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University of Dar Es Salaam Faculty of Arts and Social Sciences Department of Fine and Performing Arts First Year

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University of Dar Es Salaam Faculty of Arts and Social Sciences Department of Fine and Performing Arts First Year UNIVERSITY OF DAR ES SALAAM FACULTY OF ARTS AND SOCIAL SCIENCES DEPARTMENT OF FINE AND PERFORMING ARTS FIRST YEAR Code Course Title Status Semester Units FP100 Art and Society 3 FP101 Fundamentals of Drawing 3 FP102 Fundamentals of Sculpture 3 FP111 Fundamentals of Painting 3 FP112 Fundamentals of Graphic Design 3 FP121 Principles of Visual Communication 3 FP131 Fundamentals of Printmaking 3 FP191 Creative Still Photography 3 FP141 Fundamentals of Jewellery 3 FP151 Introduction to Computer Aided Design 3 FP161 Principles of Animation 3 FP171 Art of the African Diagram 3 FP181 Visual Arts and Advertising 3 FP103 Indigenous Music of Africa 3 FP113 Music Cultures of the West 3 FP123 Fundamentals of Music Study 3 FP133 Introductory Music Study 3 FP143 Music in East Africa 3 FP153 Music Cultures of the East 3 FP163 Introduction to Harmony 3 FP173 Intermediate Music Study 3 FP 104/144/204 Instrumental Introduction 3 244/304/344 FP 114/154/214 African Ensemble 3 154/314/169 FP 124/164/224 University Ensemble 3 264/324/364 FP105 Introduction To African Theatre 3 FP115 Introduction to Film and Television 3 FP125 Introduction to the Theatre 3 FP135 Contemporary Theatre Practice in Africa 3 FP 100: ART AND SOCIETY Course Objectives The course is aimed to make a student be able to identify cultural/social practices that stimulated the growth of the visual and performing arts in Tanzania in order to make analytic comparison and contrast their contexts. The course also aims to develop awareness of aesthetic factors which influence production of the arts. Course Description This course examines in depth the principles of aesthetics and ethnic philosophy of African visual and performing arts. In-depth analysis of some African societies will be used to examine the role of the visual and performing arts in society as well as the relationship of art and aesthetics to indigenous concepts of time, space, colour, form and socio-political order. The course will trace the origin of the arts in their cultural settings and how society interacts with them and will analyse various art groups within a socio-cultural context. As well, the impact of external forces on local artistic expression will receive critical consideration. The course offers a critical survey of the different writings and the growing body of research on this academic area. At the end of the course the students will be expected to be able to: Identify cultural/social practices that stimulated the growth of the visual and performing arts in Tanzania, compare and contrast the social functions of the arts in their cultural contexts, identify features that are common to the arts, analyze features that are common to the arts, develop awareness of aesthetic factors which influence production of the arts, and examine criteria for defining art. Delivery: 30 hours lectures. 15 hours seminars Assessment: Coursework 40 percent. Final examination 60 percent Course Outline Module 1: The Arts; categories, origins, meaning. Module 2: What the arts have in common 2.1 Themes and purposes 2.2 Patronage 2.3 Form and content 2.4 Social function Module 3: Manifestations of current social trends in contemporary Tanzanian visual and performing arts 3.1 The Tingatinga art movement 3.2 Popular music groups 3.3 Popular theatre groups 3.4 Basic vocabularies of the arts. Module 4: Aesthetic Taste and Valuation Module 5: Artistic roles and cultural change. Basic Readings: Amin, Samir Aurocentrism. 1984, Monthly Review Press, New York. Adams, Moni, 1992, “Dida Woven Raffia Cloth From Cote D’/Vorie.” African Arts. Vol. XXV, No. 3. pp. 42-51. Beier, Ulli Contemporary Art in Africa. 1968, Praeger, London. Bernal, Martin, 1987, Black Athena; The Afro-Asiatic Roots of Ancient Civilization. Vol. I. The Fabrication of Ancient Greece, Rutgers university Press, New Jersey. Boyce – Davies, Corale & Anne Adams Graces (eds) 1986, Ngambika, Africa World Press, Inc. New Jersey. Cready, Jea (ed.) 1970, The Social Context of Art. Tavistock Publications, London. Fischer, E. 1952, The Necesssity of Art. Penguin, Harmondsworth. Gilbert, R. and McCarter, W. Living with Art. New York; Alfred Knopf, 1985. Hall, Michael, D. and Metcalf, Eugene, W., 1984, The Artistic Outsider: Creativity and the Boundaries of Culture. Smithsonian Press, Washington. Hassan, Salah, M. 1992, “Contemporary African Art and Aethetic: Towards a Critical Understanding” African Studies and Research Centre Newsletter, Vol. 4, No. 1, Cornell University Jones, Eldred Durosimi, Eustace Palmer 7 Marjorie Jones (ed) 1987, Women in African Literature Today, Vol. 15. Jengo, E. Kandoeo, A.S. and Mbughuni, L.A. (eds) 1984, Falsafa ya Sanaa Tanzania Dar es Salaam; National Arts Council, Dar es Salaam. Jengo, E., 1987, “Towards a Rational Cultural Policy for the Promotion of Art in Tanzania” Utafiti, Dar es Salaam. Kasfir, Sidney. 