AP Art History UNIT 6: Africa, 1100–1980 CE Practice Exam

1. [Skill: 1.B | Topic: 6.1] The image shows the Conical Tower and Circular Wall of Great Zimbabwe. The architectural feature shown in the image served which of the following functions within the complex?

2. [Skill: 5.A | Topic: 6.2] The *Sika dwa kofi* (Golden Stool) of the Ashanti people is created using wood covered in gold. Which of the following best explains how the materials and form of this object reinforce its cultural significance?

3. [Skill: 2.B | Topic: 6.3] The *Nkisi n’kondi* figure from the Kongo peoples is often depicted with numerous nails and metal blades driven into its surface. This visual evidence best supports which of the following interpretations of the work's function?

4. [Skill: 2.D | Topic: 6.4] The Bundu mask of the Mende peoples is unique in African art because it is worn by women. Which of the following best describes the cultural context and function of this mask?

5. [Skill: 3.A | Topic: 6.2] The wall plaque from the Oba's Palace in Benin features a central figure who is larger than the surrounding figures. This manipulation of scale serves to:

6. [Skill: 6.B | Topic: 6.3] The *Lukasa* (memory board) of the Luba peoples serves as a conceptual map of fundamental Luba history. Which of the following statements correctly analyzes how the object is used?

7. [Skill: 2.A | Topic: 6.4] The *Pwo* mask of the Chokwe peoples is performed by men but depicts a female face. Which of the following best explains the intent behind this artistic choice?

8. [Skill: 6.A | Topic: 6.2] The Great Mosque of Djenne is constructed from adobe (mud brick). How does the choice of this material directly influence the social practices of the local community?

9. [Skill: 3.B | Topic: 6.3] The *Ikenga* (shrine figure) of the Igbo peoples typically features a figure holding a sword in the right hand and displaying large horns. These visual attributes primarily symbolize:

10. The *Sika dwa kofi* (Golden Stool) of the Ashanti people is traditionally displayed on its side and placed on its own chair rather than being used as a seat. This practice reinforces the cultural belief that the stool

11. In the context of the Kongo peoples, the insertion of nails, blades, and other metal objects into the *Nkisi n’kondi* figure was intended to

12. The *Bundu* mask of the Mende peoples is unique in African art because it is

13. Members of the Mbudye society of the Luba people use the *Lukasa* (memory board) primarily to

14. In the *Wall plaque, from Oba’s palace*, the hierarchical scale—where the Oba is depicted significantly larger than the surrounding figures—serves to

15. The *Female (Pwo)* mask of the Chokwe people is worn by men during performances to

16. The *Veranda post of enthroned king and senior wife* (Opo Ogoga) by Olowe of Ise visually communicates the power dynamic of the Yoruba kingdom by depicting the senior wife as

17. The *Aka elephant mask* of the Bamileke people uses beadwork and specific animal imagery to associate the wearer with

18. Scholarly interpretations of the Conical Tower and Circular Wall of Great Zimbabwe have changed significantly over time. Early colonial accounts attributed the structures to non-African civilizations (such as the Phoenicians or the Queen of Sheba). Modern archaeological evidence, however, confirms that the site was built by the Shona people. This shift in attribution best illustrates which of the following concepts regarding the study of African art?

19. The display of the Wall plaques from the Oba’s palace in Western museums has historically differed from their original context in the Kingdom of Benin. Which of the following best describes the consequence of the 1897 British Punitive Expedition on the art historical interpretation of these works?

20. The *Sika dwa kofi* (Golden Stool) of the Ashanti people is rarely seen publicly and is never allowed to touch the ground. In 1900, the British Governor Sir Frederick Hodgson demanded to sit on the stool. This event, which led to the War of the Golden Stool, highlights which of the following regarding the cross-cultural interpretation of art?

21. When analyzing a *Nkisi n’kondi* (Power Figure) from the Kongo peoples, art historians rely heavily on visual evidence recorded on the object's surface to interpret its history. Which specific visual element provides the strongest evidence of the object’s active use and function over time?

22. The *Lukasa* (memory board) of the Luba peoples serves as a conceptual map of history. However, its interpretation is not fixed by its visual design alone. Which of the following best explains why the meaning of a *Lukasa* is considered situational and performative?

23. Many African artworks, such as the Fang *Byeri* (reliquary figures), entered Western collections in the early 20th century stripped of their accompanying containers or attachments. How did this practice of collection influence the early modernist interpretation of these works in Europe?

24. Art historians have traditionally grouped African art by 'tribe' or ethnic identity (e.g., 'Yoruba art' or 'Kongo art'). Recent scholarship involving works like the Veranda post of enthroned king and senior wife (Olowe of Ise) challenges this approach by emphasizing which of the following?

25. The *Ndop* (portrait figure) of King Mishe miShyaang maMbul is idealized and does not portray the king's physical likeness in a realistic manner. Despite this, the figure functions as a historical record. How is the specific identity of the king determined in the absence of a realistic likeness?