CHAPTER TWENTY-EIGHT ART OF PACIFIC CULTURES
1. The Feather Cloak, or Kearny Cloak (Fig. 28-16) has a foundation made from
A. coconut fibers.
B. strung pearls.
C. pineapple leaves.
D. cornhusks.
Answer: A
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Easy
Skill Level: Remember the Facts
2. What do the artists of The Barunga Statement (Fig. 28-1) use to relay the ancestral narratives of both cultures represented?
A. composition
B. iconography
C. perspective
D. implied motion
Answer: B
Learning Objective: 28.e Interpret the art of Pacific cultures using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Chapter Introduction
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
3. Which of the following was prized in New Zealand and considered to have sacred powers?
A. emerald
B. sapphire
C. jadeite
D. coral
Answer: C
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Polynesia
Difficulty Level: Easy
Skill Level: Remember the Facts
4. The structure of the Maori meeting house (whare nui) stands on an open plaza called a
A. turanga.
B. hapu.
C. iwi.
D. marae.
Answer: D
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: Te-Hau-Ki Turanga
Difficulty Level: Easy
Skill Level: Remember the Facts
5. What was the purpose of much of the art that indigenous Australian peoples developed?
A. to commemorate historical events
B. to celebrate the culture’s heroes and leaders
C. to relive and transmit stories about ancestors
D. as part of burial and death rituals
Answer: C
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: Australia
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
6. Although today some Asmat bisj poles (Fig. 28-6) are sold to outsiders, traditionally they were
A. buried with the bodies of the deceased.
B. left in swamps to deteriorate.
C. placed behind residential houses.
D. burned in ritual ceremonies.
Answer: B
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: New Guinea
Difficulty Level: Moderate
Skill Level: Understand the Concepts
7. What was the function of the stick charts called wapepe or mattang (Fig. 28-9) that were created by the people of the Marshall Islands?
A. show navigational routes connecting islands
B. relay ritual information to younger generations
C. record historical events, such as war and succession
D. document astrological relationships
Answer: A
Learning Objective: 28.e Interpret the art of Pacific cultures using the art historical methods of observation, comparison, and inductive reasoning.
Topic: New Ireland and New Britain
Difficulty Level: Moderate
Skill Level: Understand the Concepts
8. Among New Guinea and its neighboring islands, there are more than 700
A. languages.
B. lizards.
C. roads.
D. animals.
Answer: A
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: New Guinea
Difficulty Level: Easy
Skill Level: Remember the Facts
9. The moai on Rapa Nui (Fig. 28-17) have parallel lines on their ears, suggesting
A. religious worship.
B. ear ornaments.
C. human sacrifice.
D. class structure.
Answer: B
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Easy
Skill Level: Remember the Facts
10. What unusual feature appears in the relief carvings of ancestors covering the supporting structures of the Te-Hau-Ki Turanga meeting house?
A. a plaque calling for the rights of indigenous peoples in New Zealand
B. soft, shallow surface carving resulting from the use of stone tools
C. a naturalistic portrait of the artist
D. figures shown with their tongues sticking out
Answer: C
Learning Objective: 28.e Interpret the art of Pacific cultures using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Te-Hau-Ki Turanga
Difficulty Level: Moderate
Skill Level: Understand the Concepts
11. What common artistic interest appears in most Pacific cultures?
A. monumental structures used for religious purposes
B. tattooing and performative arts
C. narrative imagery depicting cultural history
D. emphasis on the sea and marine life
Answer: B
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: New Ireland and New Britain
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
12. What element of tattooing was most sacred to people of the Marquesas Islands?
A. the symbolism of the designs and patterns
B. the process of shedding blood
C. the display of status and wealth
D. the ceremony involved on the completion of the tattoo
Answer: B
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Marquesas Islands
Difficulty Level: Moderate
Skill Level: Understand the Concepts
13. Which ritual involves the initiation of girls?
A. korambu
B. malagan
C. bisj
D. nggwal
Answer: B
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: New Ireland and New Britain
Difficulty Level: Moderate
Skill Level: Understand the Concepts
14. The Asmat culture’s production of bisj spirit poles reflects their belief that
A. spirits can be called on to settle disputes, stop fights, and punish lawmakers.
B. relatives must avenge the deaths of their ancestors.
C. wealth and status can be attained through homage to one’s ancestors.
D. ancestral Spirit Beings arrived from the sea and took many different forms.
Answer: B
Learning Objective: 28.e Interpret the art of Pacific cultures using the art historical methods of observation, comparison, and inductive reasoning.
Topic: New Guinea
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
15. The Maori tradition of building a large wooden meeting house evolved after
A. the population experienced dramatic growth.
B. contact with Westerners.
C. the introduction of steel tools.
D. Raharuhi Rukupo introduced a new design.
Answer: B
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Te-Hau-Ki Turanga
Difficulty Level: Easy
Skill Level: Remember the Facts
16. The moai found at Rapa Nui have no
A. hair.
B. eyes.
C. hands.
D. legs.
Answer: D
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Easy
Skill Level: Remember the Facts
17. How has the production of bark cloth changed in modern times?
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.