1992, African Art and Authenticity” African Arts. Vol. XXV, No. 2 April. Kennedy, Carolee, G. 1992, “Prestige Ornaments”. African Art. Vol. XXIV, No. 3. Knudsen, B.R. 1978, “Dance Societies; The Voluntary Work-Associations of the Sukuma”. Tanzania Notes and Records. No. 81 and 82, June. Ling, - Dorothy, 1889, The Original Art of Music. Aspen Institute, Latham, Maryland. Meena, Ruth (ed) 1992, Gender in Southern Africa: Conceptual and Theoretical Issues, SAPES Books, Harare. Mugo, Micere Githae, 1994, My Mother’s Poem and Other Songs, East African Educational Publishers, Nairobi. Okpaku, Joseph. New African Literature and the Arts I 1970, Thomas Cronmwell Co. N.Y. Ottenberg, Simon. 1991, “The Beaded Bands of Bagodes”. African Art. Vol. XXV, No. 2. pp. 65-76. Preston-White, E. 1991, “Zulu Bead Sculptors” African Art. Vol. XXIV, No. 1 pp. 64-76. Riano, R. (ed) 1994, Women in Grassroots Communication, Furthering Social Change, Sage Publications, London. Scheman, Naomi, 1993, Engenderings, Routledge, London. Smithsonian Institute, 1992, African Art Studies; The State of the Discipline. Smithsonian Institute, Washington. Tanzania Gender Networking Programme. 1993, Gender Profile of Tanzania. TGNP Dar es Salaam. Vogel, Susan, 1991, African Explores 20th Century African Art. The Centre for African Art, New York. Winter-Irving, Celia, 1994, Stone Sculpture in Zimbabwe. Craftsman House, Australia. FP 101: FUNDAMENTALS OF DRAWING Course Objectives The course is designed to develop the students’ powers of observation and drawing skills in order to find the link between visual perception, drawing and creativity. This course also intends to make the students be able to: Compare and contrast two- dimensional and three dimensional qualities of a drawing. Identify characteristics of pen and ink drawings to demonstrate mastery in the application of actual lines, implied lines and lines created by edge. Demonstrate mastery in the application of hatching, cross- hatching and stippling in creating modeling. Course Description Drawing is a basic requirement in the area of visual arts. Both objective study and life drawing will feature heavily in the course. The visual elements namely line, shape, texture, light, value, colour and space which determine what a drawing will be like, are essential ingredients in processing visual information in the special way used by artists. Learning to draw is more than learning the skill itself, it is learning how to see. Drawing is only the means for gaining access at a conscious level to the students’ in venture, initiative, imaginative powers that may have been unexplored by our verbal culture and educational system that emphasizes factual learning. Delivery: 15 hours lectures. 30 hours practical Assessment: Coursework 40 percent. Final examination 60 percent Course Outline Module 1: Purposes of Drawing 1.1 Types of lines 1.2 Functions of line 1.3 Characteristics of lines Module 2: Shape and Mass 2.1 Light 2.2 Value 2.3 Colour Module 3: Texture and Pattern Module 4: Illusions of Depth Module 3: Illusion of Motion Basic Readings Arnheim, Rudolf, 1974. Art and Visual Perception; A psychology of the Creative Eye. University of California press, Berkeley. Edward, Betty. 1989. Drawing on the Right Side of the Brain. Tarcher, Los Angeles. __________ 1986. Drawing on the Artist Within. Simon and Schuster, New York. Gilbert, R. and McCarter, W. 1985. Living With Art. Alfred A. Knopf. New York. Chapters 4, 5 and 6. Goldstein, N. 1973. The Art of Responsive Drawing. Prentice-Hall, Englewood-Cliffs New Jersey. Hoffmann, Howard, 1989. Vision and the Art of Drawing. Prentice-Hall, Englewood Cliffs, New Jersey. Lux, Stanslaus. 1989. Paspektivu. DUP, Dar es Salaam. Proctor, Richard, M. 1990. Principles of Pattern Design. Dover, New York. FP 102: FUNDAMENTALS OF SCULPTURE Course Objectives The aim is to guide the student to look objectively at sculpture, formally and analytically in order to reach a personal assessment of it. Course Description The course captures the fundamental skills and basic concepts of clay modeling in sculpture. There are four basic methods of making sculpture: modeling, casting, carving and assembling. The student will be exposed to these methods practically and theoretically. Delivery: 10 hours Lectures. 35 practicals. Assessment: Coursework 40 percent. Final examination 60 percent. Course Outline Module 1: The nature and types of clay 1.1 Clay formation 1.2 Clay modeling 1.3 Firing of clay modeling. 1.4 Types of kilns and their construction. Module 2: Casting Module 3: Carving Module 4: Assembling Module 5: Plaster of Paris (P.O.P.) and mold making Module 6: Cement and mod making. Basic Readings Anderson, Michael, F. 1966. Sculpture and Ideas. Prentice-Hall Inc. Englewood Cliffs, New Jersey, USA. Arnason, H.H., 1988. History of Modern Art: Painting, Sculpture, Arthitecture. George Braziller, New York. Burnham, Jack, 1968. Beyond Modern Sculpture. George Braziller, New York. Gilbert, R. and McCarer, William 1988. Living With Art. Alfred A. Knopf, New York. Chapter II. Hunter, Sam and John Jocobus, 1985. Modern Art; Painting Sculpture and Architecture. Harry N. Abrams, New York. Krans, Rosalind, E. 1981.
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