Which type of theatre promotes a particular people's cultural identity?
A) Theatre of identity
B) Personality theatre
C) Theatre of protest
D) Cross-cultural theatre
A
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Nag Biegu” (“Ferocious Wild Bull”) praises a king of Dagbon in the late 1800s (Naa Abdulai). “As they dance to the drumming, people recall the bravery of the king.” The piece is in a verse-chorus form (verse = A, chorus = B). “In the verse, the vocalist and leading lunga drummers praise Naa Abdulai . . .”—answered and punctuated by “booming, single strokes.” The drummed chorus
phrase is easily heard and identified as a rhythmically structured pattern which keeps returning after the vocalized verses. (See Transcription 3-16, Worlds of Music, p. 136). Listen to the recording, refer to the accompanying Active Listening, and identify what you hear in the drums at the beginning of the selection and, in elapsed time (minutes: seconds), where the sung verses (A) and choruses (B) occur. What will be an ideal response?
The Hundred Years' War involved __________
A. Italy and Germany B. England and Flanders C. France and Italy D. Greece and Spain E. France and England
Despite being an ancient Egyptian healing ritual, the zar is not accepted as a part of the baladi, or folk cultural heritage of Egypt.
Answer the following statement true (T) or false (F)
How do we know that the Mycenaeans were a warlike people?
a. They left written records of their many conquests. b. Battle and hunting scenes dominate their art. c. Ares, god of war, was their patron deity. d. They buried their dead with armor and weapons