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The Great Mosque of Kairouan is located in the center of the city of Kairouan. The mosque that is currently standing was built between 836 and 876 CE. It is constructed from stone that was quarried and cut to appear as bricks. A large arcade portico surrounds the central open courtyard and follows a design believed to have come from the house of the Prophet Muhammad.

The Great Mosque of Kairouan was affected by conquest and colonialism as Islam arrived in North Africa via a lone trade route along the Silk Road from China to sub Saharan Africa and Southern Europe. When the North African population converted to Islam, they needed a mosque to practice their prayers and celebrations. Which is where the Great Mosque of Kairouan came from.

It is significant to plot the mosque on the map because it is the oldest surviving mosque in Africa. It also proves the changes in Tunisia in the 9th century. Kairouan was the capital of Ifriqiya and was the home of the Aghlabids. The mosque represents Islamic victory over the Byzantine and Roman empires as it was built with the characteristics of those buildings. The mosque also used horseshoe arches in their columns. The arches because identifiable with Islamic architecture as it was used many centuries afterwards and around the world.

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The Nkisi Nkondi was made in the hopes of solving the lack of access to the recognizable, local judiciary systems. The object was used whenever conflicts that could not be resolved by members of the community alone by elders, chiefs, and diviners.

The Nkisi Nkondi was affected by colonialism as the Christian missionaries and Belgian authorities tried to remove these items from distribution, but were unsuccessful. This is because the Nkisi Nkondi was too important in terms of local legal issues.

It is important to plot the Nkisi Nkondi on the map because the Europeans did not appreciate these objects made by the Kongo. Belgian colonial authorities had abolished the local judicial system and conducted all arbitration through their own courts. Towards the end of the mid-20th century, the Nkondi were no longer used for justice. This was most likely because the judicial system was retired back to local control after their independence from Europe. The works of art are still made today, but only for collector markets and tourist attractions.

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From the village of Boni, snake and plant masks were used for initiation purposes. The bigger the mask, the greater influence and resources a family had. Most Bwa masks, especially the snake masks, would reach heights about 25 feet, whereas many plank masks would be around 5-7 feet tall. Other masks that would represent butterflies or birds would be only a few feet tall, but would have wingspans over 6 feet.

The masks were affected by colonialism as the Bwa community of Burkina Faso were a cultural group that was been able to maintain their historic traditions and religious practices despite French colonialism and the presence of both Christianity and Islam in that area.

It is significant to plot the masks on the map because their process of intijan is now present in Western culture. The Bwa people would practice intijan through masquerades. It is seen in our culture today that masquerades are held for celebratory purposes. With this, masks are also worn, similar to how the Bwa community would practice intijan.

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Throughout history, the Yoruba people have been known as regulars of art. The queen and king's metal heads are part of a tradition that began in Ife 1050 CE. The crowned head shown above could be either male or female. The rich, delicate lips and expressive eyes appear organically, emphasizing the artist's desire to combine human anatomy with the spiritual nature of an oni. The head looks naturalistic, but it is not a portrait of any particular king, but an ideal image of the king's office and the supernatural forces that exist.

It is significant to plot a crowned head of a Yoruba ruler on this map because it is representative of the extraordinary talents of the Yoruba artists who produce these pieces using the lost-wax casting technique. The precision of the process has made the technique an ideal method for producing objects with complex details and thin walls.

The crowned head was affected by conquest because the Yoruba claim to be the earliest settlers of today's Federal Republic of Nigeria. The Yoruba language is believed to go back to the first millennium BCE where their artists have created monumental headpieces, sculptures, and architecture. The artists continue to keep these traditional pieces alive for wealthy royalty, political leaders, and civilian patrons.

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Geoglyph (Earth Drawing) of a Hummingbird

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In Peru, people would draw in the Earth in vast desert areas. The drawings, also called geoglyphs, could only be seen completely from the sky. By removing the layer of dark oxidized stones, bright stones were exposed. Through this, huge images were created, such as the hummingbird with a 120 foot long beak. Although the purpose of the geoglyphs are unknown, the stones' "lines" could be used as ceremonial passages due to their width.

The geoglyph is significant to plot on this map because it represents the development of a complex hierarchical society with diverse and rich artistic traditions that is still present in today's world.

Some of Peru's most mysterious monumental structures are their giant earthworks. The hummingbird geoglyph was influenced by conquest because it was first created by the society of the Nazca culture who ruled part of the southern coast of Peru during the first seven centuries CE.