Grade 7 Performing and Visual Arts Textbook PDF

Fetena.net : Ethiopian No#1 Educational Resource Grade 7 I Addis Ababa city administration education bureau Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Performing and Visual Arts Student’s Text Book Grade 7 Writers: Bareke Tadesse Gizachew Tasew Sara Mengistu Ashenafi Nigussie Evaluators: EyerusalemBedane Markos W/Hanan Solomon H/Mariam Cordinator: Getachew Talema Atnafu Layout Desing:- Entoto Poly Technique college September 2021 I Fetena.net : Ethiopian No#1 Educational Resource Grade 7 © ADDIS ABABA CITY ADMINISTRATION EDUCATION BUREAU 2014 E.C. Addis Ababa II Fetena.net : Ethiopian No#1 Educational Resource Acknowledgement To complete this textbook internally from the beginning, by sharing their experiences, Generating and presenting ideas in panel discus- sions, by being prepared by the teachers who teach in our city, by ap- proving the necessary budget, we also thanked Ato Zelalem Mulatu, the head of the education bureau, for his support in enforcing strict disci- pline. By providing night and day for the success of our work, solving prob- lems, monitoring the implementation process, reviewing and recogniz- ing although the preparation of the work is a key task the management members of the Education Bureau have always been by our side. Mem- bers of the Education Bureau, Ato Adimassu Dechasa, Deputy Head of the Curriculum Division , Ato Dagnaw Gebru, Deputy Head of the Education Technology Division, Ato Samson Melese, deputy Head of teacher development division, W/ro Abebech Negash, Bureau head advisor , Ato Sisay Endale head of education beroue office and Ato Desta Mersha Technical Advisor. They are to be commended for their contributions. Finally, we would like to thank the school principals for giving per- mission to the principals to complete the book and to give you moral support. Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Table of Contents page Introduction to grade 7 PVA................................................................1 Unit One: Artistic Perceptions.............................................................3 Introduction to Unit One:....................................................................3 1.1 Characteristics of Ethiopian traditional music.........................3 1.1.1 Ethiopian Music..........................................................................3 1.1.2. Ethiopian St. Yared....................................................................5 1.1.3 Characteristic by geographical location.....................................7 1. Northern Ethiopian Music.................................................................7 2. Eastern Ethiopia and the surrounding.................................................7 3. Southern Ethiopia...............................................................................8 1.2. Characteristics of Ethiopian traditional techniques of dance........................................................................................9 1.2.1 Characteristics of Ethiopian folk dance........................................ 9 1.3. Identify theatre & Film Arts....................................................16 1.3.1. Identify theatre Art...................................................................16 1.3.1.1. Theatre Art in the Context of Ethiopia..................................18 1.3. 2. Identify Film Art.....................................................................28 1.3.2.1. Film in the Context of Ethiopia............................................29 1.4 Role and Function of Basic Elements of Design.....................31 1.4.1. The Basic Elements of Design................................................31 1.4.2. What is color?..........................................................................40 1.4.3. The Color Wheel.......................................................................40 1.4.4Color Temperature....................................................................41 1.4.5. Neutral Colors.......................................................................42 IV Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Unit Two: Creative Expressions........................................................44 2.1. Perform Solfeggio in different time signatures ( ¾, 4/4 ).......45 2.1.1. Origin of solfeggio...................................................................45 2.1.2. Perform solfeggio with Latin syllabics and musical letters......................................................................................48 2.2. Perform Folk dance style.........................................................53 2.2.1 Folk Dance style practice.........................................................53 2.3. EXPRESSION OF IDEAS IN THEATER................................54 2.3.1. The Work of Theatre from Script to Stage Presentation..........57 2.3.2. Express Ideas in Photography..................................................60 2.3.2.1. Popular Creative Photography Techniques/Ideas/................63 2.3.2. 2. Creative Photography in Painting........................................63 2.3.2.3. Creative Photography in Double Exposure..........................63 2.3.2.4. Creative Photography in Motion Blur...................................64 2.3.2.5. Creative Photography in Get Macro.....................................64 2.3.2.6. The Importance of Creativity in Photography......................65 2.3.3. Creative Expression of Theme in Movie (Film)......................66 2.4. Painting and printing...................................................................68 2.4.1. Drawing...................................................................................69 2.4.2. Painting....................................................................................70 2.4.3. Printmaking............................................................................. 72 Unit Three: History and Culture........................................................74 Introduction to Unit Three:..............................................................74 3.1. Indigenous music history and indigenous music artists...........76 3.1.1. The importance of Indigenous music......................................78 3.1.2. Indigenous music.....................................................................78 3.1.3. Music of indigenous people.....................................................78 3.1.4. Music and culture.....................................................................80 V Fetena.net : Ethiopian No#1 Educational Resource Grade 7 3.1.5. Indigenous musical artists........................................................80 3.2. Dance Education..........................................................................81 3.2.1. Indigenous Dance....................................................................83 3.2.2. Indigenous dance practice.......................................................84 3.2.3. Dance of indigenous people.....................................................85 3.2.4. Indigenous dance artists...........................................................86 3.3. Indigenous Knowledge in Theatre and Film.............................87 3.4. Indigenous painting of hand crafts (manuscripts, paintings and pottery)................................................................90 3.4.1. Indigenous paintings................................................................90 3.4.2. Ethiopian manuscripts............................................................94 3.4.3.Crafts.........................................................................................96 3.4.4. Pottery.....................................................................................97 Unit four:...........................................................................................102 Aesthetic Values...............................................................................105 4.1. The Values of Musical works and indigenous music works...............................................................................103 4.1.1. Music appreciation.................................................................103 4.1.2. Values of music appreciation.................................................104 4.1.3. Appreciate elements of music................................................104 4.2. Indigenous dance........................................................................105 4.2.1. Dance appreciation.................................................................106 4.3. Value of Performing Art Works of Theatre and Film............108 4.4. Appreciate Ethiopian indigenous art.......................................114 VI Fetena.net : Ethiopian No#1 Educational Resource Grade 7 UNIT FIVE Connection, Relation and Application.............................................122 Application 5.1. The importance of songs related to other subjects....................123 5.1.1. Selected songs connected to English language......................126 5.1.2. Selected songs linked to Math education...............................128 5.2. Connection of Dance with other Subjects and Cross Cutting Issues.................................................................129 5.3. Connecting Theatre, Film/Video with other Subjects and Cross-cutting Issues........................................132 5.4. Connection of Visual Arts with other Subjects and Cross-cutting Issues.........................................................136 5.4.1. Decoration of home and surrounding with pottery and ceramic.............................................................136 Bibliography.......................................................................................144 VII Fetena.net : Ethiopian No#1 Educational Resource Grade 7 INTRODUCTION TO GRADE 7 PVA Performing and visual arts include music, dance, theatre and visual art. The arts such visual art, dance, theatre, music, and media arts (PVA) are legally defined as a core thematic area in Ethiopian education; they are commonly considered a special subjects and usually the first learning area to make room for something new to create and innovate in perform- ing and visual art works. Educators of PVA must never underestimate the power of the arts. Performing and visual arts (PVA) inspire and delight learners perform- ing and visual arts are used to promote massive ways in learning and teaching processes to create meaning and find fulfillment for the gaps of good values of our societies. This grade level was designed to provide quality education in teach- ing performing and visual arts studies in Ethiopian 1st and 2nd cycle schools. This PVA instructional program has been designed to meet the country’s needs of PVA educators, students and educational institutions at different level The arts education visual and performing arts instruc- tional program is designed in the arts sciences under a disciplined prac- tice is to create the competent students as accomplished grade 7 educa- tions. The program evolved out of a responsibility to enhance, nurture and in power the cultural assets of the earlier generations while providing a way for the contemporary generation to create something of its own. From this process, it became necessary to develop the program of arts (PVA) grade 7 educations that was fit for capable grade 7 students and to support in raising the professional rank and usefulness of arts education for the young generation. Competent PVA education will facilitate student growth through care- 1 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 fully constructed courses, Reports, advisement, and other delivery sys- tems. Qualified PVA school will ensure that PVA student develop excel- lence on a primary arts knowledge and proficiency with all standard and traditional art tools. Under ministry of education general institutional process which not took place so far, Fine Arts and Design underwent an all-rounded trans- formation process in the incorporation of the grade 7 performing and visual art proficient subject are integrated together. Performing and vi- sual art teaching processes, the school revised its curriculum to train more qualified and better equipped competent students, talented and art appreciators in a way that they could balance and satisfy the urgent need of grade 7 students. The rationale behind developing the curriculum was the urgent need in the shift away from the traditional method of instruction to enable and maximize student learning and performance. Accordingly, the school changed its teaching learning methodology to integrate the four art fields of studies in the year 2014. Currently, this grade level has been highly engaged in exploring possi- bilities to refine the quality of art and create critical platforms in which local and international creative, innovative and professional thoughts can be discussed and performed through the understanding of arts in general. This grade level also includes: music, dance, theatre and visual arts as the main contents in different thematic areas to be learned in the class. 