THEORY QUESTIONS

1.(a) Using crayon or colour pencil, draw a cone in the space

provided and render it solid using the mass shading technique

(b) In the spaces provided below, draw any two different objects
that are conical in shape.

Use the stippling technique to shade the drawn object in Box 'A'
and hatching technique to shade the other in Box 'B'.

ANSWERS

(a)

(b)

BOX A
BOX B

Note: Drawing of funnel, ice cream cone, bells, Christmas trees,

snail shells, party hats, roofs, volcanoes, umbrella, horn, yam
mound, etc. are also accepted.

2. A Creative Art and Design teacher assigned the class to produce artworks
intended to educate learners on keeping the school compound and the
classrooms neat.

As a Creative Art and Design learner:

(a) Give two artworks that you would produce to solve the problem.

(b) State the appropriate technique that you would use to

produce each artwork in (a) above.

(c) In an orderly manner, state that first four design processes that you
would use in designing the artworks.

(d) Balance is one of the key principles of design that could be used in the
production of the artworks in (a). Identify any two types of balance and
explain only one of them.

(e) Enumerate two precautions that should be observed during the

production of the artworks in (a) above.

ANSWERS

(a) Artworks to solve the problem

1. Posters/flyers/banners/signpost/magazine
2. Mural
3. Wall hanging
4. Containers for collecting refuse e.g. litter bin box, basket, etc.

(b) Appropriate technique used to produce artworks

1. Posters/flyers/banners/signpost/magazine

* Printing
* Lettering
* Painting
* Illustration

2. Mural

* Painting
* Mosaic
* Illustration

3. Wall hanging

* Printing
* Dyeing
* Applique
* Embossing
* In-laying

4. Containers for collecting refuse

* Construction and assembling

* Weaving

(c) First four design processes in an orderly manner

1. Empathise/identification/situation/needs
2. Define/definition of the problem/design brief
3. Ideate/investigate/research/information gathering
4. Prototype/possible solution

(d) Types of balance

1. Symmetrical/formal balance

Symmetrical balance in art is achieved by giving equal weight to element

across the center-point of a composition.
The center-point can be horizontal, vertical or diagonal. The result is a
repetitive or mirrored (referred to as perfectly symmetrical) image that
appears to be completely equally balanced.

Symmetrical balance is the simplest to create and involves placing objects of

the same weight, and kind of weight, on either side of a central line. They do
not have to be identical elements as you might find in mirror image. What is
important is that each object on one side corresponds to a similarly weighted
object, on the other side.

2. Asymmetrical/informal balance

Asymmetrical balance occurs when the elements on a layout are different,

but by being equally weighted still feels balanced. There might be two
elements with a similar weight but different shapes or one larger, heavier
element balanced by a couple of lesser focal points.

3. Radial balance

Radial balance is achieved when the elements of the artwork are arranged
around a central point creating a sense of movement and energy. Radial
balance can be used to create a feeling of order and harmony.

This type of balance usually looks very organized and symmetrical and is
often seen in nature, for example, in a spider web or spoke of bicycle wheel.

4. Occult balance

It is an asymmetric mode of composition or asymmetric balance of visual

elements in an artistic composition.

(e)

Precautions that should be observed during the production of

artworks

1. Always read the labels on your art supplies to understand any potential
hazards.

2. Ensure proper ventilation when using materials that emit fumes, such as
paints, solvents, and adhesives.

3. Wear gloves when handling chemicals or materials that can irritate your
skin.
4. Use masks or respirators to avoid inhaling harmful dust or fumes.

5. Wear safety googles to protect your eyes from splashes and debris.

6. Store materials in their original containers and keep them tightly sealed
when not in use.

7. Dispose of hazardous materials according to local regulations to prevent

environmental contamination.

8. Keep your workspace clean and organized to avoid accidents.

9. Ensure your workspace is well-lit to prevent eye strain and accidents.

10. Keep artworks away from direct sunlight to prevent fading.

11. Handle artworks with clean hands or gloves to avoid transferring oils and
dirt, etc.

3.(a) Your school intends to organize an exhibition during the upcoming

20th Anniversary Celebration.

As the leader of the organizing team, explain three factors that will guide a
successful planning and organizing of the exhibition.

(b) Imagine yourself in a Creative Art and Design class, and you are to
assemble pieces of materials into artworks for the exhibition.

(c)Identify two essential tools you would use for each of the listed activities
below:

(i) Cutting of wires and papers;

(ii) Making holes in metals and plastics;

(iii) Joining of lead and copper.

ANSWERS

(a) When planning and organizing art exhibition, consider the following
factors:

1. Theme and concept

Define a clear theme, concept, or narrative for the exhibition.

