Various Indigenous Traditions

Please search for the artworks listed below on the website of the Metropolitan Museum of Art, also known as “The Met,” www.metmuseum.org You will find that you can enlarge the images, and zoom in or pan out for close-ups or wider views.  For each of the minimum four (or as many as eight) artworks that you choose to write about, you are asked to write two clear and correct, complete, connected paragraphs—one paragraph of description, and one paragraph of discussion. Each paragraph should contain eight to ten sentences (or more) EXPLANATION: In the example for YOUR DESCRIPTION above, notice that the basic facts about the artwork (who, what, where, when) require three or four sentences, and the physical description of the artwork needs another five or six (or more) sentences. As our beloved MTA tells us, “If you see something, say something.”

In this case, because the Met pr0vides instructive audio clips, this was a matter of, “If you see something and hear something, say something about it.” The example for YOUR DESCRIPTION above is ten sentences long. In YOUR DISCUSSION, you can do something like what I did above—walk your reader through your own thought process in coming to an understanding of an artwork that might be completely new for you. You might refer to other artworks to point out similarities, or differences, or both. You might add some social commentary, as well. The example for YOUR DISCUSSION above is eight sentences long. Some of my sentences are on the wordy side, too. If you tend to write with short sentences, you should have no trouble producing eight to ten sentences or more for each of your paragraphs. The example above is the sort of thing that I hope you will try to write, four times minimum, eight times maximum, on this test.

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But as always, this example is just one possible approach. Please look back at the examples I gave you for the Greco-Roman, the Abrahamic, and the Hindu and Buddhist traditions tests for other variations. Also please look again at the examples of strong student writing that I have been sending.  1) ACCESSION NUMBER: 1978.412.435 and 1978.412.436 IDENTIFICATION: Headdress: Male Antelope (Ci Wara) and Headdress (Ci Wara): Female Antelope INSTRUCTOR’S NOTES: These artworks are not yet in the public domain, so you can’t zoom and pan with the images on the Met web site. You might be able to enlarge the images if you have a touch-screen or a panel mouse. In addition to reading the great information that the Met provides, you should listen to the audio clip that accompanies the Male Antelope. For your description and discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #10. This very pair of Ci Wara (Chi Wara, Tji Wara) male and female headdresses are discussed in the Smarthistory video, “Male and Female Ci Wara headdresses” in the Chi Wara Cornerstones, and also in the Khan Academy video, “Willie Cole discussing Ci Wara” in the Chi Wara Extensions.

YOUR DESCRIPTION: YOUR DISCUSSION: 2) ACCESSION NUMBER: 2008.30 IDENTIFICATION: Power Figure (Nkisi N’Kondi: Mangaaka) INSTRUCTOR’S NOTES: The written explanation that the Met provides for this artwork is very helpful. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #10. Nkisi Power Figures are discussed (with a brief look at 2008.30) in the Smarthistory video, “Power Figure (Nkisi Nkondi)” in the Extensions for Mwindo. Below that video, there is a great explanatory article that includes two photos of this same Power Figure (2008.30) at The Met and a similar one from the Detroit Institute of Arts. YOUR DESCRIPTION: YOUR DISCUSSION: 8 3) ACCESSION NUMBER: 1990.332 IDENTIFICATION: Plaque: Warrior and Attendants INSTRUCTOR’S NOTES: The written explanation that the Met provides for this artwork is very helpful.

For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #10. Benin Palace Plaques are discussed in the Smarthistory video “Palace Plaques from Benin” in the Extensions for Olokun and Yemaya. (Olokun is mentioned in that Smarthistory video, also.) The Palace Plaques in the video are currently at the Boston Museum of Fine Arts, but you can apply what you learn about them in your discussion of 1990.332 at The Met. YOUR DESCRIPTION: YOUR DISCUSSION: 4) ACCESSION NUMBER: 1978.412.323 IDENTIFICATION: Queen Mother Pendant Mask: Iyoba INSTRUCTOR’S NOTES: In addition to reading the great information that the Met provides, you should listen to the Met’s audio clip. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Olokun and Yemaya in Homework Assignment #10.

