1.
According to one Pueblo
tradition, who are the ones who came out of the earth first and brought the
rest of the people to the surface?
2.
is
constantly reaffirmed as being central to the cycle of life.
3.
In Pueblo worldview,
human beings have a spiritual obligation to replay the ancient act
of .
4.
The principal ancient
(prehistoric) cultures of the Southwest are:
a.
b.
c.
5.
In addition to sharing a
vast trade network, these prehistoric groups also shared religious
and .
6. List
the modern descendents of the:
a. Hohokam:
b.
Anasazi:
7.
Even though the social
organization of ancient societies was far more complex than that of their 19th
and 20th century descendantsÉthe persistence of in
the Southwest is remarkable.
8.
How long has the Hopi
village of Oraibi been occupied?
9.
Anasazi is a word
that translates as . The Hopi word for their ancestors is
Hisatsinom.
10.
Anasazi artistic
achievements include:
a.
b.
c.
and
d.
Work in ,
,
and
11.
The symbolizes
the place of emergence from the underworld.
12.
The ancient Anasazi
structures (cliffdwellings) were oriented in relation to the heavens and the
underworld but were constructed with:
a.
As well as:
b.
13.
The Great Kivas, like
modern ones, were conceived and designed as ,
metaphors of an ideal and .
14.
Chaco Canyon was part of
a regional hub for inter-regional trade economy, including items such as:
a.
b.
as well as being a distribution center for the
turqouise industry.
15.
Among the earliest known
artistic artifacts from this region are objects made of ,
and plant
fibers. The superbly crafted
baskets and were
the beginning of an unbroken tradition that persists today.
16. Anasazi
potters made a number of vessel forms, including:
a.
b.
c.
d.
e.
17.
The Mimbres, a branch of
the larger Mogollon culture, devised another sort of container as the vehicle
for their expressive painting tradition-the .
18.
Only the interiors of
Mimbres bowls are painted andÉ.only the Mimbres created a complex
that
expressed their relationship to the world of and
the
.
19.
Hohokam people had:
20.
The Pueblo worldview is
reflected in:
In this worldview,
world.
21.
The continuity of the
basic architectural form demonstrates how it
is to Pueblo worldview.
22. What
is the focus of Pueblo architectural and ritual environment?
23.
The elemental forces of
nature, such as:
are embodied in supernatural beings known as .
24.
Within the Pueblo world,
to keep the world in balance, ritual knowledge is owned by:
25.
Kachina dolls are
different today than those in the 19th century for two reasons:
26.
The details of pottery
production differ depending on:
27.
The groups that are
known as the and
today,
migrated to the Southwest.
28. Spirit beings are called by
the Navajo and by
the Apache.
29.
It is in the realm of
ceremonies for healing and psychological harmony that the Navajo art of
is
performed.
30.
Singers are the
repository for most of the:
knowledge of the group, and there are specialists for
different problems.
31.
Traditional Navajo
weavers depend on having many sheep to produce their art, the three steps are:
32.
Among the Navajo,
textile weaving is a female art and early 19th century textiles were
relatively plain, striped wearing .
33. With
the coming of the railroad, weavers had greater access to materials such as:
a.
b.
34.
Due to influence of
trading posts, blankets developed into rugs with designs associated with
regional styles like:
35.
Central to Navajo
philosophy are the ideas of:
36.
Weaving is a sacred
activity, as well as a paradigm for womanhood. It is a means for creating
and
it
into the world.
37. There
is no sacred meaning to the finished product or its geometric designs in Navajo
textiles. An artist is more
interested in the:
a.
Rather than:
b.
38.
Apache is
a pre-eminent artform.
39. Apache
women exploit plants from the environment for basketry. These plants include:
a.
b.
c.
d.
40.
Apache basketry designs
include:
41. Jewellry-making
has become a major art medium in the 20th century. was
added to native traditions in the mid 19th century.