2. Artwork selection

Select artworks that showcase the artists' skills and fit the exhibition theme.

3. Venue and space

Ensure the venue is suitable for the exhibition, considering factors like
lighting, walls, and flooring.

4. Dates and schedule

Schedule the exhibition, allowing time for planning, installation and

promotion.

5. Budget and funding

Establish a budget, secure funding, and allocate resources effectively.

6. Marketing and promotion

Develop a marketing strategy, utilizing social media, advertising and

publicity.

7. Installation and design

Plan the exhibition layout, ensuring a visually appealing and engaging

display.

8. Lighting and conservation

Ensure proper lighting, temperature and humidity control to preserve the

artworks.

9. Catalogue and documentation

Consider producing a catalogue or documenting the exhibition for future

reference.

10. Opening event and programming

Plan an engaging opening event and additional programming, like artist talks
or workshops.

11. Evaluation and feedback

Collect feedback from visitors, artists, and staff to improve future exhibition.

12. Security
13. Closing ceremony

14. Writing letters for permission

(b)

(i) Essential tools for cutting of wires and papers

1. Scissors
2. Pliers
3. Cutters/knives
4. Strippers
5. Trimmers
5. Saws

(ii) Essential tools for making holes in metals and plastics

1. Drills
2. Saws
3. Reamers
4. Countersinks
5. Punches
6. Rotary tools
7. Nail/hammer
8. Awls
9. Bodkins

(iii) Essential tools for joining of lead and copper

1. Soldering iron
2. Wire brush
3. Pliers and grips
4. Blowtorch
5. Lead knife/cutter
6. Riveting tools/rivets

4. (a) On the music manuscript provided, notate the following letters on

the Treble Staff using minims or half notes:

(i) ECG;

(ii) BAD;
(iii) AGF.

(b) Place the underlisted instruments under their respective classification in

the table below:

(i) Donno;

(ii) Seperewa;

(iii) Mbira;

(iv) Atenteben;

(v) Mmensuon.

CHORDOPHONE IDEOPHONE MEMBRANOPHONE AEROPHONE

(c) In a particular song, bar 1 has four quavers, bar

2 has one minim and bar 3 has two crotchets.

Identify the time signature for the song.

(d) Explain why the song Yɛn ara asaase ni is in a binary form.

ANSWERS

(a)

Notes

1. The symbol for minim note

2. Use the acronym Every Good Bird Does Fly to know the position of notes
on the lines from bottom.

Every = E is on the first line from bottom

Good = G is on the second line from bottom
Bird = B is on the third line from bottom
Does = D is on the fourth line from bottom
Fly = F is on the fifth line from bottom

3. Use the acronym FACE to know the position of notes on the spaces
between lines from bottom.

F = first space from bottom

A = second space from bottom
C = third space from bottom
E = fourth space from bottom

(i)

ECG
OR

Note:

ECG → first line or fourth space from bottom (E), third space from bottom (C)
and second line from bottom (G)

(ii)

BAD
Note:

BAD → third line (B), second space from bottom (A) and fourth line from
bottom (D)

(iii)

AGF

OR
Note:

AGF → second space from bottom (A), second line from bottom (G) and and
fifth line or first space from bottom (F)

(b)

Classification of musical instruments

CHORDOPHONE IDEOPHONE MEMBRANOPHONE AEROPHONE

Seperewa Mbira Donno 1. Mmensuon

2. Atenteben
Classification of musical instruments

1. Aerophones (Wind Instruments)

Definition: Produce sound by causing a body of air to vibrate.

Examples: Flutes, oboes, clarinets, trumpets, bagpipes, mmensuon,

atenteben.

2. Chordophones (String Instruments)

Definition: Produce sound by vibrating strings.

Examples: Violins, guitars, pianos, harps, seperewa.

3. Idiophones (Instruments that vibrate as a whole)

Definition: Produce sound by the instrument's material vibrating (without

strings or membranes).

Examples: Cymbals, triangles, xylophones, maracas, mbira.

4. Membranophones (Instruments with a vibrating membrane)

Definition: Produce sound by a vibrating membrane (like a drumhead)

Examples: Drums, Donno, timpani.

5. Electrophones (Electronic Instruments)

Definition: Produce sound primarily by electrical means or electronically

amplify sound.

Examples: Synthesizers, electric guitars, electronic drums.

