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Solution Manual For Illustrated Microsoft Office 365 and Powerpoint 2016 Introductory 1St Edition Beskeen 1305878175 9781305878174 Full Chapter PDF
Solution Manual For Illustrated Microsoft Office 365 and Powerpoint 2016 Introductory 1St Edition Beskeen 1305878175 9781305878174 Full Chapter PDF
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https://testbankpack.com/p/test-bank-for-illustrated-microsoft-office-365-and-
powerpoint-2016-introductory-1st-edition-beskeen-1305878175-9781305878174/
Module 2
Modifying a Presentation
Table of Contents
Module 2: Modifying a Presentation .................................................................................................................1
Concepts Review ............................................................................................................................................1
Skills Review ...................................................................................................................................................2
Independent Challenge 1 ...............................................................................................................................3
Independent Challenge 2 ...............................................................................................................................3
Independent Challenge 3 ...............................................................................................................................4
Independent Challenge 4: Explore .................................................................................................................4
Visual Workshop.............................................................................................................................................5
Microsoft Office 2016 Illustrated Introductory
PowerPoint 2016 Module 2 Modifying a Presentation PowerPoint - 2
Concepts Review
Skills Review
Data Filename: PPT 2-2.pptx
Solution Filename: PPT 2-Inverter.pptx
Steps 1b – 1d: Students begin with a data file which they are asked to modify by first creating a
new slide, entering the text and then moving a slide to a new position.
Steps 2a – 2e: Students do some basic formatting with the Mini Toolbar
Steps 3a – 3f: Text on Slide 4 is converted to a SmartArt graphic. Make sure students end up
using the Accent Process layout graphic with the Intense Effect style applied to the graphic.
Steps 4a – 4f: Insert, modify, and position a plus shape on Slide 3. The slide should look similar
to the following figure (Figure 2-19 in the book):
Steps 5a – 5g: Resize the text object on Slide 3, then insert a 1-inch hexagon shape to merge
with the plus shape. Use the Send to Back command to achieve the correct look of the shape.
Steps 6a – 6f: Make a copy of the elbow shape on Side 3, then rotate the copied shape using the
Flip Horizontal command. Type text in three shapes, then resize an arrow shape.
Steps 7a – 7g: Add guides to the slide, move the vertical guide left until 3.42 appears, select the
five small triangles on the slide. Align and distribute the small triangles, rotate and group the
triangles. Duplicate the grouped triangles twice then position as shown in the following figure
(Figure 2-20 in the book):
Microsoft Office 2016 Illustrated Introductory
PowerPoint 2016 Module 2 Modifying a Presentation PowerPoint - 3
Steps 8a – 8j: Apply footer text, except to Slide 1, to every slide in the presentation. Apply a
fixed date, page number and class name to the Notes and Handouts pages.
Independent Challenges
Because students will solve the independent challenges in different ways, it is important to
stress there is not just one correct solution. The following are examples of possible solutions for
the Independent Challenges in Module 2 of this book.
Independent Challenge 1
Data Filename: PPT 2-3.pptx
Solution Filename: PPT 2-Arts.pptx
Students start out with a data file and modify it by adding specific text to the Commitment to
Excellence slide. Make sure students have applied the Ion theme and have applied the Trapezoid
List SmartArt graphic to the text on Slide 5 along with the Polished SmartArt Style. The figure
below shows Slide 5 from the solution presentation provided.
Independent Challenge 2
Data Filename: PPT 2-4.pptx
Solution Filename: PPT 2-Broker.pptx
Students start out with a data file and modify it by aligning shapes on slide 3, as detailed in Steps
c and d. Verify that students have applied the Facet theme to the presentation. Students should
format the shapes on Slide 3 using the instructions in Steps e, f, and g, including merging 2
shapes together. Make sure that students have inserted footer information and have spell-
checked the document. The figure below shows Slide 4 from the solution presentation provided
(Figure 2-21 in the book).
Microsoft Office 2016 Illustrated Introductory
PowerPoint 2016 Module 2 Modifying a Presentation PowerPoint - 4
Independent Challenge 3
Data Filename: Create new
Solution Filename: PPT 2-Southern.pptx
In this Independent Challenge, students are asked to start a new project. They are given a
specific theme (Wood Type) and a specific title and subtitle, detailed in Step b. Next, students
are asked to add five more slides and are given titles only. They must supply their own text
based on the subject matter presented in the introduction. Verify that on at least one slide,
students have converted text to a SmartArt graphic and have applied the Inset Effect SmartArt
Style. Also, verify that students have created and merged 2 two shapes together. The figure
below shows a slide from the solution presentation provided.
