AP Art History - Unit 6 - Africa, 1100-1980 CE PDF

AP ART HISTORY UNIT 6 Africa, 1100–1980 ce ~6% AP EXAM WEIGHTING ~5–7 CLASS PERIODS Remember to go to AP Classroom to assign students the online Personal Progress Check for this unit. Whether assigned as homework or completed in class, the Personal Progress Check provides eac...

AP ART HISTORY UNIT 6 Africa, 1100–1980 ce ~6% AP EXAM WEIGHTING ~5–7 CLASS PERIODS Remember to go to AP Classroom to assign students the online Personal Progress Check for this unit. Whether assigned as homework or completed in class, the Personal Progress Check provides each student with immediate feedback related to this unit’s topics and skills. Personal Progress Check 6 Multiple-choice: ~25 questions Free-response: 1 question §§ Short Essay: Attribution  UNIT 6 ~6% AP EXAM WEIGHTING ~5–7 CLASS PERIODS Africa, 1100–1980 ce Developing Understanding BIG IDEA 3 Connecting the concept of culture to African art is critical to understanding the art itself, Theories and as well as the role it plays in the many and varied African societies. Artistic expression is an Interpretations integral part of social life within the African continent, connecting daily practices to beliefs, of Art THR systems of authority, and social structures. This unit allows students to further examine §§ What do the various the role of art historical interpretations by exploring art and art making in Africa. Students theories and will recognize that art often generates different theories and interpretations, that these interpretations of the interpretations are based on both visual and contextual analysis, and that these theories art of Africa tell us about often change over time as a result of influences that may include available technology, the different cultures? contributions of other disciplines, the availability of evidence, and even cultural biases. BIG IDEA 5 Purpose and Building the Art Historical Preparing for the AP Exam Audience PAA Thinking Skills On the exam, students may be asked to §§ How do the purposes 2.A 2.B 2.C 2.D 5.A 5.B explain how and why context influences and functions of African artistic decisions, and how these decisions art compare to the Unit 6 focuses on using contextual analysis to affect the creation or the meaning of a work art of other cultures better understand the rich artistic traditions of art. This challenging task can often cause in other time periods of the different African cultures represented students to confuse visual analysis with and locations? What by the individual works in the image set. Given contextual analysis by mentioning the form, is the significance of the small number of works included in this style, materials, technique, or content itself, these similarities and unit, and the vast and rich artistic traditions rather than how context influenced those differences? of African art, this unit also presents the elements or the artist’s use of them. opportunity to provide works outside of the image set so that students continue to hone Students should begin by identifying visual the art historical skill of visual analysis of elements, and then go on to explain how or unfamiliar works. Students should apply their why those visual elements were chosen. As skills of contextual description to examine the most sophisticated and challenging part the function, context, siting, subject matter, of this analysis, students should explain how and reception of the works of art in this unit. the context of the work led to the artists’ They will build upon this to explain how the decisions, and how those decisions shaped purpose or function has shaped the creation the work to elicit a certain response or shape of the work, how the work’s context may how an audience receives it. have influenced artistic decisions, and how Free-response question 5 asks students the artistic decisions have influenced the to use visual analysis skills to justify response to or reception of the work. an attribution of an unknown work. By recognizing and describing patterns and similarities between an unknown work and one from the image set, students can make a thematic connection and use this visual evidence to justify their attribution. AP Art History Course and Exam Description Course Framework V.1 | 187  UNIT 6 Africa, 1100–1980 ce UNIT AT A GLANCE Understanding Class Periods Enduring Topic Suggested Skills ~5–7 CLASS PERIODS 6.1 C  ultural Contexts of 1.C Explain how artistic decisions about form, African Art style, materials, technique, and/or content shape a work of art (or group of related works of art). 2.A Describe contextual elements of a work of art (or group of related works of art). 2.C Explain how and/or why context influences artistic decisions about form, style, materials, content, and/or function in the creation or meaning of a work of art (or group of related works of art). 3.A Describe similarities and/or differences in two MPT-1, CUL-1, INT-1 or more works of art using appropriate and relevant points of comparison. 