2 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Unit Artistic Perceptions 1 Introduction to Unit One: This unit introduces you that characteristics of Ethiopian traditional music, characteristics of Ethiopian techniques of dance, identify theatre arts, film arts, draw and paint. General Learning Outcomes of the Unit: After learning this unit, you will be able to: Describe Characteristics of Ethiopian traditional music, Describe characteristics of Ethiopian traditional techniques of dance, Identify theatre Arts & Film Arts, Draw and paint 1.1 Characteristics of Ethiopian traditional music 1.1.1 Ethiopian Music Specific learning outcomes: At the end of learning this unit, you will be able to: Describe the characteristics and classification of Ethiopian traditional music. Ethiopia has a long and at times tormented history. With that it has an equally long and fascinating history of traditional music arts, and dance culture. Its folk music and culture has a long step in the history of civi- 3 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 lization. Ethiopia is the only country in Africa never to have been colo- nized. It can be said that it is one of the most unique folk music and also culture in the world. Folk music of Ethiopia is consisting of many type music instruments with thousands years old which survived through the history. The music and culture of Ethiopia has been influenced by Chris- tian, Islam, Jewish and also Afros. Ethiopia has diverse number of ethnic groups (more than 80 ethnic groups). Each ethnic group has its own traditional music and sounds. This folk music, have tighten with other cultured aspect of each ethnic group like dances, clothes, spirituality, wars and etc.… Ethiopian music began as a form of religious expression during the 4th century AD with the advent of the Ethiopian Orthodox Church. The churches own unique musical style was created by St Yared, the fa- ther of Ethiopian Church music and his appreciable three mode sounds are still practiced today. The northeastern part of Ethiopia is home to the city of Wollo, which is where the Muslim musical form called Manzuma developed and later spread throughout the country. Traditionally, in the Ethiopian Highlands, "azmaris" or minstrels are the main musicians and are treated with respect. Furthermore, Ethiopian music employs a unique modal system called "qenet" that is pentatonic with long intervals between most notes. The four main modes of "qenet" are "tezeta", "bati", "ambassel" and "anchihoy", with 3 additional modes that are variations of the main 4 modes: "tezeta minor", "bati major", and "bati minor". Ethiopian music is generally heterophonic or monophonic, while certain areas in the south of the country use a polyphonic style (Dorze poly- phonic). 4 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 1.1.2. Ethiopian St. Yared When we see the music of Ethiopia, it is derived from St. Yared, who is Ethiopian Outstanding music expert. He introduced Ethiopia with mod- ern music in the sixth century by introducing the three kinds of melodic styles named Geeze “ግዕዝ”, Ezeil “ዕዝል” and Array “አራራይ” with their corresponding symbols of representation. Figure 1 St. Yared Under these melodic styles there are four Main scale based class under which there are other more than. Even if his work can make him before those who are declared as great contributor to the birth hand development of system of modern music, like Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. These musicians are emerged over thousands of years after him in Europe but due claim has not been given to St. Yared because of many years of isolation of Ethiopia from the technology directed world. Unique character and sound of Ethiopian folk music comes from a pen- tatonic modal system, with strange and long interval between the notes. For the modern ears nowadays, this will be more strange and tasty when this music played with western instruments. 5 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 The music from highlands of Ethiopia has a modal system called kegnet which consist of four main modes: Tezeta, Bati, Ambassel, and Anchi- hoye. It also contains two additional modes: Tezeta minor and bati mi- nor. Some songs has the same name with it'sqenet/kegnet. For example: tizita or tezeta. The word Tizita is Amharic word for is memory. This type of folk songs usually compared with the blues in western music. On the list of songs below you can listen to different variation of this mode with Ethiopian music instruments and also western instruments. The first recordings of folk music of Ethiopia and popularizing it, hap- pened during the time of Emperor Haile Selassie. In 1924 he had a dip- lomatic tour to Europe but he started his travel with Jerusalem. Because every respected Ethiopian should visit and be pilgrim to JerusalemIn Jerusalem he met a marching band of young Armenian orphans. He was impressed by this band and made a deal to send them to Ethiopia and to form a military music band. This was the seed of early recording for oth- er early Ethiopian musicians like TilhunGessesse, NewayDebebe, and Ethiopia’s most famous musical artist, Mahmoud Ahmed. The same as many other African countries (or even Asian countries), military was a place to grow and develop folk music into popular music or receiving of western modern instruments and combine it with folk music instruments and harmony. Ethiopia is one of the countries with ancient civilization and history. There are 80 nationalities and languages in Ethiopia. When we look at the country's indigenous music, there are many songs, dances, and musical instruments in every nation. These songs and dances are sung with joy, sorrow, work activity, war, hunting, Etc. Ethiopian indigenous music was used as an amateur before foreign music entered the coun- try. This means that even though the musicians are not recognized as a 6 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 musician, the community sings and dances together. It is difficult to say or write much in this field due to lack of enough research in the field of Ethiopian indigenous music, the wide variety of music character, and variety of Ethiopian indigenous music. 1.1.3. Characteristic by geographical location Meanwhile, some musicians divide Ethiopian traditional music into three categories. These are: 1. Northern Ethiopian Music This category includes Gondar, Gojjam, Tigray, Shoa, Wollo, Gurage and Welega, all of which have the same musical instruments and type of singing. In terms of the nature of the melody, those areas are performing Or- thodox Tewahedo Christianity and there is a culture of spiritual / church melody. The musicians also grew up listening to the music of the church in their daily activities and because they are involved and the spiritual music is spread in these areas, the spiritual music is reflected in their secular music. For spiritual songs music instruments like harp, lyre, harp, tambou- rine, etc., now widely served 2. Eastern Ethiopia and the surrounding This category includes music and dance for the majority of the Muslim community. They include Harar Oromo, Harari, Somali, Afar, Bale and others. 3. Southern Ethiopia Southern Ethiopia includes Wolayita, Gamogofa, Kefas, Sidama, Konso and others. For the past 120 years, musicians have been working in Addis Ababa 7 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 since coming to the city. As a result, Addis Ababa began to pay salary for musicians for the first time in 1934 E.C in Hager Feker. Witnesses at the time said it was new to them that considering music as a profession.. Because of music was not considered as a profession in that day, the musician considered as to be idle man. In the process, they formed the Meder Tor Orchestra in 1935, the Police Serawit in 1936, and the KiburZebegna in 1947, making them a better career and source of income for the musicians. In the 1960s, Ethiopian music flourished and private musicians emerged. As a result, in addition to Amharic music, the Oromo, the Tigray, Wolay- ta, and Dorzi songs began to be performed. In recent years, some European and American musicians have been able to study the music of certain nationalities in various parts of the country. 8 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Activity 1.1 A.Individual work 1. Who is Ethiopian Outstanding music expert? 2. Name the three kinds of St. Yaredmelodic styles? B. Name the four kinds of Ethiopian music kegnet? C. Group discussion Discuss the following question in three groups and present your dis- cussion outcome through your group representative. 1) Present the Northern Ethiopian Music and perform one music in group? 2) Present the Eastern Ethiopia music and perform A music in group? 3) Present the Southern Ethiopia music and perform A music ingroup? 1.2. Characteristics of Ethiopian traditional techniques of dance Specific learning out comes: At the end of this lesson, you will be able to: Describe the characteristics of Ethiopian traditional Dance. Dance is a way of knowing and communicating. All societies use dance to communicate on both personal and cultural levels and to meet physi- cal and spiritual needs. Dance, as with all the arts, has its own language. We need to learn this language in order to fully understand and appreciate the world of Dance. 