In this Independent Challenge, students are given a data file and asked to modify it by adding a
new slide with the information outlined in Step b. Make sure students have applied the
Retrospect theme and have carried out the text formatting outlined in Steps d, e, and f. Finally,
Microsoft Office 2016 Illustrated Introductory
PowerPoint 2016 Module 2 Modifying a Presentation PowerPoint - 5
on Slide 4, students are asked to change the text to a SmartArt graphic and apply a SmartArt
Style of their choice. The figure below shows a slide from the solution presentation provided.
Visual Workshop
Data Filename: Create new
The student presentation should look like figures below (Figures 2-22 and 2-23 in the book).
The SmartArt graphic layout is the Diverging Radial layout (Cycle group) with the (3D) Inset
SmartArt Style applied to it. The notes and handouts should include the student's name in the
footer.
Microsoft Office 2016 Illustrated Introductory
PowerPoint 2016 Module 2 Modifying a Presentation PowerPoint - 6
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being decidedly in a minority. This alone would be sufficient to
stamp the festival as one belonging peculiarly to the women.
The structure where this ceremony was to take place was typically
African, not over large, but quite sufficiently so for the object in view.
The natives thoroughly understand the art of putting up buildings
admirably suited to the purpose they are to serve, and also quite
pleasing in style and shape, out of the cheapest materials and with
the simplest appliances, in a very short time. This hut was circular,
with an encircling wall of poles and millet-straw, between six and
seven feet high. It was about thirty feet in diameter, with two
doorways facing each other, and a central post supporting the roof.
The women were just entering in solemn procession, while the
tuning up of several drums was heard from the inside. The jumbe’s
hint as to the shyness of the women was abundantly justified; those
who caught sight of us at once ran away. The participants only grew
calm when we had succeeded in getting up unseen close to the outer
wall of the building and there finding shelter in a group of men
disposed to be sensible. It was, however, even now impossible to
sketch any of the women. I am in the habit, wherever I can, of jotting
down in a few rapid strokes every picturesque “bit” I come across,
and here I found them in unusual number. Since I left the coast,
labrets, nose-pins, and ear-studs have become quite hackneyed, but
hitherto I had come across no specimens of such size or racial types
so markedly savage and intact. When one of these women laughs, the
effect is simply indescribable. So long as her face keeps its normal
serious expression, the snow-white disc remains in a horizontal
position, that is to say, if the wearer is still young and good-looking.
If, however, she breaks into the short, giggling laugh peculiar to the
young negress, the pelele flies up with an abrupt jerk and stands
straight up over the ivory-white and still perfect teeth, while the
young woman’s pretty brown eyes flash with merriment, and the
weight of the heavy wooden plug sets up a quick vibration in the
upper lip, which is dragged out by almost a hand-breadth from its
normal position. Then the baby on the woman’s back (nearly all of
them are carrying babies), begins to cry piteously under the
searching gaze of the strange white man; and, in short, the whole
spectacle is one which must be seen to be appreciated—no pen can
describe it.
Our place was well chosen, and enabled us to survey the whole
interior of the hut without let or hindrance. I noticed three youths
sitting on stools of honour in a reserved part of the hall, and inquired
of the jumbe, who stood beside me, obligingly ready to be of use, who
those three little shrimps were? It appeared that they were the
husbands of the girls whose chiputu was being celebrated that day.
LAUGHING BEAUTIES
Now comes a new stage. “Hawara marre” mutters the jumbe. This
even Nils Knudsen cannot translate, for it is Kimakua, which he does
not know, but the jumbe, like all intelligent men in this country, is a
polyglottist. He says the Yao for it is “Chisuwi mkamule” (“The
leopard breaks out”). At this moment something unexpected
happens. The three young fellows rise quick as lightning, and, with
loud crashing and rustling, they have burst through the fragile hut-
wall and are seen retiring towards the outskirts of the village. I have
not yet clearly made out whether these youthful husbands
themselves represent the leopard or whether they are to be thought
of as pursued by an imaginary leopard. In either case, the leisurely
pace at which they stroll away is scarcely convincing and still less
imposing; less so, certainly, than the song of Hawara marre,
rendered by the women with equal spirit and energy, which rings out
into the sun-baked pori long after the three leopards have vanished
in the distance.