4.A Explain how a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice. 4.B Explain why a specific work of art (or group of related works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice. 5.A Describe visual elements of a work of art (or group of related works of art) beyond the image set. 5.B In analyzing a work of art beyond the image set, explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art). continued on next page 188 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 UNIT AT A GLANCE (cont'd) Understanding Class Periods Enduring Topic Suggested Skills ~5–7 CLASS PERIODS 6.2 P  urpose and Audience in 2.B Explain how the possible intent, purpose, and/or African Art function shape the creation or meaning of a work of art (or group of related works of art). 2.D Explain how artistic decisions about form, style, materials, content, function, and/or context of a work of art (or group of related works of art) elicit a response or shape its reception. PAA-1 6.A Attribute a work of art to a specific artist, culture, art historical style, or object type from the image set. 6.B Justify an attribution of a work of art by explaining similarities with work by a specific artist, culture, art historical style, or object type from the image set. 6.3 T  heories and 7.A Describe one or more art historically relevant THR-1 Interpretations of interpretations of a work of art (or group of related African Art works of art), its reception, or its meaning. Go to AP Classroom to assign the Personal Progress Check for Unit 6. Review the results in class to identify and address any student misunderstandings. AP Art History Course and Exam Description Course Framework V.1 | 189  UNIT 6 Africa, 1100–1980 ce SAMPLE INSTRUCTIONAL ACTIVITIES The sample activities on this page provide possible ways to integrate varied instructional approaches into the classroom. These activities are optional, and teachers are free to alter or edit them. Note that for images included from the image set, the image number has been provided in parentheses. Please refer to the Instructional Approaches section beginning on p. 295 for more examples of activities and strategies. Activity Topic Sample Activity 1 6.1 Guided Discussion Lead a guided discussion focusing on the contextual elements of the Golden Stool (170). Then, ask guided questions to help students describe these contextual elements, such as how the Golden Stool embodies the notion of the state, the importance of stools to the Asante peoples, and the fact that the Golden Stool is shown on its side (and sits on its own stool). 2 6.2 Quickwrite Walk students through the skill of attribution by using 2017 Free-Response Question 4. Work with them to attribute the mask to its specific African culture by identifying the corresponding work from the image set. Have students justify their attributions using two similarities between the works. Unit Planning Notes Use the space below to plan your approach to the unit. Consider how to use the works in this unit to introduce students to describing visual and contextual elements of a work of art. 190 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 TOPIC 6.1 SUGGESTED SKILLS 1.C Cultural Contexts Explain how artistic decisions about form, style, materials, technique, and/or content of African Art shape a work of art (or group of related works of art). 2.A Describe contextual elements of a work of art (or group of related works of art). 2.C Explain how and/or why context influences artistic Required Course Content decisions about form, style, materials, content, and/or function in the creation or meaning of a work of art (or group of related works of art). ENDURING UNDERSTANDING MPT-1 3.A Describe similarities and/ Art and art making take many different forms both within and across cultures, and or differences in two or the materials, processes, and techniques employed may also vary by location and more works of art using culture with wide-ranging influence on the art that is generated. appropriate and relevant points of comparison. 4.A LEARNING ESSENTIAL Explain how a specific work OBJECTIVE KNOWLEDGE of art (or group of related works of art) demonstrates MPT-1.A MPT-1.A.17 continuity and/or change Explain how Art in Africa is a combination of objects, acts, and within an artistic tradition, materials, events, created in a wide variety of media (vocal, aural, style, or practice. processes, and and visual) and materials (wood, ivory, metals, ceramic, 4.B techniques affect fiber, and elements of nature) that are carved, cast, Explain why a specific work art and art making. forged, modeled, woven, and combined by recognized of art (or group of related specialists often for knowledgeable patrons. works of art) demonstrates continuity and/or change within an artistic tradition, style, or practice. 