1.2.1 Characteristics of Ethiopian folk dance Ethiopia has over 80 ethnic groups in the country, and each group has a 9 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 very unique step and rhythm. Due to its old history, one that dates back to 3000 years, Ethiopia's folk dance is a symbol of their mosaic culture. Dancing is an integrated part of life for Ethiopian's and they love danc- ing. Let's enjoy and experience the Ethiopian folk dance. A. Dance of Tigray People The dance of Tigray region is characterized by two-beat drum rhythmes. According to the distinctive drum rhythmes, they dance in a circle like Japanese bon dance. It also has different variety of steps, such as delicate neck motion, rhythmical shoulder movement, jumping steps, and so on. 10 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Practical technique steps: 1. Stand frilly and relax the whole body 2. Open the leg as the shoulder level 3. Put the hand on the waist freely 4. Walk slowly, by alternating the legs with the flow of the melody rythm 5. Rotate right and left 6. Repeat this pattern as the melody ends B. Dance of Amhara People The dance of people in Amhara region (Northern Ethiopia) is called “Eskesta” which has unique movement of neck, shoulder and chest. There are several variations of motion and steps according to areas such as Gondar, Gojjam, Showa, and Wollo. Practical technique stapes 11 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 7. Stand frilly and relax the whole body 8. Open the leg as the shoulder level 9. Put the hand on the posterior freely 10. Stoop a little and shack the chest and shoulder 11. Count 1- 2 – 3- and 4 and Reith up 12. Repeat this pattern as the melody ends C. Dance of Somali People In eastern Ethiopia, people living near the border to Somalia. Women’s dance style, dancing with their hair covered with scarf, emphasizes their beauty that modest women have. Men dance to drum rhythm with mas- culine but elegant steps. Women dance with spreading their long skirts like butterfly. It is a very beautiful dance. Practical technique stapes: 13. Stand frilly and relax the whole body 14. Stamp by your feet separately, by one- two, one –two … 15. Count 1- 2 – 3- and 4 to the right leg 16. Count 1- 2 – 3- and 4 to the left leg 17. Repeat this pattern as the melody ends D. Dance of Oromia People Oromiya region is the largest and their dance styles are different de- pending on places. Some of famous dances are “Shoa Oromo” and “Ha- 12 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 rar Oromo”. Especially, Shoa Oromo dance has unique costume as well as steps. Women wear leather-made wild two-piece costume decorated with shells. Men wear fur skin like lion’s mane on the head and use stick for dance. What is most surprising is women’s very fast and sharp neck motion. You never forget it once you watch it! Practical technique stapes: For men: 18 Stand frilly and relax the whole body 19. Stamp by your feet separately, by one- two, one –two … 20. Stoop a little and keep stamping the rhythm. 21. Count 1- 2 – 3- and 4 jump by the right leg 22. Count 1- 2 – 3- and 4 jump by the left leg 23. Repeat this pattern as the melody ends For female 1. Open the leg as the shoulder position 2. Put your hands in the abdomen and open the elbow. 3. Relax the neck and round and roll slowly and gradually fast to the left E. Dance of Gurage People The Gurage area is about 100Km Southwest from the capital city Addis Ababa. Gurage people are famous for hard working, and their dancing style brings such an image of hard working people. Differing from other 13 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 dances, women dance with pants and they cover their hair with scarf for preparing for the fast tempo dance. According to upbeat music both women and men keep steps first without rest like a marathon runner. Practical technique steps: 24. Stand frilly and relax the whole body 25. Stamp by your feet separately, by one- two, one –two … 26. Stoop a little and keep stamping the rhythm. 27. Count 1- 2 – 3- and 4 jump by the right leg 28. Count 1- 2 – 3- and 4 jump by the left leg 29. Repeat this pattern as the melody ends F. Dance of Walyta People Walyta people living in Southern Ethiopia dance with distinctive move- ment of waist. Compared to the Northern Ethiopian dances like Amhara, which mainly require to move upper body (e.g. neck, shoulder, chest), the further people go to Southern Ethiopian, the more movement of low- er body their dances require. Practical technique steps: 14 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 30. Stand frilly and relax the whole body. 31. Swing and twist your haunch rhythmically. 32. Open your hands at said and waggle the whole haunches and nudge the other dancers. 33. Round to the left, round the right. 34. Repeat this pattern as the melody ends G. Dance of Gambella People Gambella region is located in the western part of Ethiopia close to the Sudanese border. The people living in this region are slim and tall with looks that differ from other parts of the country. The dance of Gambella is characterized by the agile spin of the waist. The women dance while hurling a fringe decorated with cowrie. They dance using their entire body while playing the instrument (fringe) which makes a special type of sound. Practical technique steps: 35. Stand frilly and relax the whole body 36. Stamp by your feet separately, by one- two, one –two … 37. Turn the hand at 90 degree and keep stamping the rhythm. 38. Count one, two, three, and four and turn and round to the left. And one, two, three and four to the right. 39. Repeat this pattern as the melody ends reference:- Video link:https://www.youtube.com/hashtag/ethiopiantra- ditionaldancetutorial. 15 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Activity 1.2 I. Individual work 1. Who is Ethiopian Outstanding music expert? 2. Name the three kinds of St. Yared melodic styles? 3. Name the four kinds of Ethiopian music kegnet? II. Group discussion Discuss the following question in three groups and present your discus- sion outcome through your group representative. 1. Present the Northern Ethiopian Music and perform one music in group? 2. Present the Eastern Ethiopia music and perform one music in group? 3. Present the Southern Ethiopia music and perform one music in group? 1.3. Identify theatre & Film Arts 1.3.1. Identify theatre Art Specific learning out comes: At the end of this lesson, you will be able to: Identify theatre art The word "theatre" is derived from the Ancient Greek root word “the- atron”, meaning, "a place for viewing", and “theaomai,” meaning "to see", "to watch", to view, or "to observe" that the specific place for per- formance is named comedy. At it is stated above, the words theaomai and theatron combined togeth- er to state theatre as it includes the place of performance and what is performed in the given acting area that is connected to a sense of per- ception to observe. As a performing art, it is a collaborative form of art which combines words, voice, movement and visual elements to express meaning that 16 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 uses live performers, typically actors or actresses, to present the expe- rience of a real or imagined event before audience in a specific place, often called a stage which combines words (dialogues), voice of an ac- tor or actress, movements of performers and visual elements to express meaning and encompasses live improvised and scripted (texted) work to deliver an idea that reflects daily lives that demonstrate about the con- flict and resolution of fundamental human issues and problems to build positive interactions between societies. Theatre art is a tool as a springboard for learners to present important aspects of life that develops the art sensitivity to understand the other students’ points of view can be taken as the means of communication to deliver messages through individual and social experiences that in- terpreted, or reflected, and reacted concerning the understanding of the audience from the performances they view on the stage. To communicate with the audience, theatre art learners (students) make choices for the development of a script idea, design character, or char- acterization students’ experience of the creative process theatre should include an investigation of the “how, when, and why” choices get made to know the source of the stories for the performance of theatre through elements of art such as painted scenery, stagecraft and lighting that are used the acting area of the performance. To deliver the message to the audience, it needs the flow in theatre which is important for learners to follow how to use the voice, body, and imag- ination to express concepts, ideas, and emotions such as sadness, happi- ness, nostalgia, and the like. Before performing on the stage, artistic creation is fundamental concept that consists generating ideas for the stories and “imagined worlds” and the real world we live in which are communicated through words, mind, 17 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 body movement, aural elements, and visual elements. The performers may communicate the experience of real-life to the audience through combinations of gesture, speech, song, music, and dance in a specific place to enhance the physicality, presence, and immediacy of the daily experience. The above mentioned point, about the word theatre, explains that the term “theatre” also refers to building (theatre spaces), an activity for doing or going to the theatre, an institution that more narrowly studies theatre as an art form and suggests theater as the art or activity of writ- ing and performing plays, or the public performance of plays, or other activity or presentation considered in terms of its dramatic quality. The- atre, also spelled theater, in architecture, a building or space in which a performance may be given before an audience. Although the definition of "theatre" contains different contents, the term, in general, refers to acting area or building that the audiences are going to watch the performance and the actors and actresses that perform what is seen on the stage. 1.3.1.1. Theatre Art in the Context of Ethiopia According to modern technology, the development of the Ethiopian Theatre is indeed a recent phenomenon to discuss and investigate its background. It is very difficult to show a clear period of Ethiopian the- atre when it began. Because of the lack of publishing works regarding Ethiopian theatre, it needs further research to explore its facts. Nevertheless, there are not enough resources with Ethiopian Theatre History, Fabula (comedy of animals or Yawureoch Commedia) is prob- ably the first original African play ever written and produced (Plastow, 2010) in the case of Ethiopia. 18 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Fabula was probably written in 1913 by TeklehawariatTeklemariam but the country has different theatre houses such as Hager Fikir Theatre, Haile Selassie Theatre (National Theatre of Ethiopia), Addis Ababa City Hall and Ras Theatre that can be mentioned as the oldest theatre build- ing and institution in Ethiopian Theatre History. Even though there are few written pieces of evidence explore playhous- es (theatre houses) of Ethiopia, there are few resources that narrate about theatre houses of the country. But the invention of the Ethiopian Theatre states that theatre houses es- tablished in the country during Haile Sellasie 1st regime. For instance, Hager Fikir Theatre was founded in 1935, at the time when people of Addis Ababa founded "Hager FikirMaheber"(Association for the love of the Motherland) to stand against the upcoming Italian invasion. The founder, MekonnenHabtewold, wanted to encourage the patriotic mettle of the Ethiopian people. The first open-air productions took place at Menelik Square, the city center of Addis Ababa. Although the Italian occupation could not be prevented, Hager Fikir Theatre survived. However, there were few un- critical and fascist friendly plays brought on stage during the period of occupation. After the withdrawal of the Italian troops (regime) in 1941, the theatre crew moved from Menelik Square to the place where it is located nowa- days in the Piazza district. A former Italian night club was reconstructed as a theatre hall. At the 25th anniversary of Haile Selassie's reign in 1955, the main entrance of the hall was enlarged and an imperial balco- ny and lounge were built. During the reign of Haile Selassie, the Hager Fikir Theatre grew, al- though the Emperor established the Haile Selassie Theatre (today the 19 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 National Theatre) as an additional theatre in Addis Ababa. The Hager Fikir