MAY 2016 ISSUE 2

AEDE

Arts education for development and employment

Inside this issue:

Newsletter Editor’s

Corner

2

Tasha Smith

Workshop

3

June 16-Key Facts 4

June 16 and

Botswana

5

AEDE Corner : The

Jembe Drum

6

Arts Centres in

pictures

7

CHIPABO’s Diet :

Performance

12

Donate to us and

Find us

13

MAUN CENTRE

AND DAY OF THE

AFRICAN CHILD

CHIPABO ARTS

CENTRES IN

PICTURES

TASHA SMITH’S

ACTING WORKSHOP

OFFERS VALUABLE

ACTING SKILLS

NEWSLETTER EDITOR’S CORNER !

POSTAL ADDRESS: P.O. BOX 4974 GABORONE: BOTSWANA

RESIDENTIAL ADDRESS: Loapi Business Centre, Loapi House

Office 18, Old Lobatse RD

E MAIL: chipabobotswana@gmail.com

CELL: (+267) 723817617 (Edward Moroka)

(+267) 71840178 (Edward Moroka)

(+267) 74594801 (Neo L. Kebiditswe)

(+267) 71241154 (Pearl Ntshole)

Last month, CHIPABO held a successful 5 day workshop which has

since embarked on a nationwide dissimination of skills and talents.

Our CHIPABO children are in an age of rapid growth and high living

standards. These factors will undoubedtly play a huge role in

determining the diretion of their future. In that same manner, it will

give them an opportunity to explore other possibilities. The model of

arts education for development and employment gives CHIPABO

children an alternative outlook of life’s possibilities; embracing art

from a professional and economical benefit. In just a space of a

month, more and children fill up our arts centres across the country,

and receive valuable free arts education. This momentum has already

given our arts educators recognition, such Ms. Kealeboga

Mosekiemang making guest appearances on nationwide TV and

radio. Furthermore, CHIPABO children from the Maun arts centre,

spear-headed by Ms. Baitshipi, have been invited to perform at the

upcoming June 16 Commemoration Day, which will be attented by

Minister of Youth, Sport & Culture, Hon. Thapelo Olopeng. Once

again, we at CHIPABO thank our sponsors, CIPA, for this amzing

opportunity. Halala Chipabo halala...halala!

Ms Neo L. Kebiditswe neo.kebiditswe@gmail.com

THE TASHA SMITH ACTOR’S WORKSHOP ! Page 3 ISSUE 2

TASHA SMITH IS AN AFRICAN AMERICAN ACTRESS WHO STARRED IN “WHY DID I GET MARRIED” AND NOW STARS IN THE SERIES “EMPIRE”. SHE WAS IN

GABORONE, MAY 9-12, AT MOLAPO PIAZZA.

12 Steps to becoming a great actor

1. Overall objective: The character’s main focus is an objective. What does the character really want?

2. Scene objective: What does the character really want in a particular scene? This should support the character’s overall objective.

3. Obstacle: What are the mental, emotional, or physical hurdles that stand in the character’s objective?

4. Substitution: Mentally substituting the supporting actor in the scene with a person from real life.

5. Inner objects: The pictures that come to mind when speaking about a person, place or thing.

6. Beat and actions: A beat is a thought, and actions are mini-objectives that occur with each beat. Actions support the scene objective.

7. Moment before: Imagine a situation of what could have happened before the start of a scene.

8. Place and fourth wall: Put your own personal experiences into the character. Complete isolation.

9. Doings: Special handling of props. 10. Inner monologue: The character’s internal dialogue. 11. Previous circumstances: The character’s background. 12. Let it go: Trust that you have done all you can .

DRAMA AND PLAYING !

Drama, and the act of performing drama, forces

us to re-engage the spirit of discovery. As children,

we played and discovered. In the artificial

creation of human relationships, and the mimicry of

human relationships that stem from drama, we are

forced to relearn how we engage in relationships.

The writer of drama must examine how to bring

characters together within the plot, while the actor

of drama must learn how to imitate these

relationships on stage. It is perhaps why we call it

"playing" a role, or even why a dramatic

production is called a "play"!