5.A Describe visual elements of a work of art (or group of related works of art) beyond the image set. 5.B In analyzing a work of art beyond the image set, explain how artistic decisions about form, style, materials, technique, and/or content shape a work of art (or group of related works of art). AP Art History Course and Exam Description Course Framework V.1 | 191  UNIT 6 Africa, 1100–1980 ce ENDURING UNDERSTANDING CUL-1 SUGGESTED WORKS Cultural practices, belief systems, and physical setting constitute an important part §§ 168. Great Mosque of art and art making and are often communicated in various stylistic conventions of Djenné and forms. Such cultural considerations may affect artistic decisions that include, §§ 169. Wall plaque, from but are not limited to, siting, subject matter, and modes of display, and may help to Oba’s palace shape the creation of art in a given setting or within a given culture. §§ 170. Sika dwa kofi (Golden Stool) §§ 171. Ndop (portrait figure) LEARNING ESSENTIAL §§ 172. Power figure OBJECTIVE KNOWLEDGE (Nkisi n’kondi) CUL-1.A CUL-1.A.34 §§ 173. Female (Pwo) mask Explain how cultural Human life, which is understood to have begun in Africa, §§ 176. Ikenga (shrine practices, belief developed over millions of years and radiated beyond figure) systems, and/or the continent of Africa. The earliest African art dates to §§ 178. Aka elephant mask physical setting 77,000 years ago. affect art and CUL-1.A.35 §§ 180. Veranda post art making. Early artistic expression on the African continent is found in the rock art of the Sahara and in southern Africa. Those works depict the animals that lived in each region, human pursuits (e.g., herding, combat, and perhaps dance or some sort of regularized behavior), contact among different groups of people, and the use of technologies (e.g., horses and chariots). CUL-1.A.36 The now-deserts of the Sahara were once grasslands and an original source of agriculture and animal husbandry. As the desert grew, it stretched toward the still well-watered valley of the Nile and the culture of pharaonic Egypt. CUL-1.A.37 Art reveals belief systems; it presents a world that is known but not necessarily seen, predictable, or even available to everyone. These arts are expressive rather than representational and often require specialized or supernaturally ordained capabilities for their creation, use, and interpretation. African art is concerned with ideas (beliefs and relationships that exist in the social and intellectual world) rather than with objects of the natural or physical world. CUL-1.A.38 As in all arts, aspects of human experience (such as origins, destinies, beliefs, physicality, power, and gender) are expressed through objects and performances. Artistic expression in Africa is an integral part of social life, connecting daily practices to beliefs, systems of power and authority, and social networks that link people to their families, communities, and shared ancestors. African arts mark status, identity, and cycles of human experience (e.g., maturational, seasonal, astronomical, and liturgical). continued on next page 192 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE CUL-1.A CUL-1.A.39 Explain how cultural Urbanization and its monumental trappings (both practices, belief bureaucratic and architectural) often associated with systems, and/or “civilization” take many forms in Africa. Administrative physical setting and liturgical centers exist apart from settlement that is affect art and often determined by the spaces required for agriculture art making. or herding. Seasonal climatic shifts and demands of political relations affect the scale and distribution of built environments and arts that mark them. The sites of Meroë, Timbuktu, Zimbabwe, Igbo Ukwu, and Kilwa Kisiwani demonstrate that range of monumentalities. ENDURING UNDERSTANDING INT-1 A variety of factors leads to and motivates interaction between and among cultures, and this interaction may influence art and art making. Such cultural interaction may result from factors including, but not limited to, travel, trade, war, conquest, and/or colonization, and may include forms of artistic influence such as spolia, appropriation, and stylistic revivals, among other expressions of cultural exchange. LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE INT-1.A INT-1.A.16 Explain how Human migrations carried populations southward into interactions with central Africa and eventually across the Congo River other cultures affect Basin. The arts, major world religions, and international art and art making. trade routes followed those paths and flourished in patterns of distribution seen in Africa today. INT-1.A.17 Outsiders have often characterized, collected, and exhibited African arts as primitive, ethnographic, anonymous, and static, when in reality Africa’s interaction with the rest of the world led to dynamic intellectual and artistic traditions that sustain hundreds of cultures and almost as many languages, contributing dramatically to the corpus of human expression. African life and arts have been deeply affected by ongoing, cosmopolitan patterns of interaction with populations around the world and through time. continued on next page AP Art History Course and Exam Description Course Framework V.1 | 193  UNIT 6 Africa, 1100–1980 ce LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE INT-1.A INT-1.A.18 Explain how Creative contributions of African life and arts are found interactions with in populations around the world. Artistic practices other cultures affect were conveyed by and continue to be serviced by art and art making. African people and beliefs, from Macao to Manaus to Mauritania. These creative contributions are reflected in diverse art forms, from the practices of Santeria to Japanese screens and the paintings of Renaissance Venice. The literatures of Negritude and the Harlem Renaissance expanded the notions of place and race to new levels that are again changing in the contemporary diaspora. Although traditional African art forms are usually described and exhibited, contemporary African arts have increased awareness and understanding of the arts of the continent across the globe. 