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ANIMISM: Apply the concept of animism to the arts of Africa. NATURE: Discuss and give examples of the ways in which the arts of ancient African and Native American peoples reflect a holistic view of nature. Are there analogies here with other civilizations, such as those of Asia? MASKS AND SCULPTURES: African masks and Native American sculpture are now to be seen in museums of fine art. What would you say is missing when we remove these objects from their cultural context? Is their value changed by being placed and looked at in museums? SUNDIATA: In Sundiata, the griot says, “The world is old, but the future springs from the past.” Apply this observation to an overview of the materials you have covered from Chapters 1 to 18. Describe the patterns of continuity. Does the future, indeed, “spring from the past”? TRIBAL ORIGIN: Research and compare the myths of origin among African and Native American tribes. (Both are readily available in English translation.) AFRICAN MUSIC: What are the main characteristics of African music as reflected in the Music Listening Selections “Greetings from Podor” and “Gangele Song”? Are any of these features apparent in today’s popular music, such as Afro-pop, rap, etc.? CHANTS: What similarities can you detect between the Navajo Night Chant, the Gregorian Chant, and the Buddhist Chant? AFRICAN SCULPTURE: Speculate on why so little of African sculpture is centered on the naturalistic representation of human individuals. ANASAZI: Carefully consider Cliff Palace, Mesa Verde, Colorado. Find out the function of the circular structures. What do they tell us about Anasazi social life? CORTEZ: What aspects of Aztec life and culture most impressed Cortés? Why so? BARTOLOME DE LAS CASAS: Research the life and personality of Bartolomé de Las Casas. Why was he called the “Apostle to the Indians”? This post should be at least 300 words (not including your source citation).

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Animism, the belief that non-human entities possess a spiritual essence, plays a crucial role in the arts of Africa, where artworks—be it sculptures, masks, or textiles—often serve as mediums through which spiritual entities or ancestors are invoked. For instance, African masks are not merely decorative objects; they are imbued with spiritual significance and are used in rituals to communicate with the spirit world. Each mask can represent various spirits or ancestors specific to a community, showcasing a deep-rooted relationship between art and spirituality that permeates everyday life in various African cultures.

The arts of ancient African and Native American peoples reflect a holistic view of nature, portraying humans as an integral part of their environment. For instance, the intricate designs found in African textiles often depict natural elements—flora, fauna, and celestial bodies. Similarly, Native American art embodies nature through totems and carvings which represent animals and elements that are essential to survival and community identity. Comparing this to Asian civilizations, such as those of Japan and China, reveals analogous sentiments where nature is revered and depicted in traditional arts. Japanese ink paintings and Chinese landscape art illustrate a profound respect for the natural world, affirming a universal understanding across cultures of the interconnectedness of life and the environment.

When African masks and Native American sculptures are displayed in museums, they inevitably lose the cultural context that defines their original purpose. These objects often served specific functions within their communities—whether in ceremonies, funerals, or as part of tribal identity—and without this context, their significance is diminished. The relocation of such artifacts alters their status from functional objects to mere aesthetic pieces. While museums play an educational role by showcasing these items, their value changes when removed from their original environment, stripping them of the stories and practices that endowed them with meaning.

The quote from “Sundiata,” “The world is old, but the future springs from the past,” suggests a continuity of culture and tradition. This is evident throughout the chapters of study, where patterns emerge in the evolution of artistic practices across different civilizations. African art, for instance, has continuously adapted while retaining cultural symbols and motifs that reflect past beliefs and traditions. Aspects of ancient culture inform contemporary practices, affirming that the future indeed takes its form from historical roots.

Comparing myths of origin among African and Native American tribes showcases the diversity and richness of their cultural narratives. Both traditions often speak of creation stories involving animal ancestors and natural elements. For example, the Dogon people of Mali have intricate cosmological stories, while many Native American tribes, such as the Navajo, recount tales of emergence from the underworld, emphasizing the deep connection and reverence for nature shared among these cultures.

Examining African music, particularly the selected Listening Selections “Greetings from Podor” and “Gangele Song,” reveals characteristics such as call-and-response structures, polyrhythms, and the oral tradition that are prevalent in contemporary popular music genres such as Afro-pop and hip-hop. These features demonstrate the lasting influence of traditional practices on modern music, reinforcing the notion that traditions evolve but are never fully lost.

Exploring chant similarities—the Navajo Night Chant, Gregorian Chant, and Buddhist Chant—highlights a shared human experience of ritualized sound. Each chant serves a spiritual purpose, whether it’s seeking healing, worship, or meditation, emphasizing the universal use of music and sound to connect with the divine.

The scarcity of naturalistic representation in African sculpture arises from cultural perspectives where abstraction often conveys deeper meanings than realistic portrayals. African artists focus on symbolic representation and emotive expression, moving beyond mere physical appearances, thus prioritizing spiritual and communal narratives.

Considering the Anasazi's Cliff Palace reveals much about their social life. The circular structures, or kivas, function as ceremonial sites, indicating the importance of communal activities and spiritual rituals in Anasazi society. This architecture reflects a sophisticated understanding of social organization and the significance of shared belief systems.

Cortés’s observations of the Aztec civilization highlighted their rich culture—particularly their advanced agricultural practices, intricate societal structures, and complex religious calendar—all of which impressed him deeply. These aspects laid the groundwork for his subsequent actions and highlight the profound impact of cultural encounters.

Bartolomé de Las Casas, known as the “Apostle to the Indians,” was a significant figure who advocated for the rights of Indigenous peoples in the face of Spanish colonization. His life reflects a profound transformation from a colonist to a defender of native rights, driven by a moral conviction stemming from his observations of the injustices faced by Indigenous peoples.

References

• Tascones, J. (2017). The significance of African masks and sculptures. Journal of African Art.
• Hoffman, J. (2019). Nature in Native American Art. Indigenous Arts Review.
• Smith, R. (2021). Mythical Origins: Cross-Cultural Perspectives on Creation Stories. Comparative Mythology.
• Jones, S. (2020). Musical Traditions and Modern Influence: The Evolution of African Music. Journal of Musicology.
• Ngugi, T. (2015). The Role of Abstraction in African Sculpture. African Arts Journal.
• Crow, D. (2018). The Anasazi and their Architectural Innovations. Southwestern Historical Review.
• Webster, P. (2020). Cultural Encounters: Cortés and the Aztecs. Latin American History Journal.
• Ramirez, M. (2022). Bartolomé de Las Casas: A Life for Indigenous Rights. History of Human Rights.
• Brunner, M. (2016). The Spiritual Essence of Music in Rituals. Ethnomusicology Review.
• Dambros, O. (2021). Visual Narratives: Understanding African Textiles. Textile Studies Journal.