Discuss the representation of Europeans and other non-Africans in the arts, especially the masquerades, of Africa
What will be an ideal response?
African masquerades range from sacred and secret performances to public spectacles that verge on secular entertainment. White man masks depicting European government officers began to appear during the early 20th century when colonial rule was imposed over the continent. In an Igbo community, a white man is portrayed with a pith helmet, notepad, and pen, suggesting a scholar who is doing important research on them. Today, when tourism helps support many masquerades, masks depicting tourists often appear armed with a carved wooden camera. Europeans are not the only outsiders depicted. Most outside characters are portrayed satirically, providing comic relief in a masquerade where serious masks perform.
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What event is depicted on the shrine doors carved by Yoruba sculptor Olowe of Ise?
A. The arrival of the Dutch in South Africa B. The surrender of the Yoruba king C. A battle scene in southwestern Nigeria D. Visit of British commissioner in 1897
How should the sonata form be viewed as?
A. Another term for the symphony B. A rigid mold into which musical ideas are poured C. A set of principles that serve to shape and unify contrasts of theme and key D. A set of variations on a theme
During the first and second centuries CE, the Romans developed a taste for the aesthetic effect of what building material?
A) ?unfinished concrete. B) ?exposed brick C) ?sculpted tufa. D) ?painted wood.
Despite both representing the female body, the Medici Venus and the Punitavati look distinct thanks to their cultural __________.
A. conventions for representing the figure B. traditions of sculptural practice C. notions of female empowerment D. norms for artist-patron relations