194 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 TOPIC 6.2 SUGGESTED SKILLS 2.B Purpose and Audience Explain how the possible intent, purpose, and/or function shape the creation in African Art or meaning of a work of art (or group of related works of art). 2.D Explain how artistic decisions about form, style, materials, content, function, and/or context of a work of art (or group of Required Course Content related works of art) elicit a response or shape its reception. 6.A Attribute a work of art to a ENDURING UNDERSTANDING specific artist, culture, art PAA-1 historical style, or object A variety of purposes may affect art and art making, and those purposes may type from the image set. include, but are not limited to, intended audience, patron, artistic intention, and/ 6.B or function. Differing situations and contexts may influence the artist, patron, or Justify an attribution of a intended audience, with functions sometimes changing over time, and therefore work of art by explaining affecting the role these different variables may play in art and art making. similarities with work by a specific artist, culture, art historical style, or object type from the image set. LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE PAA-1.A PAA-1.A.18 Explain how Human beliefs and interactions in Africa are instigated SUGGESTED WORKS purpose, intended by the arts. African arts are active; they motivate §§ 174. P  ortrait mask audience, or patron behavior, contain and express belief, and validate social (Mblo) affect art and organization and human relations. art making. §§ 175. Bundu mask PAA-1.A.19 §§ 177. L  ukasa (memory Use and efficacy are central to the art of Africa. African board) arts, though often characterized, collected, and §§ 179. R  eliquary figure exhibited as figural sculptures and masks, are by nature (byeri) meant to be performed rather than simply viewed. African arts are often described in terms of the contexts and functions with which they appear to be associated. PAA-1.A.20 Art is created for both daily use and ritual purposes (such as leadership, religious beliefs, diagnosis and divination, education, and personal adornment). Art forms may be prescribed by a diviner, commissioned by a supplicant, and produced by a specific artist. The art object comes under the custodianship of the person who commissioned it or a member of his or her family. Performances of objects are accompanied by costumes and music. None of these practices is simple or random. Cultural protocols acknowledge and ensure the efficacy and appropriateness of artistic experience in Africa. continued on next page AP Art History Course and Exam Description Course Framework V.1 | 195  UNIT 6 Africa, 1100–1980 ce LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE PAA-1.A PAA-1.A.21 Explain how The arts of authority (both achieved and inherited status purpose, intended and roles) legitimate traditional leadership. Leaders’ audience, or patron histories and accomplishments are often entrusted to affect art and and lauded by historians, bards, and elders. Personal art making. identity, social status, and relationships are delineated by aesthetic choices and artistic expression. Common ancestors link leaders, sanction social behavior and choices, and define the order of social life. Education, incorporation into adulthood, and civic responsibility are processes marked by the creation, manipulation, and interpretation of art objects. PAA-1.A.22 African histories, often sung or recited, are traditionally the responsibility of specialists. African art is sung, danced, and presented in holistic experiences for designated audiences; it is created for specific reasons and to produce expected results. 196 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 TOPIC 6.3 SUGGESTED SKILLS 7.A Theories and Describe one or more art historically relevant interpretations of a work Interpretations of art (or group of related works of art), its reception, or its meaning. of African Art Required Course Content SUGGESTED WORK §§ 167. Conical tower and circular wall of Great Zimbabwe ENDURING UNDERSTANDING THR-1 The study of art history is shaped by different theories and interpretations of art and art making that change over time. These theories and interpretations may be generated both by visual analysis of works of art and by scholarship that may be affected by factors including, but not limited to, other disciplines, available technology, and the availability of evidence. LEARNING ESSENTIAL OBJECTIVE KNOWLEDGE THR-1.A THR-1.A.19 Explain how theories As they have been traditionally collected by outsiders, and interpretations African art objects that are similar in form are often of works of art are grouped with works that come from the same place and shaped by visual are produced by a designated ethnic group. The name analysis as well as of the artist