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In the textbook, Fang was affected by colonialism, but I would rather say it is affected by the “conquest” of Europe. Because over two centuries, the Dutch and then the English operated slave trade port cities off its beaches. And in the mid-nineteenth century, the French acquired the territory. Furthermore, The French invaders saw the byeri, a carved wooden guardian figure on the top of the sculpture, as a danger to Christianity and European social control since Fang relics were similar to those in their own Catholic society. As a result, they desired to exterminate them. However, people from Gabon wanted to preserve these sculptures; instead, they turned over their sculptures for sale to the Frech because the sculptures were used to protect the bones of their family ancestors, which were the most crucial part of the byeri reliqurary.

It is significant to plot on this map. As I already mentioned, it is one of the people’s traditions who live in Gabon. The sculpture, Fang, is traditionally used to preserve the bones of their family ancestors.

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The Great Mosque at Djenné was affected by both conquest and colonialism. Because it drew the attention of austere Muslim monarchs who objected to its sumptuous furnishings. In the early nineteenth century, the mosque was destroyed by king Sekou Amadou, who plugged the drains meant to send rain away from the delicate adobe surface. Later Frech colonists drove Amadou and his followers out of Mali, and between 1906 and 1907, the local population reconstructed the Great Mosque on its original place.

It is significant to plot on this map because it is not merely an architecture built at Djenné, but also history at  Djenné. Whenever people see the Great Mosque, it will remind them of the whole story behind the building: It was first transformed from the 26th king of  Djenné into a huge mosque, later it was destroyed by the early nineteenth-century ruler Sekou Amadou, and eventually, it gets reconstructed by the local community and French colonists.

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From Alert Bay, Vancouver Island, Canada. Prior to 1951 CE. Cedar wood, cedar bark, feathers, and fiber, 10 × 72 × 15" (25.4 × 183 × 38.1 cm).

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The striking carved and painted wooden mask shown above is significant to the culture of Northwest Coast because it is highly associated with staged ritual dance ceremonies that Northwest Coast peoples use to call upon guardian spirits. Such ceremonies often happen in the harsh winter season because many Northwest Coast peoples believed that winter was when spirits were the most powerful. Hamatsa, the people-eating spirit of the north, and his three assistants—horrible masked monster birds—would begin their frenzied ritual dance with snapping beaks and yells of "Hap! Hap! Hap!".

I believe the “masks” or the ritual dance is primarily affected by colonialism (migration or invasion of Canadians and Americans) because as the population of the Native North Americans decreases, such ceremonies like I mentioned above would also gradually diminish and eventually disappear. (Research has shown that the Native American population is about 2.09% of the entire American population and the Native Canadian population is about 4.9% of the entire population of Canada)

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The Tipi was a light, portable dwelling developed by the nomadic Plains people who were dependent on the region’s great migrating herds of buffalo for food, clothing, and shelter. Furthermore, the tipi is so significant to the nomadic Plains culture because it was a shelter for people that is sturdily constructed to withstand the wind, dust, and storms of the prairies. While building a tipi, buffalo later or canvas plays an essential role. The tipis required 20 to 40 buffalo hides, depending on their size. They covered a framework of the pole to form an almost conical structure that leaned slightly in the direction of the prevailing wind.

On the other hand, the tipis were affected by colonialism or, to be more precise, migration. When the transcontinental railway was completed in 1869, bringing growing numbers of settlers into Native American lands, life and art on the Plains altered dramatically. By 1890, these new immigrants had killed off the majority of the buffalo, and therefore, today, just a few tipis remain. Furthermore, when farmers and ranchers took over more and more land, the Native American way of life on the Great Plains was destroyed.

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Boats and boating--Equipment and supplies

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The Tunic is apparently affected by conquest since the Inca began to expand unexpectedly and quickly in the fifteenth century. And by 1500, they had conquered most of their enormous dominion by conquest, alliance, and intimidation. And at the beginning of the sixteenth century, the Inca Empire became one of the largest states in the world. At its center was their capital, Cuzco, "the navel of the world," located high in the Andes Mountains. I chose the image in Peru. Inca because textiles were an important form of art of the Andes that still continues today.

Textiles such as the tunic I chose are significant because they were cultural representatives of Inca. Back in the day, textiles were a primary form of wealth among the Incus. Weavers for the central government, both men and women, paid their labour taxes by weaving fabrics. Other than that, patterns on textiles like clothing conveyed symbolic information, such as a person's ethnic identification and social standing.