Theatre continued as a popular theatre for the common people of the city whereas the Haile SelassieTheatre was mainly visited by high- class society. Besides regular performances, the Hager Fikir Theatre also broadcast live radio shows on Ethiopian radio. Moreover, the troop went on tour regularly, so that people from rural Ethiopia also could have access to the productions of Hager Fikir. After Haile Selassie's reign at the time of the Derg Regime, the Hager Fikir Theatre continued to produce socialistic plays and performances. Musicians and actors were mostly controlled and the work of the di- rectors was censured by the government. For example, because of the censorship done, in 1975, the Hager Fikir director TesfayeGesesse was arrested for his play "Iqaw" ("The Thing"). It was said to be anti-Derg and anti-revolutionary. After the downfall of the Derg Regime in 1991, the Hager Fikir Theatre continued its work. The Hager Fikir Theatre that is found in Addis Ababa is not only the theatre with the greatest tradition in Ethiopia but also it can be taken as the oldest indigenous theatre in Africa. Hager Fikir stands for more than 80 years of cultural life in Addis Ababa. It is a playhouse where modern Ethiopian music and drama were born and nurtured. Many stars like Aster Aweke, TilahunGessesse and FrewHailu began their careers on the stage of Hager Fikir Theatre. Both traditional Ethiopian plays and translations of plays by William Shakespeare, Friedrich Schiller, Henrik Ibsen, and Moliere have been produced at Hager Fikir Theatre in recent decades. After the establishment of Hager Fikir Theatre, the National Theatre of Ethiopia is the other big theatre house that is formerly known as the 20 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Haile Selassie First Theater is the oldest theatre (playhouse). Its archi- tecture (hall) had begun to be built during the Italian occupation as the Cinema Marconi with some 350 seats. The building was later completed in 1955 for the celebrations of the Silver Jubilee and expanded to seat 1260 people. The theatre group was founded by the government in the late 1940s, with the main objective of playing Ethiopian songs by solo- ists accompanied by a modern orchestra. The Austrian composer Franz Zelwecker became the first director of the National Theater. The theater is divided into two directorates, one for theater and the other for music. The music directorate includes the Izra Folk Music and Dance Group, Yared Modern Orchestra, Dawit POP Or- chestra and String Orchestra (Wikipedia, the free encyclopedia). Because of the intangibility of different data resources to narrate Ethi- opian Theatre History, it is difficult to point out the relevant facts but theatre research on the development of Ethiopian theatre suggests that it is very likely that plays were performed in the country during Axumite period. The word “theatre” exists in Ge’ez and archaeological evidence indicates that Greek was spoken in the Axumite court. With the advent of Christianity in the country, the pagan theatre would have been closed down. And as it was in Europe, passion plays devel- oped as part of church ceremonies. Every Easter the pageant of the pas- sion was performed throughout Christian Ethiopia. The church, with its costumes and props, the clerical vestments, multi- colored umbrellas, the dances of the clergy, the prayer sticks and drums and sistra, was an arena for the highest theatrical development in Ethi- opia. There were also other forms of traditional theatre in the country(Ethi- opia), such as the different kinds of dance-drama, Fukera (war songs), 21 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 and even the institution of the Azmaris (wandering minstrels) and Are- hos (wandering singers) who, as paid professionals, may have been the first Ethiopian actors. In Ethiopia, plays in the modern sense are a recent phenomenon. The advent of modern drama coincides with the development of the modern school system. Students presented the first modern play in Ethi- opia at the Menelik II School in 1914. There is no record of what the play was about or who wrote it. However, at about the same time the first modern play in Amharic was produced and written by FitawrariTekleHawariat, who was born in 1881 and had studied in Russia and France, the play was entitled Fabula (Comedy of Animals), and was based on La Fontaine’s Fables. As a satire of contemporary Ethiopian administration, the play was banned along with all other theatrical performances until the corona- tion of Emperor Haile Selassie I in 1930. Studies indicate that theatrical activity, after being forgotten for years, was restarted on the eve of the Italian invasion. It could be said that most theatre shows presented at this time were re- lated to the impending war and aimed at mobilizing the people to defend the country’s independence. In 1935 the Ethiopian National Patriotic Association (Hager Fiker) was founded. Before the building was erected, plays intended to arouse pa- triotic feelings were performed in the open air at Menelik II Square. It was during this time that YoftaheNigusse wrote and produced Afajeshi- gn (You Made Me Quarrel), an allegorical play forewarning the dangers awaiting Ethiopia. Written in verse with songs and dance, Afajeshign has several memorable scenes of lamentation, which reflect Yoftahe's considerable poetic talents. YoftaheNigusse was not the only playwright 22 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 in the prewar years. Though less well known, MelakuBegosew wrote several plays during this period. Captain Nalbandian’sGonderewGebre Mariam (Adventures of Gebre Mariam of Gondar) was presented in 1933 at the Menelik II School. After the war, the Association resumed activities centered on further uniting the people and assisting national development. It was felt that the theatre was an excellent medium for enlightening the public. The Hager Fiker Theatre, beginning a tradition of popular theatre, which is still being carried on, put on regular plays. In 1947 the Addis Ababa City Hall formed a committee headed by YoftaheNigusse to start a theatrical group. After Yoftahe’s untimely death, AfeworkAdafre, Captain Nalbandi- an and TesfayeTessemma carried on the work, and before long they were presenting plays at the City Hall. This ushered in a period of great activity in the theatrical field with the then Prime Minister Bitwoded Mekonen Endalkatchew’sYedem Dimts (Echo of Blood) in 1948, his Salsawi Dawit (David the Third) in 1951, WoizeroSeneduGebru’sYe- libeMetshaf (Book of My Heart) in 1949. 1950 saw the production of DejazmatchGirmatchew Teklehawariat’s Theodros, based on the life of the famous 19th-century emperor. This stirring historical play has already become a classic in Ethiopian drama. Kebede Mikael also came up with several plays during this period. In 1947 his YetinbitKetero (Appointment with Destiny) appeared. Two years later came Ato Belayneh, which one critic calls the Amharic “Faust.” In 1954, came his translation of “Romeo and Juliet.” In 1955, the Haile Selassie 1st Theatre (now Ethiopian National Theatre) was inaugurated on the occasion of the Silver Jubilee of the Emperor’s Cor- 23 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 onation. The inaugural play was Dawitna Orion (David and Orion) written by RasBitwodedMekonnen Endalkatchew. Hannibal of Kebede Mikael was also presented at the theatre for the Jubilee celebrations. The series of theatrical shows presented following the opening of the Ethiopian National Theatre was by far modern in their styles compared to the ones performed earlier. The stagecraft, the lighting, costumes, and make-ups were advanced enough to draw the appreciation of the people. The themes entertained by the theatre show performed in the time be- tween1961-1974 were closer to the social life of the people, rather than being historical and religious, and thus could be taken as advancement in the development of the art. During this time, Tsegaye GebreMedhin's plays YeshohAklil (A Crown of Thorns), Yekermo Sew (A Man of To- morrow) and PetrosYatchin Seat (Petros on that Hour) and his transla- tions of Shakespeare's "Othello", "Macbeth" and "Hamlet" were staged. Mengistu Lemma also wrote stage comedies that display an astute satir- ical sense, pungent irony and a thorough knowledge of traditional Ethi- opia. His two stage plays, Telfo Bekise (Marriage by Abduction) and Yalacha Gabitcha (The Marriage of Unequals) have been very success- ful at making Ethiopian audiences laugh at themselves. TesfayeGessesse, Abate Mekuria, AwlachewDejenie, TesfayeSahilu, AsnakechWorku, WogayehuNigatu, and DebebeEshetu are also im- portant figures that have contributed significantly to the development of Ethiopian theatre. In 1974 and thereafter, the art of theater was spread not only in Addis Ababa but also in other towns in the country. During this time, most of the plays were agitprops. In the years that followed and up until 1991, the government's censorship became a serious hindrance to the develop- 24 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 ment of theater. The area still suffers from lack of training and equipment such as sound system, lighting, video, and cameras, overhead and slide projectors, photocopy and fax machines, computer, printer, scanner, amplifiers, tape recorders, and vehicles. The National Theater of Ethiopia, which is one of the five theaters in the country, is itself lacking the capacity that should go with its name. It is unable to meet the expectations to portray the genuine and unadul- terated artistic life of the various nations and nationalities of the country and to create a forum whereby nationalities could learn, appreciate and respect each other's arts. With the multifaceted commitment made to strengthen the activities of the Regional States, the fact that this theater is not organized with the capacity necessary to provide artists coming from different regions with short term training in dancing, acting, stagecraft, and other such skills is worth considering. In addition to the above-mentioned idea, that most capitals of the Na- tional Regional States do not have institutions for the arts is a serious setback and an indicator as to how the importance of the sector to devel- opment is overlooked. (Retrieved from Wikipedia, Hager Fiker Theatre and National Theatre of Ethiopia.com) The Theater Arts Department of Addis Ababa University was opened in 1978 and has been producing the necessary skilled manpower. This has been an enormous contribution to the development of art. The graduates of the Department (theatre arts) have been employed by various gov- ernmental and non-governmental organizations both at the federal and regional levels. The Department, however, with its very limited budget could not have 25 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 important materials and technical equipment such as lighting and sound systems, computers, printers, scanners, etc. The fact that the (theatre arts) Department’s auditorium at Amist Kilo is serving as a conference center has affected the teaching and learning process. As it is declared in this research, theatre changes itself with the devel- opments of societies to discover the mechanical movements of human desires to explore their personalities, so what connects the history of theatre stated above to this study is to show that theatre of the earlier is not similar to the theatre of the present day. Indeed, it evolved from religious rituals through sophisticated refining human expressions that happened from time to time based on the needs and wants of the past audience that are not alike with the current theatre audience. Nowadays, audiences are wishing to entertain in theatre, through the modern concept to the values they need to get according to their un- derstandings, thought, life experience, age, specialization, educational background, norms, customs, beliefs, observations, judgment, and artis- tic taste as the advanced societies. 