and the date of creation may not be known by other disciplines, or acknowledged, but such gaps in the record do not technology, or necessarily reflect a lack of interest on the part of those the availability who commission, use, and protect art objects. The Africa of evidence. we know often comes from ideas promulgated by non- Africans since the 9th century—as though Africa’s history were brought to, rather than originating from, Africa. THR-1.A.20 The study of art history is shaped by different theories and interpretations of art and art making that change over time and may be generated both by visual analysis as well as by scholarship. These theories and interpretations may be used, harnessed, manipulated, and adapted in order to make an art-historical argument about a work or a group of works of art. Although interpretation of some of this art is conjectural at best, the clarity and strength of design and expression in the work is obvious. AP Art History Course and Exam Description Course Framework V.1 | 197  UNIT 6 Africa, 1100–1980 ce 167. Conical tower and circular wall of Great Zimbabwe Shona peoples (Southeastern Zimbabwe). c. 1000–1400 ce. Coursed granite blocks. 2 images Conical tower Circular wall © Werner Forman Archive/The Bridgeman Art Library © Werner Forman Archive/The Bridgeman Art Library 168. Great Mosque of Djenné Mali. Founded c. 1200 ce; rebuilt 1906–1907 ce. Adobe. 2 images Great Mosque of Djenné Monday market at the Great Mosque of Djenné © George Steinmetz/Corbis © Remi Benali/Corbis 198 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 169. Wall plaque, from Oba’s palace Edo peoples, Kingdom of Benin (Nigeria). 16th century ce. Cast brass. 2 images Wall plaque, from Oba’s palace Contextual photograph: Oba of Benin Image © The Metropolitan Museum of Art/Image source © Werner Forman/Art Resource, NY © Art Resource, NY 170. Sika dwa kofi (Golden Stool) Ashanti peoples (south central Ghana). c. 1700 ce. Gold over wood and cast-gold attachments. 2 images Sika dwa kofi Contextual photograph: Sika dwa kofi © Marc Deville/Gamma-Rapho via Getty Images © Marc Deville/Gamma-Rapho via Getty Images AP Art History Course and Exam Description Course Framework V.1 | 199  UNIT 6 Africa, 1100–1980 ce 171. Ndop (portrait figure) of King Mishe miShyaang maMbul Kuba peoples (Democratic Republic of the Congo). c. 1760–1780 ce. Wood. 2 images Ndop Contextual photograph: Ndop © Brooklyn Museum of Art, New York, USA/The Bridgeman Art Library Kuba Nyim (ruler) Kot a Mbweeky III in state dress with royal drum in Mushenge, Democratic Republic of the Congo. Photograph by Eliot Elisofon,1971. EEPA EECL 2139/Eliot Elisofon Photographic Archives/ National Museum of African Art/Smithsonian Institution 172. Power figure (Nkisi n’kondi ) Kongo peoples (Democratic Republic of the Congo). c. late 19th century ce. Wood and metal. Nkisi n’kondi © Detroit Institute of Arts, USA/Founders Society Purchase/Eleanor Clay Ford Fund for African Art/The Bridgeman Art Library 200 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 173. Female (Pwo) mask Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th century ce. Wood, fiber, pigment, and metal. Female (Pwo) mask Photograph © by Franko Khoury/National Museum of African Art/ Smithsonian Institution 174. Portrait mask (Mblo) Baule peoples (Côte d’Ivoire). Early 20th century ce. Wood and pigment. 2 images Mblo Contextual photograph: Mblo © Jerry L. Thompson Used by Permission AP Art History Course and Exam Description Course Framework V.1 | 201  UNIT 6 Africa, 1100–1980 ce 175. Bundu mask Sande Society, Mende peoples (West African forests of Sierra Leone and Liberia). 19th to 20th century ce. Wood, cloth, and fiber. 2 images Bundu mask Contextual photograph: Bundu mask © Schomburg Center, NYPL/Art Resource, NY © William Siegmann Estate, Edward DeCarbo, Executor 176. Ikenga (shrine figure) Igbo peoples (Nigeria). c. 19th to 20th century ce. Wood. Ikenga © Werner Forman/Art Resource, NY 202 | Course Framework V.1 AP Art History Course and Exam Description  UNIT Africa, 1100–1980 ce 6 177. Lukasa (memory board) Mbudye Society, Luba peoples (Democratic Republic of the Congo). c. 19th to 20th century ce. Wood, beads, and metal. 2 images Lukasa Contextual photograph: Lukasa Photo © Heini Schneebeli/The Bridgeman Art Library Courtesy of Mary Nooter Roberts 178. Aka elephant mask Bamileke (Cameroon, western grassfields region). c. 19th to 20th century ce. Wood, woven raffia, cloth, and beads. 2 images Aka elephant mask Contextual photograph: Aka elephant mask Image copyright © The Metropolitan Museum of Art/Image © George Holton/Photo Researchers/Getty Images Source © Art Resource, NY AP Art History Course and Exam Description Course Framework V.1 | 203  UNIT 6 Africa, 1100–1980 ce 179. Reliquary figure (byeri) Fang peoples (southern Cameroon). c. 19th to 20th century ce. Wood. Reliquary figure (byeri) © Brooklyn Museum/Corbis 180. Veranda post of enthroned king and senior wife (Opo Ogoga) Olowe of Ise (Yoruba peoples). c. 1910–1914 ce. Wood and pigment. Veranda post of enthroned king and senior wife (Opo Ogoga) Used by Permission of the Art Institute of Chicago 204 | Course Framework V.1 AP Art History Course and Exam Description