Now comes another picture; the hall is empty, but the open space
beside it, which has been carefully swept, swarms with brightly-
coloured fantastic figures. It is only now that we can see how they
have adorned themselves for the occasion. The massive brass
bangles, nearly an inch thick, which they wear on their wrists and
ankles, shine like burnished gold, and the calico of their skirts and
upper garments is of the brightest colours. These cloths, in fact, have
just been bought from the Indian traders at Lindi or Mrweka, at
great expense, by the gallant husbands, who have recently made an
expedition to the coast for the purpose. The white pelele seems to
shine whiter than usual, and the woolly heads and brown faces are
quite lustrous with freshly-applied castor oil, the universal cosmetic
of these regions. Once more the anamungwi take up a majestic pose,
and once more all the women crowd round them. This time the
presents consist of cobs of maize, heads of millet, and other useful
household supplies, which are showered wholesale on the recipients.
Once more the scene changes. The drummers have been tuning up
their instruments more carefully than usual, and at this moment the
fire blazes up for the last time and then expires. The first drum
begins—boom, boom, boóm, boom, boom, boóm, boom, boom,
boóm: two short notes followed by a long one. How the man’s hands
fly! There are more ways of drumming than one, certainly,—but the
art as practised here seems to require a special gift. It is by no means
a matter of indifference whether the drumhead is struck with the
whole hand, or with the finger-tips only, or whether the sound is
produced by the knuckles or finger-joints of the closed fist. It is
pretty generally assumed that we Europeans have an entirely
different mental organization from that of the black race, but even
we are not unaffected by the rhythm of this particular kind of
drumming. On the contrary, the European involuntarily begins to
move his legs and bend his knees in time to the music, and would
almost feel impelled to join the ranks of the dancers, were it not for
the necessity of maintaining the decorum of the ruling race, and of
keeping eye and ear on the alert for everything that is going forward.
The dance which the women are now performing is called ikoma.
[41]
Our eyes are insufficiently trained to perceive the slight
differences between these various choric dances, and so we grew
tired with mere looking on long before the natives, who are exerting
themselves to the utmost, begin to weary. In this case the sun
contributes to the result, and Moritz is already feeling ill, as he says,
from the smell of the crowd; though he certainly has no right to look
down on his compatriots in this respect. It is true that he has
improved since the day at Lindi, when I drove him before my kiboko
into the Indian Ocean, because he diffused around him such a
frightful effluvium of “high” shark, that it seemed as if he himself had
been buried for months. I am just about to pack up my apparatus,
when the uniform, somewhat tedious rhythm in which the crowd of
black bodies is moving suddenly changes. Hitherto, everything has
been characterized by the utmost decency, even according to our
standards, but now what do I see? With swift gesture the bright-
coloured draperies fly up, leaving legs and hips entirely free, the feet
move faster, and with a more vivacious and rapid motion the dancers
now circle round one another in pairs. I am fixed to the spot by a
sight I have often heard of, but which has never come in my way
before:—the large keloids which, in the most varied patterns cover
these parts of the body. The scars are raised to this size by cutting
again and again during the process of healing. This, too, belongs to
the ideal of beauty in this country.
Unfortunately, I was not able to await the end of the ikoma. The
performers, in spite of the small silver coin which I had distributed to
each of them, were evidently constrained in the presence of a
European,—a being known to most of them only by hearsay—and the
spontaneous merriment which had prevailed inside the hut was not
to be recovered. Besides, I was forced, out of consideration for
Moritz, who was now quite grey in the face, to return as quickly as
possible.
Akundonde’s junior headman is excellent as a practical guide, but
has little theoretic knowledge,—he is probably too young to know
much of the traditional lore of his own tribe and the Makua. Old
Akundonde himself keeps silence,—perhaps because he needs a
stronger inducement than any yet received. This, however, I am
unable to offer, especially as we ourselves have to subsist on our
tinned goods, the usual lean fowls and a few old guinea-fowl shot by
Knudsen. There is no trace of the liberal gifts of pombe which had
delighted our thirsty souls at Masasi and Chingulungulu.
It was, therefore, with light hearts that we left Akundonde’s on the
fourth day for Newala. The stages of our three days’ march were
Chingulungulu, where we had left a considerable part of our baggage,
and Mchauru, a very scattered village in a district and on a river of
the same name, in the foothills of the Makonde plateau. Mchauru is
interesting enough in several respects. First, topographically: the
river, which has excavated for itself a channel sixty, in some places
even ninety feet deep, in the loose alluvial soil, runs south-westward
towards the Rovuma. On reaching the bottom of this gorge, after a
difficult climb, we found no running water, but had to dig at least a
fathom into the clean sand before coming on the subterranean
supply. The deep, narrow water-holes, frequently met with show that
the natives are well aware of this circumstance. The vegetation in this
whole district, however, is very rich, and it is not easy to see at
present whence it comes, since we are on the landward side of the
hills whose seaward slope precipitates the rains. It is possible that
the soil here holds more moisture than in other parts of the plain.