Please try to make a connection between 1978.412.323 and what you now know about Olokun and/or Yemaya based on your reading, looking, and listening through the Cornerstones and Extensions for Olokun and Yemaya in HW #10. Again, The Met’s written explanation is quite helpful for getting you started. YOUR DESCRIPTION: YOUR DISCUSSION: 5) ACCESSION NUMBER: 1978.412.206 IDENTIFICATION: Vessel, Mythological Scene INSTRUCTOR’S NOTES: The written explanation that the Met provides for this artwork is very detailed and very helpful. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #11. This cup is discussed in the Smarthistory video “Vessel with a mythological scene (Maya)” in the Maya Extensions. The rain god depicted on this cup, Chahk, is also discussed in the video “Top 10 Gods and Goddesses of Mayan Mythology,” where his name (or their name, as this is a god with four aspects—North, South, East, and West) is spelled Chac. YOUR DESCRIPTION: YOUR DISCUSSION: 9 6) ACCESSION NUMBER: 2012.530.1 IDENTIFICATION: Storm God Vessel INSTRUCTOR’S NOTES: The written explanation that the Met provides for this pitcher/jar/ewer is very detailed, and very helpful.

For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #11. In the Aztec Cornerstone, “Aztec Deities,” you can reread about Tlaloc. In the Aztec Extensions, Tlaloc is mentioned in the videos “Top Ten Gods and Goddesses of Aztec Mythology,” “Teotihuacan,” “Tlaloc Vessel,” and “Unearthing the Aztec past, the destruction of the Templo Mayor.” YOUR DESCRIPTION: YOUR DISCUSSION: 7) ACCESSION NUMBER: 2016.64 IDENTIFICATION: Serpent Labret with Articulated Tongue INSTRUCTOR’S NOTES: The written explanation that the Met provides for this pierced-lip ornament is very detailed and very helpful. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #11. You will find mentions of Huitzilopochtli and/or Quetzalcoatl in all of the readings and many or even most of the videos throughout the Aztec Cornerstone and the Aztec Extensions. YOUR DESCRIPTION: YOUR DISCUSSION: 8) ACCESSION NUMBER: 1979.206.1149 IDENTIFICATION: Double Bowl INSTRUCTOR’S NOTES: The written explanation that the Met provides for this ceremonial libation-pouring vessel, or paccha, is very detailed, and very helpful. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #11. The similarity of the words paccha and pacha—as in, Pachamama—could be coincidental. Nevertheless, libations (liquid sacrifices) are often offered to the Earth Mother, Pachamama, so you can try to make connections using any of the material in the Inca Cornerstone and Inca Extensions. YOUR DESCRIPTION: YOUR DISCUSSION: 10 9) ACCESSION NUMBERS: 1979.206.1611 and 1978.412.1253 and 1978.412.1252 IDENTIFICATION: Bis Pole(s) INSTRUCTOR’S NOTES: It is not possible to enlarge the photos of these bis poles on The Met’s web site, but with the three accession numbers, you can see some variety from different angles and distances.

The three written explanations are similar, but not identical. The Met has also provided audio clips for 1979.206.1611 and 1978.412.1253, which you should listen to. For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #12. In the Aboriginal Traditions of Australia, New Guinea, the Torres Strait Extensions, there are four videos containing footage of and information about Bis Poles: “Curatorial Perspective from Eric Kjellgren…,” “Bis Poles at The Metropolitan Museum of Art,” “Installation of Bis Poles in the New Galleries for Oceanic Art,” and “BISJ POLE / Live restoration.” YOUR DESCRIPTION: YOUR DISCUSSION: 10) ACCESSION NUMBER: 1978.412.1510 IDENTIFICATION: Mask (Buk, Krar, or Kara) INSTRUCTOR’S NOTES: In addition to reading the great information that the Met provides, you should listen to the Met’s audio clip.

For your description and/or discussion, you might want to revisit the Gathering Guide and/or your own Demonstration Platform for Homework Assignment #12. In the Aboriginal Traditions of Australia, New Guinea, the Torres Strait Extensions, there is a video about this mask: “Mask (Buk), Torres Strait, Mabuiag Island.”  Please choose at least four (or as many as eight, maximum) of the following ten artworks to describe and discuss. For each of the four (or five, or six, or seven, or eight) artworks that you choose to write about, you are asked to write two clear and correct, complete, connected paragraphs—one paragraph of description, and one paragraph of discussion. Each paragraph should contain eight to ten sentences (or more), and must be composed with only your own combinations of words. Simply put, NO COPY-AND-PASTING. Your writing does not need to be perfect, but it does need to be your own best, honest effort. Get assignment help here

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