Answer: C
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze it
18. In the Wahgi tribe of New Guinea, loosely woven netted work bags called bilum (Fig. 28-5) indicate .
A. whether a woman is eligible to marry.
B. the social rank of the wearer.
C. an individual’s profession.
D. different ancestral affiliations.
Answer: A
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: New Guinea
Difficulty Level: Moderate
Skill Level: Understand the Concepts
19. What symbolized the female womb in korambo spirit houses of the Abelam culture?
A. triangular floorplan
B. small door
C. figurative sculpture
D. open hearth
Answer: B
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: New Guinea
Difficulty Level: Moderate
Skill Level: Understand the Concepts
20. Which Micronesian site known for its extensive architectural complex had been abandoned before Europeans discovered it in the nineteenth century?
A. Marshall Islands
B. Palau
C. Yap
D. Nan Madol
Answer: D
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: New Ireland and New Britain
Difficulty Level: Moderate
Skill Level: Understand the Concepts
21. As they migrated across the Pacific, Polynesians brought with them the knowledge of producing media, such as
A. tuff.
B. bark cloth.
C. bamboo.
D. coral.
Answer: B
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Easy
Skill Level: Remember the Facts
22. The most extensively tattooed of all Polynesians lived
A. in New Zealand.
B. on the Marquesas Islands.
C. on New Ireland.
D. on Samoa.
Answer: B
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: Marquesas Islands
Difficulty Level: Moderate
Skill Level: Understand the Concepts
23. Which ancient culture probably migrated from Taiwan to Melanesia about 6,000 years ago?
A. Mongolian
B. Chinese
C. Lapita
D. European
Answer: C
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: The Peopling of the Pacific
Difficulty Level: Moderate
Skill Level: Understand the Concepts
24. The monumental moai figures on Rapa Nui are carved from
A. granite.
B. tuff.
C. marble.
D. coral.
Answer: B
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Hawaii, Rapa, Nui, Samoa
Difficulty Level: Easy
Skill Level: Remember the Facts
25. In the Maori culture the poupou is used for what architectural purpose on a meeting house?
A. house panel
B. painted interior pattern
C. lattice panel
D. support pole
Answer: A
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: Te-Hau-Ki Turanga
Difficulty Level: Easy
Skill Level: Remember the Facts
Short Answer
1. What do Tubuan masks represent?
Answer: In New Britain, the masks represent the Tolai male secret society, which has different levels of increasing knowledge and power and wields both spiritual and social control, especially during the three months of ceremonies known as the “Time of the Tubuan.” They represent both male and female spirits.
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: New Ireland and New Britain
Difficulty Level: Moderate
Skill Level: Understand the Concepts
2. How do the Asmat people create spirit poles?
Answer: Spirit poles are carved from mangrove or wild nutmeg trees. The Asmat fell trees in a ritual act of hacking as if each tree is the enemy. The large phalluses at the top of the poles are created by carving projecting roots, and the surfaces are decorated.
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: New Guinea
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
3. What are moai, and how is their iconography interpreted?
Answer: They are large sculptures set on platforms that represent chiefs or ancestors. They have stylized faces that include long noses, pursed lips, and angular chins. Their hands and arms are small and placed at their sides. Their eyes were sculptured from white coral to make them seem awake or alive.
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
4. How did the Hawaiians use feathers in their art?
Answer: Feathered capes and cloaks were emblems of high social status. They were also used to decorate helmets, blankets, and garlands. The annual tribute paid to the king by his subjects included feathers.
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Moderate
Skill Level: Understand the Concepts
5. What was Nan Madol?
Answer: One of the largest stone architectural complexes in Oceania, Nan Madol included 92 artificial islands, sea walls, and barriers set within a network of canals covering about 170 acres.
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: New Ireland and New Britain
Difficulty Level: Moderate
Skill Level: Understand the Concepts
6. What are the four geographic areas of Oceania?
Answer: Oceania is broken up into four main geographic areas, including Australia, Melanesia, Micronesia, and Polynesia, based on migration.
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: The Peopling of the Pacific
Difficulty Level: Moderate
Skill Level: Understand the Concepts
7. Why were the visual arts of the Pacific cultures connected to music, dance, and oral literature?
Answer: Because of the varying island conditions, Oceanic cultures varied greatly; each community’s art is linked to its own ritual and religious life. Islands couldn’t sustain large populations, and communications between large spans of water was difficult. Artists resorted to available materials and created unique rituals. The visual arts were one strand in a weave that included music, dance, and oral literature.
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: The Peopling of the Pacific
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
8. What is Dreamtime for Indigenous Australians?
Answer: The term Dreamtime refers to the period before humans existed. The world was flat and featureless, and ancestral Spirit Beings emerged from the earth or sea, creating the physical features, such as mountains and creeks.