Mchauru has not only charming scenery but abounds in
ethnographic interest. It possesses, in the first place, a fundi who
makes the finest ebony nose-pins in the country, and inlays them
with zinc in the most tasteful manner, and secondly, a celebrated
magician by the name of Medula. In fact, it was on account of these
two men that I halted here at all. The nose-pin-maker was not to be
found—we were told that he was away on a journey—but Medula was
at home.
From our camp, pitched under a huge tree beside the road, we—
that is Knudsen and I, with my more immediate followers carrying
the apparatus—walked through banana groves (which I now saw for
the first time), and extensive fields of maize, beans, and peas, ready
for gathering, in a south-westerly direction for nearly an hour. At
intervals the path runs along the bed of a stream, where the deep
sand makes walking difficult. At last, on ascending a small hill, we
found ourselves before an open shed in which an old native was
seated, not squatting in the usual way, but with his legs stretched out
before him, like a European. After salutations, my errand was
explained to him,—I wanted him to tell me all about his medicines
and sell me some of them, also to weave something for us. According
to native report, there are only two men left in the whole country
who still possess this art, already obsolete through the cheapness of
imported calico. Medula is one of these weavers,—the other, a
tottering old man, I saw, several weeks ago, at Mkululu. I was greatly
disappointed in him; he had not the faintest notion of weaving, and
there was nothing in the shape of a loom to be seen in his hut; the
only thing he could do was to spin a moderately good cotton thread
on the distaff.
MAKONDE MASKS
While the four masks are still moving about the arena—sometimes
all together facing each other, sometimes separating and dancing
round in a circle with all sorts of gambols—a new figure appears on
the stage. A tapping sound is heard as it jerks its way forward—
uncanny, gigantic; a huge length of cloth flutters in the morning
breeze; long, spectral arms, draped with cloth so as to look like
wings, beat the air like the sails of a windmill; a rigid face grins at us
like a death’s head; and the whole is supported on poles, a yard or
more in length, like fleshless legs. The little girls are now really
frightened, and even my bodyguard seem to feel somewhat creepy.
The European investigator cannot allow himself to give way to such
sensations: he has to gaze, to observe, and to snapshot.
The use of stilts is not very common in any part of the world.
Except in Europe they are, so far as I know, only used in the culture-
area of Eastern Asia, and (curiously enough) in the Marquesas
Islands (Eastern Pacific), and in some parts of the West Coast of
Africa. Under these circumstances, I cannot at present suggest any
explanation of their presence on the isolated Makonde plateau. Have
they been introduced? and, if so, from whence? Or are they a survival
of very ancient usages once prevalent from Cape Lopez, in the west to
this spot in the east, preserved at the two extremities of the area,
while the intervening tribes advanced beyond the old dancing-
appliances? My mind involuntarily occupies itself with such
questions, though, properly speaking, this is not the time for them,
as there are still many things to see.
That the stilt-dancer’s intention is to terrify, is evident from his
movements, quite apart from his disguise. In a few gigantic strides he
has reached the other side of the fairly spacious arena, and drives the
natives squatting there back in headlong flight; for it looks as if the
monster were about to catch them, or tread them under foot. But it
has already turned away, and is stalking up to the five novices at the
other end: they, and others near them, turn away shrieking. Now he
comes within range of my camera—a click of the shutter, and I have
him safe. I could almost have imagined that I saw the man’s face of
consternation behind his mask—he stopped with such a start,
hesitated a moment, and then strode swiftly away.
This dancing on stilts can scarcely be a pleasure. The man is now
leaning, tired out, against the roof of one of the huts, and looks on
while the four masks come forward again to take part in the dance.
But the proceedings seem inclined to hang fire—the sun has by this
time climbed to the zenith, and the stifling heat weighs us all down.
A great many of the women taking part in the
ceremony have already dispersed, and those
still present are visibly longing for the piles of
ugali at home. I take down the apparatus and
give the word to start, and once more we are
forcing our way through the thorny thickets of
the Makonde bush towards Newala.
MAKONDE STILT-
DANCER. FROM A
DRAWING BY OMARI,
A MBONDEI