which was used for clothing, sails, mats, and ceremonial purposes.

Accepted Answer

A)  tufa 
B)  bark cloth 
C)  bamboo 
D)  coral 
A)  tufa 
B)  bark cloth 
C)  bamboo 
D)  coral

Question 17

The Feather Cloak, or Kearny Cloak had a foundation made from __________.

Accepted Answer

A)  coconut fibers 
B)  strung pearls 
C)  pineapple leaves 
D)  corn husks 
A)  coconut fibers 
B)  strung pearls 
C)  pineapple leaves 
D)  corn husks

Question 18

The largest island in Melanesia is __________.

Accepted Answer

A)  Vanuatu 
B)  Fiji 
C)  Santa Cruz 
D)  New Guinea 
A)  Vanuatu 
B)  Fiji 
C)  Santa Cruz 
D)  New Guinea

Question 19

The structure of the Maori meetinghouse (whare nui) stands on an open plaza called a ____________.

Accepted Answer

A)  turanga 
B)  hapu 
C)  iwi 
D)  marae 
A)  turanga 
B)  hapu 
C)  iwi 
D)  marae

Question 20

What common artistic interest appears in most of Pacific cultures?

Accepted Answer

A)  monumental structures used for religious purposes 
B)  tattooing and performative arts related to ritual 
C)  narrative imagery depicting cultural history 
D)  an emphasis on the sea and marine life 
A)  monumental structures used for religious purposes 
B)  tattooing and performative arts related to ritual 
C)  narrative imagery depicting cultural history 
D)  an emphasis on the sea and marine life

Exam 28: Art of Pacific Cultures

People in the Marshall Islands relied on stick charts called wapepe or mattang , which ____________.

Which was NOT a factor in the destruction and knocking over of moai at Rapa Nui?

How did the Hawaiian use feathers in their art?

The moai Rapa Nui have parallel lines on their ears suggesting __________.

What changes have occurred in the modern manufacture and use of bilum work bags in New Guinea?

Which ritual structure is involved in the initiation of girls?

How did missionaries play a role in the production of fiber arts?

The Royal Mortuary Compound of Nan Madol is located in __________.

Clan leaders in New Ireland rose to prominence through malagan ceremonies that honored their _______ recently deceased ancestors.

How has the production of bark cloth changed in modern times?

The people of New Guinea are as __________ as its lands.

How were designs traditionally made on bark cloth?

__________ prevented women from entering Maori meetinghouses.

What natural resource was used by the people of Nan Madol to construct an architectural complex of 92 artificial islands set within a network of canals that was protected by massive seawalls and breakwaters?

Raharuhi Rukupo was a nineteenth-century master __________ of the Maori.

As Polynesians migrated across the Pacific, they brought with them the production of __________, which was used for clothing, sails, mats, and ceremonial purposes.

The Feather Cloak, or Kearny Cloak had a foundation made from __________.

The largest island in Melanesia is __________.

The structure of the Maori meetinghouse (whare nui) stands on an open plaza called a ____________.

What common artistic interest appears in most of Pacific cultures?

Prehistoric Art in Europ

Art of the Ancient Near East

Art of Ancient Egypt

Art of the Ancient Aegean

Art of Ancient Greece

Etruscan and Roman Art

Jewish and Early Christian Art

Byzantine Art

Islamic Art

Art of South and Southeast Asia Before 1200

Chinese and Korean Art Before 1279

Japanese Art Before 1333

Art of the Americas Before 1300

Early African Art

Early Medieval Art in Europe

Romanesque Art

Gothic Art of the Twelfth and Thirteenth Centuries

Fourteenth-century Art in Europe

Fifteenth-century Art in Northern Europe

Renaissance Art in Fifteenth-century Italy

Sixteenth-century Art in Italy

Sixteenth-century Art in Northern Europe and the Iberian Peninsula

Seventeenth-century Art in Europe

Art of South and Southeast Asia After 1200

Chinese and Korean Art After 1279

Japanese Art After 1333

Art of the Americas After 1300

Art of Africa in the Modern Era

Eighteenth- and Early-nineteenth Century Art in Europe and North America

Mid-to Late Nineteenth-century Art in Europe and the United States

Modern Art in Europe and the Americas, 1900-1950

The International Scene Since 1950

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