Learning Objective: 28.d Apply the vocabulary and concepts relevant to the art, artists, and art history of Pacific cultures.
Topic: Australia
Difficulty Level: Moderate
Skill Level: Understand the Concepts
9. How does Shigeyuki Kihara challenge typical gender roles in Ulugali’i Samoa: Samoan Couple (Fig. 28-21)?
Answer: She poses as both the bare-breasted woman and the emasculated noble man. She blurs stereotypes and asks the viewer to question reality.
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: Shigeyuki Kihara
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
10. What distinctive designs and styles developed throughout Oceania?
Answer: Spirals became the hallmark of the Maori facial tattoo, and rows of triangles became prominent in Hawaiian designs. The people of the Marquesas Islands developed a variety of designs that had a name and a meaning.
Learning Objective: 28.b Interpret the meaning of works of art of Pacific cultures based on their themes, subjects, and symbols.
Topic: Marquesas Islands
Difficulty Level: Moderate
Skill Level: Understand the Concepts
Essay
1. Discuss the idea of gender and gender roles in Oceanic cultures.
Answer:
1. Many Oceanic cultures included a third gender, which was socially accepted historically throughout the region.
2. In New Zealand, women were prevented from entering the meeting house, but they worked from the outside and wove panels from the back.
3. In the Marquesas Islands, both men and women were tattooed; however, especially for men, tattoos were linked to attractiveness. Women were usually only tattooed on their hands, ankles, lips, and behind the ears.
4. Bilum were made mostly by women in New Guinea but were worn by both men and women. The gender determined the contents and meanings of the bag and often linked to female attractiveness.
Learning Objective: 28.c Relate artists and art of Pacific cultures to their cultural, economic, and political contexts.
Topic: New Guinea; Te-Hau-Ki Turanga; Marquesas Islands
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
2. Discuss the production and purposes of bark cloth in Samoa.
Answer:
1. Bark cloth, also called tapa or siapo, which is usually created by women, is made by stripping the inner bark from branches of the paper mulberry tree and beating it with a wooden mallet.
2. It is folded over and over and beaten again to create varying degrees of softness so that it can be worn for important ceremonies or wrapped over the dead.
3. Distinctive design styles for the bark cloths developed. It could be dyed bright yellow with turmeric or brown with dyes made from nuts. It could also be exposed to smoke to color.
4. Decorative designs could be made through freehand painting, printing with tiny bamboo stamps, using stencils, and using rubbing to create pattern.
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Hawaii, Rapa Nui, Samoa
Difficulty Level: Moderate
Skill Level: Understand the Concepts
3. In what ways does the art of the Pacific cultures convey the connection of the peoples to their environments?
Answer:
1. Local materials were rare and colorful and were often prized by artists, like red feathers in Hawaii and jadeite in New Zealand.
2. Shells and coral were used in New Zealand and Rapa Nui to enliven sculptural figures.
3. Local woods and barks were used in New Guinea to erect spirit poles and korambo.
4. Coconut palms, natural fibers, and ochers were used to decorate objects throughout Oceania.
Learning Objective: 28.f Select visual and textual evidence in various media to support an argument or an interpretation of the art of Pacific cultures.
Topic: Melanesia and Micronesia; Polynesia
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
4. Compare and contrast Man’s Love Story (Fig. 28-20) and The Barunga Statement (Fig. 28-1).
Answer:
1. The Barunga Statement shows two different styles of indigenous painting: one from Arnhem Land on the left and the other from the Central Desert area on the right.
2. Man’s Love Story shows the Central Desert with superimposed layers of concentric circles and undulating lines and dots in the painting; The Barunga Statement also includes horizontal bands of diamond patterns.
3. Both paintings are abstract and representational, including figures of women and animals associated with the creation myth.
4. Both paintings incorporate nontraditional media; The Barunga Statement has traditional ocher on nontraditional paper, and Man’s Love Story has synthetic polymer paint on canvas.
Learning Objective: 28.e Interpret the art of Pacific cultures using the art historical methods of observation, comparison, and inductive reasoning.
Topic: Chapter Introduction; Central Desert Painting
Difficulty Level: Difficult
Skill Level: Apply What You Know and Analyze It
5. Discuss the role of the Maori Meeting House, including its iconography.
Answer:
1. They began to build wooden-frame homes, the largest of which, the chief’s house, evolved after Western contact into the meeting house.
2. The meeting house stands on an open plaza, a sacred place where a Maori tribe or subtribe still greets guests to discuss important issues and mourn.
3. The iconography of the house is based on the human form. The ridgepole is the backbone, the rafters are the ribs, and the slanting bargeboards are the outstretched enfolding arms.
4. Painted curvilinear patterns decorate the rafters in white on a red-and-black background and lattice panels fill the spaces between the wall planks.
Learning Objective: 28.a Identify the visual hallmarks of the art of Pacific cultures for formal, technical, and expressive qualities.
Topic: Te-Hau-Ki Turanga
Difficulty Level: Moderate
Skill Level: Understand the Concepts
.png)