For the shirking of uncertainty, the idea of human expressions can be seen from two points of view. From one perspective, expressions of the human experience could be comprehended to mean the subjects one can learn at school or college which are not experimental, which don't utilize logical techniques. Subjects, for example, history, dialects, religion, writing, et cetera, would be fitting cases. Then again, it could be deciphered to include an extensive variety of imaginative exercises bordering on the capable and creative articulation of thoughts, emotions, activities or occasions. Music, writing, theater, and craftsmanship (in the feeling of painting, drawing, figure, and so on) are what make up human expressions in this sense. With the end goal of this examination, notwithstanding, our emphasis is on the second comprehension of expressions as proffered previously.
Expressions of the human experience can then be characterized into scholarly expressions (verse, composition, and dramatization), performing expressions (music, move, theater) and visual expressions (exemplifying the whole inventive exercises secured in the field of fine and connected expressions: drawing, painting, model, design, material, and so on).
WHY THE QUESTION OF RELEVANCE?
In created economies of the world where the fundamental necessities of life appear to have been met, the inquiry regarding whether human expressions are significant or not to pragmatic living is no more an issue. A huge number of American subjects would troop down to the amphitheater in Bard College to hear Chinua Achebe's perusing of his Things Fall Apart, not minding that they have heard the same perusing again and again, not minding that the book is more than fifty years of age; the same way the English gathering of people would group at The Royal Theater in London to watch the presentation of Wole Soyinka's The Trials of Brother Jero or any of the plays of Shakespeare, not minding that Shakespeare composed hundreds of years back. In the same vein, despite the fact that Leonardo Da Vinci and Michelangelo are long dead and gone, Italians would pay their last lira to watch a presentation of their painted creations.
In our own particular connection, monetary hardship and the quest for essential necessities of life have implied that just a couple have had room schedule-wise to admire human expressions for what they are worth. As it were, the issue is not whether human expressions are important or not, for it is not in uncertainty that human expressions are applicable to handy living as much as any calling, or considerably all the more so. The genuine issue lies in the way that individuals are excessively ravenous or excessively caught up with, making it impossible, making it impossible to see the genuine worth of expressions of the human experience. A man who lives on a month to month pay of insignificant ten thousand naira, with seven mouths to bolster, thus numerous other family issues to settle may not effectively pay five hundred naira just to watch a dramatization presentation; a Nigerian graduate who has strolled the lanes of Abuja, Lagos, or Port Harcourt looking for work for a long time without achievement would comprehend what to do with cash instead of spend it on a bit of scene depictions; similarly, a young fellow who has had nothing to eat for a considerable length of time, and has no trust of where the following supper is originating from, would not in any way, shape or form be sufficiently composed to peruse, not to talk of acknowledging, works of verse. In the event that expressions can't fulfill yearning or thirst, would they be able to still be said to be pertinent?