Discuss the ways in which the various cultures of the Pacific and the Americas believed that they could interact with the spirit world
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The Pacific culture connected with the religious belief known as Dreamtime, which includes the distant past when ancestral beings emerged from the earth. Polynesian people believed certain materials were sacred to the gods, among them feathers. Names were invoked while weaving garments, imbuing them with protective spiritual power. The architecture of the meetinghouses of the Maori people embodies the continuing presence of ancestors and the protective power of the gods. Mayan bloodletting and the visions it produced seem to have been the ruler's way to communicate with the spirits and gods. North American Indians made Kachina dolls, which were believed to contain some of the power of the spirit they represented. The Navajo adapted aspects of Pueblo religious beliefs, including the practice of making spirit beings manifest through masks.
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Why were New Wave directors in Eastern Europe freer to try out fresh subjects, themes, and styles than their Soviet counterparts? What political, economic, and cultural conditions led to the rise of new Eastern European movements? How did their films reflect or modify the conventions of western art cinema? Focus your response by drawing on representative New Wave films from two of the following four countries: Poland, Czechoslovakia, Yugoslavia, Hungary.
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How is a gamelan conducted?
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Program music is
A. an instrumental genre that is based on a literary or extra-musical subject. B. a multi-movement genre, representing a "concerted" effort between the orchestra and a instrumental soloist. C. an orchestral genre that has several sections, or movements. D. none of the above.
The appearance of ____ can be gleaned from Santa Sabina
a. atrium houses b. Old Saint Peter's c. the Baths of Caracalla d. Sant'Apollinare Nuovo