The primary elements of drama are plot,

character, and theme. The theme is the central idea

of the work, or the message the writer wishes to

impart on the audience. The theme governs the

progression of the plot. The plot in turn governs the

characters, who move through the plot's conflicts,

thereby helping to further develop the theme.

Other elements such as irony and symbolism can

be added to lend more subtle touches to the

drama, making it more human and accessible.

( actinglifetips.com)

Page 4 ISSUE 2 REMEMBERING JUNE 16-KEY FACTS

1. The June 16 annual event honours the memories of students who were massacred in Soweto, South Africa, in

1976 for protesting against education injustice and inequality in the apartheid regime.

2. It was designated as Day of the African Child in 1991 by the African Union and every year events are

organised to promote children's rights.

3. This year's theme is “ Conflict and Crisis in Africa: Protecting all Children's Rights .

4. Thirty million of the world's 57million children out of school are in sub-Saharan Africa.

5. The biggest event in 2015 was a youth takeover of the Africa Union in Addis Ababa, Ethiopia, by 500

young people from countries all over the continent.

6. On June 16, there were 560 days left until the Millennium Development Goals deadline of the last day of

2015 - MDG2 ,to ensure that all children in the world are in school and learning.

7. The Day of the African Child theme in 2014 was "eliminating harmful social and cultural practices affecting

children: our collective responsibility".

8. One in six children born in sub-Saharan African do not live to their fifth birthday - even though child

mortality fell by 45% between 1990 and 2012.

9. More than 100 events in more than 40 countries are being heldaround the world to mark Day of the African

Child and Youth Action Month.

10. A campaign to end child marriage across Africa was launched in May by the African Union. One in three

girls in low and middle-income countries are married by the age of 18.

11. One of the aims of the Day of the African Child

is to highlight harmful practices such as genital

mutilation. Thirty million girls in Africa are in danger

of undergoing FGM in the next decade.

12. The poorest children in sub-Saharan Africa are

four and a half times more likely to be out of school

than the richest children.

13. By the year 2050 almost one in three of the

world's children under 18 will be African.

14. The children of African women with at least five

years of schooling have a 40 percent higher chance

of survival.

15. UNICEF and partners have secured the release

of more than 1000 children from armed groups in

the Central African Republic this year, more than five

times the total number of children released in 2013.

16. There are wide variations in school enrolment

between African countries - ranging from 37% for

boys and 34% for girls in Eritrea to 98% for both

b o y s a n d g i r l s i n T a n z a n i a .

( wwwaworldatschool.org)

Page 5 HOW BOTSWANA REMEMBERED JUNE 16 IN THE PAST !

ISSUE 2

2014:

The Department of Social and Community Development hosted the Day of an African Child popularly known as June 16

under the theme Educating a Child: A foundation for life.

The event was graced by students from different schools, and the community of Francistown. This day is the

commemoration of the massacre of the South African children who were killed on June 16, 1976 and it has been

celebrated on this day every year since 1991.

Speaking at the ceremony, the Town Clerk, Mr Lebuile Israel said as the City Council they participate in these activities to

strive towards continuing with their initiatives to strengthen the public education on children’s rights and responsibilities

though there are faced by many challenges which are sometimes beyond their control. He said these challenges arise

from cultural and traditional believes, lack of proper upbringing of children and lack of support from some of the parents.

He further said that all these contribute on failure of children to adhere to their responsibilities.

Mr Israel urged the students to put more emphasis on the respect of the rights and duties of the parents which is

paramount. He said as the City Council there are also experiencing a lot of challenges in regard to child welfare and

child protection, therefore they have to stand firm to work on their commitment to provide services that are geared

towards improving the lives of children.