26 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Summary: Theatre by itself and its study is not in stagnant or static phenomenon rather it consists the ongoing thoughts that evolved from ritual concept to different societal purposes such as educational development, eco- nomic, community status, religious teaching, political, language func- tion, culture, customs, conventions of the past historical present and the present societal conditions through dynamism process of societies in the general situations of human life to exist in the reflection of theatre arts. Because theatre, in Ethiopia, the social cohesion to bring people togeth- er in the way that members of society think about their lives of the con- current advanced time that shows the time to forecast about their future identities about entertainment that is based on the lives or the persistence of individuals to declare the heritance from the tradition society in the dynamics passages of human experiences it is the turning point to know Ethiopian theatre of the past to understand its development of today’s. Summary Questions: Discuss the following: a) Identify theatre arts Say True or False: 1) Theatre is the study of static phenomenon. 2) Theater is highly connected with culture. Choose the Correct Answer: 1) Theatre is _______________ in human life. a) reflection b) tool for cultural development c) the means of communi- cation d) all are correct 2) Theatre in Ethiopia is still on going. a) Goes with social development b) cyclical c) a and b d) none 27 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 1.3. 2. Identify Film Art Specific learning out comes: At the end of this lesson, you will be able to: ♦ Identify film art The name or the word "film" originates from the fact that photographic film that called film stock has historically been the medium for record- ing and displaying motion pictures. In this term, it describes that other terms exist for an individual motion-picture, including picture, picture show, moving picture, photoplay, and flick. The film art relates to all aspects of the production of film like television or movies for cinema (a story or event recorded by a camera as a set of moving images and shown in a cinema or on television considered to be an important art form taken as a source of popular entertainment, and a powerful medium for educating and indoctrinating students. The visual basis of film gives it an effective power of communication processed through writing, story, photography, drawing, painting, con- cept art, animation, visual effects, music, acting, and a whole host of other talents, skills, and abilities from talented individual students. On the other hand, a film art is known as a "movie" or a "motion picture," which a series of moving images shown on a screen, usually with sound, that makes up a story. The word movie here is to mean the photographic strip of plastic that runs through a camera and captures the film's images. Generally, Theatre is a live medium that involves live performance with actors and actresses who act out a real or imagined event before the au- 28 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 dience on the stage. In a cinema (theatre house where film is shown), the film, is audio-video medium which is projected with a movie projec- tor on to a large projection screen at the front of the auditorium. 1.3.2.1. Film in the Context of Ethiopia As it is stated later in this unit, film is considered as the highest form of the technology of arts in our era. According to different researches, this art was first introduced to Ethiopia during the reign of Emperor Menelik II and this was not long after the beginning of the film industry. Its re- search shows the following concepts: Later, the first cinema hall called Seytan Bet (House of the Devil) was opened in the year 1923. Until 1974, there were many cinema halls in the country. However, due to the nationalization of all cinema houses by the govern- ment in1974, the number of cinema houses, instead of showing prog- ress, has gradually decreased. As a result, their number today does not- exceed 20. Setan bet, even these cinema houses, more often than not, is closed. This is due to not only to the decrease in the number of film importers and distributors, but also to the absence of the supply of good quality films and other related problems. As result, a great number of the youth are nowadays compelled to go to video shops that are opened in different corners of cities (Addis Ababa) and towns to see films that could have negative impacts on their physical and psychological well being. The production of film in Ethiopia began during the reign of HaileSelassie I with a film on his coronation. Following this, documentary films on different issues featuring historical sites, developmental activities and the like were produced. As the reign of Emperor HaileSelassie I was replaced by the military 29 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 dictatorship of the Derg, a film entitled“Harvest Three Thousand Years, “which features the bitterness of the life of the peasantry under the feu- dal system was produced by Haile Gerima, a renowned Ethiopian film director. There were also films produced by Ethiopian such as Guma (Vendetta), and Hirut. Following this, the Film Production Section, established un- der the Ministry of Culture and Sports Affairs, produced another film en- titled“3002”. The Ethiopian film industry that focused on the production of documentary films continued with the establishment of the Ethiopian Film Center in 1978. The center was then replaced by EthiopianFilm Corporation IN 1997 E.C. These institutes were able to produce 27 documentaries altogether. Apart from these documentaries two feature films entitled BehiywetZuria, and Aster were produced. In contrast to the period covered, however, very little was achieved. This was particularly the effect of the divorce of the sector from private investment after the 1974 revolution. Summary: As the sector, film, could not be profitable in developing countries such as Ethiopia, the number of investors that would join the sector and the amount of capital they could invest in it are not expected to be high in a short period of time. In addition to encouraging private investors the government is thus expected to play a significant role in the production of films. In view of the important role that films could play in educating and entertaining the society as well as their significant place in the life of modern society,the task has to be taken seriously. Summary Questions: Discuss the following: 1) Identify film arts 30 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Say True or False: 1) Film never existed in Ethiopia. 2) Film industry is only about profit making. 3) Ethiopia is rich in Film industry. 1.4 Role and Function of Basic Elements of Design 1.4.1. The Basic Elements of Design What Are the Elements of basic Design? Specific learning outcomes: At the end of this lesson you will be able to: ♦ Identify the basic elements of design ♦ Understand drawing and painting Art is a vital and persistence aspect of human experience. But where does the artistic impulse originate? We can see that it is inborn by ob- serving children. Who make pictures, sculptures and model buildings before learning to read or write? Children trace images in dirt build snowmen and sandcastles and decorate just about anything from their own faces to the wall of their houses. All this activities are efforts to impose order on disorder and to create form from formlessness. Think of the elements of design as the ingredients you need for a recipe. These basic components are essential in art and design and how you can visually construct pieces. Each element is a crucial part of a visual message, and the combination of these has an impact on how the design is perceived. You can use these elements alone or in combination with each other, depending on what you're looking to achieve. 31 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 The main elements are: Space, Line, Shape, Form, Texture, Value, Color Exercise 1.4.2 A If a statement is correct write ``True`` and if it is incorrect write ``False`` 1. Form is two dimensional. 2. Line is not an element of design. 3. Texture is the surface quality of roughness and smoothness. 1. Space At the end of this lesson you will be able to á Understand and manage positive and Negative space The Element of Design Space refers to the area within, around, above or below an object or objects. It is important to creating and understanding both two dimensional and three dimensional works of art. With three dimensional art the space things occupy is real as is the space around object. In two dimensional art this is deﬁnitely not the case. Two dimen- sional arts exist on a ﬂat surface, so if something looks three dimension- al- it is an illusion! Even the most realistic paintings or photographs are illusions. Two dimensional artists use a number of "tricks" for creating the illusion of depth in their art. Point A point has no dimension or scale. When made visible as a dot, the point establishes a position in space. 32 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 2. Line At the end of this lesson you will be able to á Understand and make different kinds of lines When points move through space or two points are connected line is generated or line is a path of a moving point such as a mark made by a tool or instrument as it is drawn or dragged across a surface. Line is one of the seven elements of art. It is considered by most to be the most basic element of art. A. Types of Lines 1. Vertical lines- lines that move up and down without any slant. Fig. 1 Vertical lines 2. Horizontal lines - lines that are parallel to the horizon Fig.2Horizontal lines 3. Diagonal lines - lines that slant Fig. 3 Diagonal lines 33 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 3. Zigzag lines - lines made from a combination of diagonal lines Fig. 4 Zigzag lines 4. Curved lines -Lines that change direction gradually Fig. 5 Curved lines B. Pressure A pressure is a force used by the hand of an artist to create different val- ue of line or strokes. Fig. 6 Pressure C. Types of stroke Stroke: - Line refers to a long and contentious thread with a consistent width and pressure refers to forces to create value, while strokes are comparatively short and broken lines in a variety of width. 1. Short individual strokes; change direction occasionally to create a 34 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 cross-hatching effect. Fig. 7 Short individual strokes 2. Short, continuous strokes; change direction occasionally Fig.8 Short, continuous strokes 3. Continuous M-strokes; change direction constantly Fig.9 Continuous M-strokes 4. Continuous W-strokes; change direction constantly. Fig.10 Continuous W-strokes 5. Very short M-strokes; with constant direction Fig.11 Very short M-strokes Exercise 1.4.2 B Draw different types of lines and strokes. 