(c)

Bar 1

Number of beats in a quaver = 12

Four quavers = 12 x 4 beats = 2 beats

Bar 2

Minim has 2 beats

Bar 3
Crotchet has 1 beat

2 crotchets = 2 beats

Analyzing beats in each bar

Bar 1

Bar 1 has 2 beats = 2 x 1 beat

But crotchet has 1 beat

Hence bar 1 has 2 crotchets

Bar 2

Bar 2 has 2 beats = 2 x 1 beat

But crotchet has 1 beat

Hence bar 2 has 2 crotchets

Bar 3

Bar 3 has 2 beats = 2 x 1 beat

But crotchet has 1 beat

Hence bar 3 has 2 crotchets

Each of the bars has 2 crotchets which has 2 beats.

Note:

1. Time signature is represented as a/b

2. The top of a time signature (a) represents the number of beats in each
bar.

3. The bottom of a time signature (b) represents the type of note.

Each of the bars has 2 beats hence the top value (a) of the time signature is
2.

Each of the bars has 2 crotchets. The type of note in each bar became
crotchet which is represented by 4.

Hence the time signature is 2/4

NOTE
Symb American (British) Note Time Signature
ol Names Representation Beats

𝅝 Whole note (Semibreve) 1 4 beats

𝅗𝅥 Half note (Minim) 2 2 beats

♩ Quarter note (Crotchet) 4 1 beat

12 beat
♪ Eighth note (Quaver) 8 s

14 beat
♬ or 𝅘𝅥𝅯 Sixteenth note (Semiquaver) 16 s

(d) Why the song Yɛn ara asaase ni is in a binary form

Yɛn ara asaase ni is in a binary form because it has two similar sections that
are repeated throughout the song.

5.(a) Using the tonic solfa notation, write the members of the following:

(i) Chord I;

(ii) Chord IV;

(iii) Chord V.

(b) At a choral music concert in your school, you would enjoy the words and
the harmonious voices as the performance unfolds.

Identify and describe any three voice parts that you would find delightful
during the performance.

(c)Write short notes on any one of the following composers; focusing on his
hometown, genre of words, one example of his works and contribution
made to society.
(i) Ephraim Amu;

(ii)Agya Koo Nimo;

(iii) Black Sherif.

ANSWERS

6. (a) Adzo and Komla are about to perform the Bɔbɔɔbɔ dance.

List three costume items they would use.

(b) In the performance of African music and dance, the stage is well used by
all performers so that the audience can enjoy the performance.

Describe how drummers, singers and dancers are arranged on a stage during
the performance of "Kpanlogo".

(c) Write short notes on any one of the following performing art
personalities; focusing on the profession, contribution to society and an
example of any of their works:

(i) Martin Owusu;

(ii) Francis Nii Yartey;

(iii) Ama Atta Aidoo.

(d) At a festival in your hometown, you observed colourfully dressed and

energetic dancers perform various traditional dances. Reflecting on the
performances, you came to a realization that dance drama plays a significant
role in the Ghanaian culture.

State three of such roles that came to mind during the reflection.

ANSWERS

(a) Costume items for Bɔbɔɔbɔ dance

1. Colourful long dress

2. Two white handkerchiefs
3. Beaded jewelry
4. Headpieces

(b) How drummers, singers and dancers are arranged on a stage

during the performance of "Kpanlogo"
1. The drummers are usually positioned at the back of the stage, providing
the rhythmic foundation for the performance.

2. Singers are often placed in the front or center of the stage, delivering the
vocal elements of the music.

3. Dancers are usually spread out across the stage, showcasing the
choreography and movements that complement the music.

(c) Short notes on performing art personalities

(i) Martin Owusu

1. Martin Owusu Skyere was born in Agona Kwaman

2. He received his secondary schooling at Mfantsipim School, Cape Coast

3. He completed his diploma in theatre studies at the School of Music and

Drama in Legon

4. He is the Senior lecturer at the School of Performing Art at Legon

5. He is an actor, academic, teacher and director

6. He has published series of stage plays

7. Some of his published stage plays include:

(a) Adventures of Sasa and Esi

(b) The story Ananse told
(c) The Mightier Sword

8. His major contribution to the Ghanaian theatre is as a director rather than

as a playwright

(ii) Francis Nii Yartey

1. He was born on January 26, 1946 in Accra

2. He earned a certificate and diploma at the University of Ghana in 1968

and 1971 respectively

3. A year after earning his master's degree, he took over as the Artistic
Director/Choreographer of the Ghana Dance Ensemble

4. He became an Associate Professor at the University of Ghana in 2006.

5. He left for Swarthmore University, Pennsylvania, USA where he taught for

a year.
6. Back in Ghana, he taught at Ashesi University College as an adjunct
professor

7. He returned to the School of Performing Arts (SPA) at the University of

Ghana, becoming the head of the Department of Dance Studies

8. Between 1999 and 2008, he choreographed the opening and closing

ceremonies of international football tournaments that Ghana hosted.