The Town Clerk also extended his pledge to the

community based Organizations that provide

services for the children to play a guiding role to the

children. He said he is of the opinion that such

Organizations can encourage and facilitate full

involvement of its members in all community

activities; they can also monitor children so that

there become active members of the community. Mr

Israel said he will pledge his full support to such

organizations and the City Council will continuously

plan and budge for services that teach children

about their rights and wellbeing in all possible

ways. He further revealed that he believes that all

sectors have a role to play or they are co-

responsible for the protection and education of

children. In his closing remarks he said the City

Council will continue to include child welfare issues

at the forefront of the budget and he also

applauded the organizing committee, stakeholders

involved, above all the Department of Social and

Community Development for their commitment in

assuring that child protection issues are always first

in their priorities. (www.gov.bw)

AEDE CORNER—AFRICAN DJEMBE DRUM

The Base Sound of the djembe is produced by playing the

drum in its center with a flat hand. This base stroke comes

from the shoulder so that the weight of your arm aides in the

production of a deep resonant tone. Don’t let your hand stick

to the drum, but rather let it bounce of the head as soon as

you make the stroke. This will ensure that you let the head

vibrate to its fullest.

The Open Tone which is the melodic tone of the djembe is

created by playing near the edge of the djembe with your

fingers. The open tone is produced with a relaxed stroke

and is higher in pitch to the base tone. Practice with both

your right and left hand so that you can always produce an

even and consistent sound.

The Djembe Slap is played with the fingers as well but your

hand hits the rim of the drum at the knuckles and the fingers

are allowed to “slap” the head. This slapping will produce a

very high pitch on a well tuned djembe. Keep your fingers

apart and loose. DON’T force the sound! Always play in a

relaxed manner to produce the best sound.

In order to play the djembe you have to appreciate that

the drum’s sound comes from the bottom and not the top.

So, it is important that the drum is tilted on its edge when

you are playing in a seated position so that there is an

opening at the bottom. Tilt the drum away from you so that

your hands are in an ergonomic “V” position for playing

comfortably.

The djembe can also rest on a stand which can be adjusted

for either a seated or standing position. You can also wear

the drum on a harness and move around, and with the drum

suspended in this manner or on a stand the bottom is

always open to allow the sound to emanate from the drum.

Here are some stands to consider and based upon your

needs and budget these stands are all pretty good.

Page 6

Page 7 CHIPABO ARTS CENTRES IN PICTURES! Volume 1, Issue 1

CHIPABO’S DIET: BECOMING A PERFOMER ! ISSUE 2 Page 12

A performance is when a performer or group of performers present one or more works of art to an audience.

Performances can take place in special spaces such as a theatre, community hall or or in a kgotla, on the streets,

or in somebody's home. In order for a performer to be great, they need to be talented, skilled, dedicated and

have discipline.

BOTSWANA’S DANCE PERFORMANCES !

The Hambukushu tribe have a trance dance which they call njangura. The dance is performed at night in full

view of onlookers, of course, from early evening and may last somewhere between 3 and 8 hours.

The ill persons to be healed are placed somewhere next to a bonfire, just like in the san trance dance. As

the dance proceeds at gradual pace, the ill person starts to respond on the mat from a half-conscious state

to a more invigorated rhythmic movement.

Every time the music and dancing stops, the sick person would lie down only to recover when the routine

resumes; and that will go on for a while. By early morning the sick will be fully or partially healed.

On the other hand there is the hunting and gathering dance (sometimes referred to as the rain dance) which

the Basarwa use to celebrate for good hunts, while other tribes use it for rain making or 'go fetlha pula'.

Polka Dance

Boerewalf or Polka Dance is popular in the south western parts of Botswana. The dance is usually performed by couples moving in

circles in formal attire.

The Dance was introduced by white farmers and the Dutch when they

arrived in southern Africa.

DONATE TO US !

CHIPABO is an NGO that relies on your donations in order to function. Without your donations,

our artistic Botswana children will not be able to nurture their talents, CHIPABO style. Your donations will ensure that

our artistic children receive the best artistic coaching, education, exploration and sensitization. Be a part of this

incredible initiative and become a CHIPABO

DONOR TODAY!

BANKING DETAILS

NAME OF ACCOUNT HOLDER: CHIPABO

ACCOUNT NAME: CHEQUE ACCOUNT

ACCOUNT NUMBER: 62421689053

BANK: FNB

BRANCH: MAIN MALL BRANCH

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