35 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 3. Shape At the end of this lesson you will be able to á Understand shapes á Identify geometric and organic shapes A shape is created when a line is enclosed. It has a variety of uses in the creation of art. Shapes can play important roles in the creation of art. They help to create complex drawings and paintings, affect composition, and contribute to the balance within a work. Shape is a two-dimensional area that is defined by a change in value or some other form of contrast. There are two major types of shape. Those are Geometric and organic. ☻ Geometric shapeslook as though they were made with a ruler or drawing tool. The square, the circle, the triangle, the rectangle and the oval are the five basic geometric shapes. Fig. 12 Geometric shapes ☻ Organic shape also called free form, organic shapes are not regular or even, their outlines may be curved or angular or they may be a combination of both, to make free-form shapes, organic shapes, such as clouds & pebbles are usually found in nature. Fig. 13 Organic shape 36 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Exercise 1.4.2 C 1. Draw geometrical shapes. 2. Draw organic shapes. 4. Form At the end of this lesson you will be able to á Understand form á Identify the difference between shape and form Form is an element of art, means objects that have three dimensions. Form is one of the seven elements of art which are the visual tools that an artist uses to compose a work of art. Fig14 Form 5. Texture At the end of this lesson you will be able to á Understand Texture. á Identify surface characteristics. Is the surface quality of a shape - rough, smooth, soft hard glossy etc? Texture can be physical (tactile) or visual. 37 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 The surfaces feel of an object or the representation of surface character. Texture is the tactile (physical) and visual (mental) feel of surface area as it is arranged and altered by nature. The three best known kinds of texture are; actual, simulated, and invent- ed. Actual is actual Simulated is the imitation of real or actual. Invented or decorative textures do not imitate textures of real life. Fig 15 Texture 6. Value At the end of this lesson you will be able to á Understand and make different kinds of Value Value is the lightness or darkness of a color. Value is also called Tone The relative degree of lightness or darkness distributed or applied to an area by the amount of light reflected from it. A gradual or step by step difference of light to dark in shading through any visual recording me- dia. Black, grays, and white: Light to dark scale. Full strength or diluted, high contrast.The relative degree of lightness and darkness. 38 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Fig 17 Value 7. Color At the end of this lesson you will be able to á Understand types of colors. á Identify the nature of colors. á Know mixing of colors. What is color? Color is a basic element of art that involves light. It is produced when light waves (wavelength) strike an object and are reflected into our eyes. Each light wave has a distinct color. Objects appear to be different col- ors because some wavelengths are absorbed while others are reflected or transmitted. The wavelengths that are reflected back to our eyes give us the colors we see.Color consists of three properties. 39 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Those are:- A. Hue -The name given to a color, such as red, yellow, blue, purple, green, orange, etc. B. Intensity-(or saturation) — the purity or dullness of a color. A col- or’s C. Value - the lightness or darkness of a color. Using color effectively in creating art involves understanding three ba- sic areas: the color wheel, color value, and color schemes (or color har- mony.) Test 1.4.3. The Color Wheel Fig 18 Color Wheel The color wheel is a useful visual aid used by artists and interior de- signers to understand the relationship between colors. Sir Isaac Newton developed the color wheel in 1666 when he took the color spectrum and bent it into a circle. Primary colors: - are red, yellow, and blue. These hues are equally spaced apart on the color wheel. There only three primary colors and they are the most basic colors on the wheel. Fig 19Primary colors 40 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Secondary colors:- are orange, green, and purple (or violet). These col- ors are created by mixing equal parts of any two primary colors. Fig 20 Secondary colors Tertiary colors:- are red-purple, red-orange, blue-green, blue-purple, yellow-green, and yellow-orange. There are six tertiary colors, and they are the result of mixing equal parts of a primary color with a secondary color. Fig 21 tertiary colors 1.4.4. Color Temperature The temperature of color is how we perceive a particular color, either warm or cool. Warm colors range from red to yellow on the color wheel, whereas cool colors range from blue to green and violet. Warm Colors Fig 23 warm colors 41 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 1.4.5. Neutral Colors Neutral colors do not appear on the color chart and are neither warm nor cool. These colors are Black, White and Gray. Exercise 1.4.1 B I. If a statement is correct write ``True`` and if it is incorrect write ``False`` 1. The point establishes a position in space. 2. Space is not important to creating and understanding both two dimen- sional and three dimensional works of art. 3. Two dimensional arts exist on a ﬂat surface. II. Choose the correct answer 1. __________is the lightness or darkeners of a color? A. Line B. Texture C. Value D. Form 2. The three properties of color are? B. Hue B. Intensity C. Value D. All 3. _________is the complementary color of red? A. Yellow B. Green C. Gray D. Orange Summary: The basic design education is a process which enables the student to communicate with the field by introducing perceptions, impressions, observations, researches, associations, inventions, information, evalu- ation and many other intellectual processes while delivering new forms to original forms. In this context, basic design education is an educa- tion-training process that provides basic theoretical knowledge of the field for students and supports this knowledge through applied studies. At the same time, basic design education is equipped with a content based on realizing the work of art and design fields by teaching visual 42 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 language in the direction of basic elements and principles, supporting students' creative thinking process, combining information and imagi- nation to visual expiration. Summary Question 1. Which one is the tertiary color? B. Yellow B. Blue green C. Gray D. Orange 2. __________is the quality of surface characteristics? A. Line B. Texture C. Value D. Form 3. _________is the path of moving point through a space. A. Form B. Shape C. value D. Line 43 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Unit 2 Creative Expressions Introduction to unit two Under unit two you are going to learn different concepts of PVA subject those are adjusted in to music, Dance, Theatre/film and Visual arts re- spectively. Based on that the main concepts of these Arts are as follows: In the case of music, you will learn what solfeggio is and will perform solfeggio in ¾ and 4/4 time signature. In the case of dance, you will understand the characteristics of Ethiopian folk dance. In this lesson you will introduce participants to dance styles from the diverse cultures in Ethiopia such as Tigray, Wollo, Gondar, Gurage, Wolaita, and Oromo. In addition to teaching these dances in a hands-on manner and you will explain the dances’ geographical, histor- ical, and socio-cultural contexts, their meanings in these contexts, and their development in contemporary Ethiopia. In the case of theater,it describes the expression of ideas: in theater, video and photographExpress ideas in theater, video and photographEx- press moods in theater, video and photographexpress feelings in theater, video (film) and photographExpress themes in theater, video and pho- tograph, Express Ideas in Theatre. In the case of visual Arts, it describe A painting is a one-off created by hand, whereas prints are usually mul- tiples.... There are many different types of print, some produced man- ually while others are made by automated printing processes. The term 44 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 'print' includes a whole range of artwork, from inexpensive disposable posters through to rare antiques. General learning outcomes of unit two At the end of unit two, you will be able to: ♦ Perform Solfeggio in different time signature ( ¾, 4/4 ) ♦ Use notation Play rhythm pitch, beats, rest by using modes of Ethiopian Music (Tizita and Bati) ♦ Perform folk dance styles ♦ Write ideas for theatre, film/video ♦ Express moods, feelings, themes, ideas through Theater, Video, and Photograph. ♦ Apply Art elements in 2D Visual Arts (painting and Printing) 2.1. Perform Solfeggio in different time signatures ( ¾, 4/4 ) 2.1.1. Origin of solfeggio Specific learning out comes At the end of this lesson, you will be able to: ♦ Describe the origin and meaning of solfeggio. ♦ Identify tonic solfaand letter name of pitches. ♦ Identify Name of piano keys and note name on G clef staff ♦ Perform solfeggio with the use of tonic solfa and musical letter naming A. The Origins of Solfeggio Solfeggio originated nearly a thousand years ago. An Italian monk named Guido d’Arezzo noticed that the beginning of each phrase in the 45 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Latin hymn “Ut Queant Laxis” began on each successive step of the scale. He developed a six-note ascending scale based on the first pitch of each phrase. The first syllable of the original (“ut”) was eventually changed to “do”. With this system, one could sing the hymn using these syllables, instead of the note names. B. Pitch naming Solfeggio is a method of naming pitches and perfuming singing vocal exercises. For example: the C major scale can be named do-re-mi-fa- so-la-ti-do, with C corresponding to do, D to re, etc These syllables are easier to sing than the actual note names, and give the melody a more memorable “song-like” quality. There are two solfeggio systems. They are movable “do” and fixed “do” Figure 2.1 diatonic scale of C- key on the piano or keyboard 46 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Exercise2.1.1.A Look at the following numbers on white piano keys and based on that Match apitch nameunder column A with a number under column B Column A Column B 1. 1 A. A 2. 2 B. B 3. 3 C. C 4. 4 D. D 5. 5 E. E 6. 6 F. F 7. 7 G. G Exercise2.1.1.B Look at the following numbers on G clef staffand based on that Match apitch name (note name)under column A with a number under column B 1 2 3 4 5 6 7 1 1 1 1 1 1 1 47 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Column A Column B 1. 1 A. Do 2. 2 B. Re 3. 3 C. Mi 4. 4 D. Fa 5. 5 E. Sol 6. 6 F. La 7. 