9. He was awarded the Grand Medal (Civil Division) for his contribution to the
development of dance in his beloved country Ghana.

(iii) Ama Atta Aidoo

1. Christina Ama Ata Aidoo was born on 23 March 1942 in Abeadzi Kyiakor,
near Saltpond, in the Central Region of Ghana.

2. She was initially called Christiana Ama Aidoo.

3. She had a twin brother, Kwame Ata.

4. She was raised in a Fante royal household, the daughter of Nana Yaw
Fama, chief of Abeadzi Kyiakor, and Maame Abasema.

5. Her grandfather was murdered by neocolonialists, which brought her

father's attention to the importance of educating the children and families of
the village on the history and events of the era.

6. She attended Wesley Girls' High School, where she first decided she
wanted to be a writer

7. After high school, she enrolled in 1961 at the University of Ghana, Legon,
where she obtained the degree of Bachelor of Arts in English and wrote her
first play, The Dilemma of a Ghost, in 1964

8. She lectured in English at the University of Cape Coast, where she

eventually rose to the position of professor.

9. Some of her writings include:

(a) Our Sister Killjoy

(b) Changes: A Love Story which won the 1992 Commonwealth Writers' Prize
(c) Her poet collection "Someone Talking to Sometime" won the Nelson
Mandela Prize for Poetry in 1987
(d) She is the author of several children's books

(d) Significance of traditional dances in the Ghanaian culture

1. Cultural Identity and Heritage

Ghanaian dances, like Adowa, Agbadza, and Kpanlogo, are deeply rooted in
the country's history and traditions, reflecting the diverse ethnic groups and
their unique customs.

2. Community Bonding and Social Cohesion

These dances often bring people together during festivals, ceremonies,

funerals, and other significant events, fostering a sense of unity and
belonging.

3. Storytelling and Education

Through specific movements, costumes, and music, traditional dances

convey stories, legends, and social messages, serving as a form of oral
history and education.

4. Religious and Spiritual Significance

Many dances are intertwined with religious rituals and beliefs, serving as a
way to communicate with spirits, ancestors, and deities.

5. Entertainment and Celebration

Traditional dances are also a source of joy and entertainment, providing a

way to celebrate life's milestones, express emotions, and socialize.

7.(a) In the table below, group the listed traditional dances under the
following ethnic groups.

DANCES: Bamaya, Gahu, Gota, Kete, Nagla and Takai.

EWE AKAN MOLE-DAGBANI

(b) Describe each of the following type of dance movements:

(i) Alignment;

(ii) Balance.

(c) Some years ago, storytelling was a form of entertainment for most
Ghanaian traditional societies. However, in today's digital age, the television
and internet are filled with a lot of soap operas, which may not be suitable
for children.
State two reasons why story telling should still be encouraged in the
Ghanaian culture.

ANSWERS

(a)

EWE AKAN MOLE-DAGBANI

Kete 1. Gahu 1. Bamaya

2. Gota 2. Nagla
3. Takai

(b)

(i) Alignment refers to the correct positioning of body parts relative to each
other, the movement's direction, and the space around the dancer.

It involves maintaining a straight line from the head to the toes, ensuring
that the body is correctly positioned to execute movements efficiently and
with proper technique.

(ii) Balance refers to the ability of a dancer to control their body's position in
a stable manner.

It involves the distribution of weight, often on one leg or in a specific pose,

while maintaining control and stability.

(c) Importance of story telling in the Ghanaian societies

1. Preservation of Culture and History

Storytelling serves as a vital method for passing down history, beliefs,

customs, and moral values from one generation to the next. Stories often
contain historical allusions, parables reflecting society, and folk stories that
belong to specific ethnic groups or communities.

2. Education and Moral Development

Stories are used to explain practices and natural phenomena to younger

generations, as well as to instill values and shape character. They can act as
warnings for future generations, cautioning them against repeating past
mistakes.

3. Language and Communication

Storytelling helps maintain and promote indigenous languages, as many

stories are passed down orally in local languages. It also enhances verbal
skills and linguistic growth in children.

4. Community Building and Social Cohesion

Storytelling brings people together, fostering a sense of belonging and

shared identity. It can also be a way to address social issues and promote
understanding between different groups.

5. Entertainment and Aesthetic Value

Storytelling is an important form of entertainment and artistic expression in

Ghana. It is an oral art form that uses voice and gesture to create a vivid and
engaging experience for the audience.

6. Cultural Identity

Storytelling plays a key role in shaping cultural identity, reminding people of

their roots and where they come from.

7. Language Revitalization

Storytelling is closely linked to processes of cultural reproduction and

intergenerational language transfer, making it particularly significant for
language revitalization in language communities.