7 G. Si Exercise2.1.1.C Match a musical letter under column A with a pitch nameof a Latin syl- labic under column B Column A Column B 1. A A. Do 2. B B. Re 3. C C. Mi 4. D D. Fa 5. E E. Sol 6. F F. La 7. G G. Si 2.1.2. Perform solfeggio with Latin syllabics and musical letters Specific learning out comes: At the end of this lesson, you will be able to: ♦ Call pitch names with tonic solfa and musical letter naming system ♦ Perform Solfeggio in ¾ and 4/4 time signature ♦ Understand and perform Ethiopian Tizita and Bati moods 48 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 A. Calling pitches with Latin syllabics and musical letters Call pitches in ascending order:Do-Re-Mi-Fa-Sol-LA-Si-Do Call pitches in Descending order: Do-Si-LA-Sol-Fa-Mi-Re-Do Call pitches in ascending order: C-D-E-F-G-A-B-D-C Call pitches in Descending order: C-B-A-G-F-E-D-C B. Practice the above pitches to perform rhythm and pitch Practice with a piano or virtual keyboard. Play the major scale in the key of C as you sing Do-Re-Mi-Fa-Sol-La-Si-Do. Sing up (Ascending) and down (Descending) Major diatonic scale of C. Once you can sing the scale in tune by yourself (without the help of music instrument), try moving around the scale in stepwise motion. For example: Do-Re-Do-Re-Mi-Fa-Sol-Fa-Mi-Fa-Sol-La-Ti-La-Ti-Do etc. This way, you can practice the exercises at your own pace. You may need to move slower at first and that’s ok. Song’s Meter If the song is notated, you can just look on the music to find the meter (e.g. 3/4, 4/4, etc.). By setting the number of beats in a bar and the note value assigned to one beat, the time signature ensures that there is bar- to-bar consistency in the music where rhythm is concerned – it helps en- sure that there is an underlying structure, called meter or time signature. Meter is defined as the structure of beats – more specifically, the fact that some beats are naturally more strong, or “stressed”, than others. The meter engages the ear through consistency, and is what gives music its “feel”. In an overwhelming majority of simple time signatures, beat 1 is the strongest beat in the bar, meaning you can often hear when a new bar starts by listening for an emphasized note. 4/4 time signature We’ll start with the popular kid in school – 4/4 times, being so ubiq- 49 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 uitous that it’s commonly referred to by its alternate name – common time. It can appear on sheet music in one of two ways: 4/4 times So what makes a song “sound” like it’s in 4/4? It’s the pattern of empha- sized beats, which is as follows: Figure 3 4/4 time strong (S), weak (W), and medium (M) Try counting or clapping along with the song; chances are, it will sound like clap-clap-clap-clap clap-clap-clap-clap, or one-two-three-four one- two-three-four. 3/4 Time The quarter note still gets one beat, but we now have three beats to a bar.What does this mean, considering the first beat of every bar gets the strongest emphasis? Figure-4, 4/4 time strong (S), and weak (W) Play rhythm, pitch, beats, rest by using modes of pentatonic modes Before you practice Ethiopian Kegnet, first you practice the seven pitch- es of diatonic scale. After that you will perform Tizita and Batikegnet. Number the scale This is a cognitively challenging exercise. 11 50 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 121 12321 1234321 123454321 12345654321 1234567654321 123456787654321 One, One, One Two, One, practicing examples 51 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Exercise: 2.1.2. A.I. write true if a statement is correct and false if the statement is notcorrect. 1. A time signature tells you how the music is to be counted. II. Perform the following music in ¾ and 4/4 time properly 2. Sing the following music in ¾ time 3. Sing the following music in 4/4 time B. Group discussion Discuss the following question in three groups and present your dis- cussion outcome through your group representative the scale of Tizita major. 1) Sing the scale of Bati major 52 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 2.2. Perform Folk dance style 2.2.1 Folk Dance style practice Specific learning outcomes: At the end of this lesson you will be able to: ♦ Understand the folk dance style 1.The dance of Tigray people The dance style of Tigrayis performed by counting one and two. In the count of one – two there is a leg, shoulder and neck one & two rhythmi- cal coordination. First slightly open your leg and stand relaxes. One –move the right leg at saying and fix it Two – move the left leg towards the right leg at saying and fix it One - move the left leg at saying and fix it Two – move the right leg towards the left leg at saying and fix it Repeat these movements to the right and to the left,scroll, move forward and backward rhythmically 53 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 2. The Amhara people dances The dance ofAmhara/ Eskestaisis performed by counting the fast move- ment of One - Two. In the count of one – two there is a leg, shoulder and neck one & two rhythmical coordination. First slightly open your leg and stand relaxes. One –move the right leg at saying and fix it Two – move the left leg towards the right leg at saying and fix it One - move the left leg at saying and fix it Two – move the right leg towards the left leg at saying and fix it Repeat these movements to the right and to the left,scroll, move forward and backward rhythmically 2.3. EXPRESSION OF IDEAS IN THEATER Specific learning outcomes: at the end of learning this les- son, you will be able to: ♦ Express ideas in theatre, film/video Theatre is a collaborative (a set of) arts form which combines: words, voice, movement, and visual elements to express the story (meaning). The work of theatre encompasses the live performance of improvised and scripted (text) work. It also the basic for dramatic forms such as film, television and other electronic media. As a creative expression, theatre is one of the creative works that com- monly identified methods which include drama (play), dance, music, creative writing and the visual arts, including photography, so the- 54 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 atre production is a professional activity that suggests the interactive creative processes of the collaborators and their work that the work it- self becomes a kind of creative entity. Concerning creative expression, it is any process in which a person pro- cesses and idea and brings it to life in different mediums of expression or forms such visual art, music, writing, theatre play, poetry, and dance, are some of the most common. Creative expression usually engages your physical body in some way, opening the potential for deeper body- mind connection that physical body, mental body and spiritual body to express one’s idea. On the other hand, expression of ideas in theatre can be transferred through elements of drama such as character role, their relationships, sit- uation, voice (of actor, actress), movement, focus, tension, space, time, language (dialogue), symbol, audience, mood and atmosphere. Role and character The identification and portrayal of a person’s values, attitudes, intentions and actions as imagined relationships, situations and ideas in dramatic action; role focus on type and stereotype; characters are de- tailed and specific. Relationships: the connections and interactions between people that af- fect the dramatic action. Situation: The setting and circumstances of the dramatic action. For example: who, the what, the where, then when and what is at stake of the roles/characters. Voice Using: it is the technique that suggests voice expressively to cre- ate roles, situations, relationships, atmosphere and symbols. Movement: using facial expression, posture and action expressively in space and time to create roles, situations, relationships, atmosphere and symbols. Focus: to concentrate the attention on a spatial direction or a point in space to intensify attention or increase the projection of intent and to direct and intensify attention and frame moments of dramatic 55 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 action or to identify the main idea of the drama. Tension: a sense of anticipation or conflict within characters or charac- ter relationships, or problems, surprise and mystery in stories and ideas to propel dramatic action and create audience engagement. Space: the space of the performance and audience, fictional space of the dramatic action and the emotional space between characters. Time: the fictional time in the narrative or setting; timing of one mo- ment to the next contributing to the tension and rhythm of dramatic action. Language expresses that ideas and dramatic meaning which is the choice of linguistic expression and ideas in drama used to create dra- matic action. Symbol Associations that occur when something is used to represent something else to reinforce or extend dramatic meaning. Audience: a collection of individuals or groups f people who experi- ence the arts in a range of settings and contexts (formal, informal, virtu- al or interactive) through intellectual, emotional and social engagement. The artist is audience to their own artwork. Mood and atmosphere: are the elements of drama that describe the feeling or tone of both the physical space and the dramatic action creat- ed by or emerging from the performance. Dramatic Action: it is the sense that the driving force and forward mo- tion of drama to create dramatic meaning, tension, belief and audience engagement, and also it expresses the movement of the drama from the introduction, exposition of ideas and conflict to a resolution. Exercise: Explain the following question 1. Discus about mood and atmosphere in theatre performance? 2. Describe the idea of dramatic action? 56 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 2.3.1. The Work of Theatre from Script to Stage Presentation Producing theatre is the process of long term work (profession) that needs the collaboration of all crews that involved in it. On the other hand, producing a play involves a lot of hard works and a lengthy pro- cess, but the end results are always worth it as long as everyone does their part. It is also the result of group efforts coming together to make it good for the audience to be viewed. To help you (students) to understand what all goes into the average pro- duction, this unit is a rough outline (basic lines, important concepts) of how plays get from the script to the stage. Not every director, company (theatre companies), producer (who pro- duces the theatre, play) or individual play will follow this exact process, but it will give you (the learners) the clue (hint) of how the typical pro- duction schedule will run. To change the story or the script from page, to the stage or from script, to the stage for the performance, the following steps have to be considered. A. Find a Script (Find the Idea, Story of the Play) Obviously, the first step is to decide which play will be produced. Scripts should be chosen not just for their artistic quality but also based on how realistically the production can be assembled given your specific limita- tions. For example, few local theatre companies (such as National The- atre of Ethiopia, Hager Fiker Theatre) will have the resources to put, for example: ritual performances of Ethiopian Nations, Nationalities and People Traditional Plays), to create the plat form for the wide audience in our country, so our script is suggested to have the ideas of Ethiopians’ cultural values. 57 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 B. Figure out the Nitty Gritty Nitty gritty is the process of making outlines for the basic ideas to be done. It involves several smaller but equally-pivotal (vital, important) steps. C. Deciding who will be in charge (Who will be responsible, Forma- tion of Staffs, Crew) Assigning titles like director, choreographer, producer, musical director, production, PR (public relation) etc. will help establish chain-of-com- mand and make decisions easier to make division of labor for the sake of production quality. D. Forming a Rough Budget Even if all you have is pocket lint, the available funds must be account- ed for and allotted towards certain needs like costumes, props, make-ups and publicity. This step can also involve determining volunteers to help with production work, like finding a skilled seamstress who is willing to contribute for free. Determining a venue is also crucial at this time (level). E. Crafting an Initial Artistic Vision The producer and the director will have to work together to decide their initial interpretation of the script. This interpretation must account for the available budget as well as any ideas each party brings to the table. 3. Casting Auditions let the director and producer find actors (actresses) who are able to fill the needed roles. At this point, technical workers like lighting crew, stage crew and others may be assigned or hired. 4. Rehearsals Rehearsals go through their own multi-step process in such as: a) Read through: Under this point, it suggests that the first rehearsal 58 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 usually involves a “table read” of the script where each person simply says their lines or dialogues character. Directors (director) may choose to cut or modify lines at this point based on how the table read goes. b) Blocking: (Actors movement on the stage), blocking is the process of determining how actors will move throughout a scene (unit). Most stage directions are quite bare (blank space), so the director will have to figure out who is going to be doing what while they say their lines. Blocking usually takes up the first one to two weeks of rehearsal. c) Rehearse, rehearse and rehearse some more: this point suggests that blocking, line deliveries and even script elements will be modified at first to fit within the director’s needs and vision. Eventually, actors will have to memorize their lines and try to get the play perfect in prepa- ration for opening night. d) Special rehearsals are that: plays (play) that require singing or dancing will often have separate rehearsals at first to practice these ele- ments before they can be brought into regular rehearsals. e) Dress rehearsal are that: in the last weeks of rehearsal, costumes, props and finalized set elements should all be ready to be incorporated within rehearsal. A final set of rehearsals known as dress rehearsals im- itate the exact conditions of the live production. 5. Publicity and Opening Night (The Work of Public Relation, PR) Finally, the producer must advertise the play in order to ensure that an audience will be there. Publicity should be ongoing for several weeks leading up to the first production. These publicity efforts can involve fliers, school announcements, newspaper coverage, paid advertisements and anything else the producer can do to draw an audience for their play. Once rehearsals have been perfected and an audience has been assem- bled, everyone will gather for opening night to see if all the hard work 59 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 has paid off. A play will usually run for a few nights to a few weeks. Longer productions will require constant regular and dress rehearsals to keep everyone at the top of their game in between shows. Note: the term an idea represents that what we want to deliver, what we want to say, what story we wish to tell to the audience in the planned or formulated thought that narrates our belief, opinion, or plan in theatre arts. 2.3.2. Express Ideas in Photography Specific learning outcomes: At the end of learning this lesson, you will be able to: ♦ Express ideas (themes) in photography (Creative Idea Expression in Photography, Creative Photography) The specific objective of this content: the specific objective of this content is to enable learners to express their ideas in photography. Creative is a somewhat unique category in photography. This category includes photos and edits that are specifically made to give a certain mood, focus on a certain theme, or anything to be honest. It involves adopting a new, different approach towards a photo, without which it would be seen as a common picture. Adding extra elements to a picture to highlight certain textures and fea- tures has become a common practice in the industry (photography in- dustry), although the amount and the post-processing will often separate creative photography from common photography. The photographers don’t have to stay in the formal learning of the pho- tography. They are able to become better thinker, able to learn new in- 60 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 novations, come up with new goals and plans to implement their knowl- edge. This technical strategy in photography is called thinking out of the box to be creative photographers. The photographers are also advised to ask themselves what they can do differently in the shoot they want to capture. Many ideas will then pop up. Execute each of them, and maximize the potential of each photo that you take. Start off by carrying your camera everywhere to seek out some pictures and ideas that randomly cross your mind. Exercise: Discuss the following question 1. Identify about the tasks of photographers? Photo (1) The photographer may see a beautiful sunset, and two sunsets. He/she can also pour some water onto a surface and try to shoot its reflection on the water. Photographers could also go the extra kilometers to re-photograph it after adding some strokes or smudges using paint or any other medium, to highlight the main focus even more or cheat and use Photoshop. If paintings aren’t your forte or skill, then feel free to rescan it after add- ing objects on it as long as it fits the theme and your goal. On the other hand, the tricky part of (photography) is the ‘creative’ as- 61 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 pect. With how ‘abstract’ the word creative can be, combined with how different people’s standards are for each creative artwork, it is difficult to please everyone. For example: in fictional shoots as creative, some photographers ask for a deeper meaning, and some just don’t need that much “abstractness”. It deepens on their goal and new strategies to implement their knowledge in photography. In the vast world of photography and creativity, it may be hard, or diffi- cult to fit everyone’s, photographer, and criteria. But certain techniques have been so popular that they have become the specific photographer’s trademark. If a picture has intentionally been treated in a way that gives it a deeper meaning, then it can be categorized as a creative photograph! A creative photograph would be a photograph that intentionally uses various techniques and effects to reach the desired result. At the core of it, it is about conscious attempts to manipulate (handful) and take photos, where your imagination becomes the limit. Many pho- tographers have different takes on what a creative photograph is, but after skimming through them and drawing connections between them, we’ve concluded that a creative photograph is a photo given a twist to invoke certain meanings. Photo (2) 62 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 2.3.2.1. Popular Creative Photography Techniques/Ideas/ The term itself may be a bit confusing for new or even experienced members of the photography community, or for photographers. Some photographers have many ideas for creative photography but are afraid to execute them because they think creative photos must be super ex- travagant and abstract. This isn’t always true, and in order to give you a rough idea of what cre- ative photography looks like and how it’s done, we have put together a few techniques, ideas, and some creative photography examples. One of the examples in creative Photography is “Bokeh” that is taken as a pop- ular example is which looks like small glowing orbs. These orbs appear when your camera lens tries to record unfocused points of light. Photo (3) It is typically unwanted and appears unintentionally in the background when shooting photos. Try and figure out different points of view, depth of field, and settings that can create” bokeh” in a beneficial way. 2.3.2. 2. Creative Photography in Painting Other creative photography examples that we love involve painting. Af- ter printing the photo (post-production), incorporate paint or any desir- able medium by smearing, dipping, redrawing, and the list goes on. 2.3.2.3. Creative Photography in Double Exposure Another cool technique is to project images onto textured surfaces and re-photograph. These techniques give a normal, mundane, nothing out of the ordinary 63 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 picture some extra meaning. Photo (4) The photographer could take a picture of a near by tower and project it onto a water ripple or any textured surfaces that you deem fit, and voi- la (there you are). A unique and creative photograph is born. A similar alternative is to perform a double exposure that a favorite trick of film photographers; some modern SLR’s, or single lens reflex is incorporat- ing this feature. 2.3.2.4. Creative Photography in Motion Blur Motion blur is another popular technique that brings life to a photo. Photo (5) The motion blur can be achieved by either photographing moving ob- jects with a longer exposure or by moving the camera to follow a mov- ing object. 2.3.2.5. Creative Photography in Get Macro Macro photography can bring smaller objects to life. With a macro lens you open up a whole new world. There are many more creative photography examples out there. 64 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 Photo (6) The photographers will be able to use a source of inspiration that they do like and give it unique twist and push the boundaries and find what works best for them. They also create creative effect by using special lenses to create creative camera effects. 2.3.2.6. The Importance of Creativity in Photography Creativity is an integral part of photography. With the rise of social me- dia and the mundane shots that often circulate on those platforms, there seems to be less space for creative photography to thrive. All of these creative photography ideas offer something new, refreshing, and more noticeable. When it comes to photography, being creative is beneficial in many ways. It gives you a huge advantage over more mundane photographers. The reason behind this lies in the uniqueness, which can make your photo- graphs more eye-catching when people are skimming over photos. This uniqueness shows the audience your capability in expressing yourself. Creativity allows you to slap all the emotions you want onto a picture. Indirectly, your photograph will be able to inspire many more people and possibly start a new trend. Summary: creative photography is an interesting and simple, yet unique category of photography. Many people can enter the scene yet not every artwork will become a trend. By intentionally doing something new and unique to a normal photo, it can turn into a creative photograph. 65 Fetena.net : Ethiopian No#1 Educational Resource Grade 7 People do have different standards about how a creative photograph should look, which makes it a bit hard to please everyone in the photog- raphy community. 2.3.3. Creative Expression of Theme in Movie (Film) Specific learning outcomes: At the end of this lesson you will be able to: ♦ Express ideas in movie or film. Concerning the creative expression of theme in video, it is vital to dis- cuss its definition, so the term theme is defined as the central idea in film or video making. It is the film's central or unifying concept that evokes a universal human experience and can be stated in one word or short phrase like: “beauty, renaissance, love, death, democracy, infla- tion, covid-19, HIV/Aids” and etc. can be taken as an example of theme in one word or short phrase. It is also referred as the idea, premise, or purpose of a movie. In this context, it is the whole reason why movies are made. On the other hand, the theme is the heart of the movie in which the movie is regulated by the theme. It suggests that why people, or viewers go to the movies. People may prefer to go to movies to learn something new, to enjoy, whatever it may be, that is useful to keep the viewers’ brains active and more youthful, plus it's interesting and makes movies a lot more fun. On the other hand,

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