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Refugee Mother and Child

by Chinua Achebe

In another life this

would have been a little daily

act of no consequence before his

breakfast and school: now she

did it like putting flowers

on a tiny grave

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We decided that in order to gain a deeper understanding of the poem and its context we were going to spend time researching and analysing not only this section of the poem but the other verses too. This process allowed us to think about new aspects of visual imagery that we could add to our film poem because analysis allows for the text to be interpreted from multiple different angles and perspectives.

Please find our analysis attached:

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After reading this poem, the themes that stuck with us most was those of motherhood, loss and love. We have decided to use the theme of motherhood to lay the foundations of our brainstorm when it comes to thinking about imagery for the shots. The poem explores how this mother in particular is extremely resilient when it comes to caring and loving her child, even once it has passed on - further reinforcing this idea of the strength of maternal love.

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Chinua Achebe was born in southeastern Nigeria in 1930 meaning he was in Nigeria while British colonialism was dictating the lives of the Igbo in the form of the Royal Niger Company. Chinua observed many events during his colonial education which we can see recorded in some of his other work such as Things Fall Apart - his first novel.

Achebe writes about the world around him. This poem is Achebe’s way of bringing this suffering being faced by Nigerian people at this time to life through the strong imagery and blunt language used. For example a lack of metaphors, but rather realistic and short descriptions that come as a shock to the reader. Colonialism, poverty and war were the struggles that his people were facing and he used poetry as a way to manage this intense period of war and allow others to visualise the harsh reality for many at this time.

https://poemanalysis.com/chinua-achebe/refugee-mother-and-child/

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Motherhood: After reading and analysing the poem, I found that the key theme was motherhood. Not only the protagonists' motherhood but also the mothers around her and how they are both different and similar to her. Although mothers tend to make up a community at times, it can also be such a lonely experience. The poem highlights motherhood as a lonely yet empowering experience, I particularly like the line 'the ghost of a mothers' pride'. I think this line of the poem just shows how motherhood can transcend being the actual act of being a mother, it becomes part of your being - even once your child has passed on.

Child Loss: The poem is about holding on and letting go after loosing a child. The final verse explains how the mother combs her sons hair as if he were as alive as any other child, yet he isn't. We wanted to highlight this in our film poem by showing that the mother in our story still finds ways to connect with her child, despite the child no longer being with us - such as holding their teddy bear, sharing an apple with them or even making sure their grave is clean and always has fresh flowers - the life that once existed now lives on in a way.

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This poem was written in the times of the Biafran war or Nigerian Civil War (1960s) he highlights the struggle of a mother having to watch her child die because she cannot feed him.

Within these 3 years millions of people were displaced from their homes and thousands of people died in extremely horrendous circumstances. The largely forgotten wartime evacuation of Biafran children has been compared to the evacuation of Jewish children from Germany to other parts of Europe to escape Nazi persecution.

Although we acknowledge the roots of this poem and it's context, we have chosen to represent only a certain aspect of it, which is that of child loss and navigating life afterwards. We want to particularly hone in on the line 'in another life, this would have been a daily act of no consequence' through the mother going on a woodland walk, an activity she would've once done with her child.

https://www.cambridge.org/core/journals/african-studies-review/article/refugees-evacuees-and-repatriates-biafran-children-unhcr-and-the-politics-of-international-humanitarianism-in-the-nigerian-civil-war/24B75B7BBF6D3970C19DACEF5E9E7E8E

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Explore a hand-picked collection of Pins about Film Poem on Pinterest.

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Early stages of Idea Brainstorm:

We want to film in a Woodland area due to the connotations of motherhood and nature.

Exploring a central theme of navigating life after child loss. Our mother character is finding her way through the woodland.

Motifs: Trees, yonic symbols in nature, maternity in wildlife, reminiscing on the past.

Heavily inspired by the exemplar film, Moca.

Cast: Woman in her early 50s.

A slow paced story of navigating life after child loss.

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We decided to use this to kit to film as we have had experience with this camera so not only do we feel confident, but it is high quality and makes the shots look beautiful. Alongside the shoulder mount and easy rig we can create a variety of shots that show the range of our ability but also carry the story technically too. The camera comes with the different lenses meaning we have lots of choice when it comes to changing up our shots and all round creating an aesthetic film poem with a continuing narrative.

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We used premiere pro to edit this piece. We decided that slow paced and simplistic editing allowed for each shot and it's meaning to be easier understood and interpreted. We decided to include extracts of the poem in form of subtitles. For the music we decided to have a melancholic score with strings to reflect our scenes with the violin. For the colour grade we wanted more saturated colours to enhance the colours of Carolle's dress as well as the nature around her, with the green colours being very vibrant.

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Yonic symbols in trees.

- Relating to or shaped like a yoni, a representation of the external female genitals as a symbol of female generative power. (dictionary.com)

Seedlings which symbolise new life.

Open water - parallels to labour and water breaking.

Ducks, particularly the brown female ones and their offspring - once again representative of new life.

Our mother walks through the woods between trees, she sees signs, watches trains pass - she’s trying to navigate her new life after child loss. This walk through the woodland is our film's interpretation of  ‘a daily act of no consequence’, it’s something she would have previously done with her child.

She sits at a bench and eats an apple, she takes out another one and places it on the bench next to her - another daily act of no consequence, which she now does like putting flowers on a grave.

- Not only is the mother still thinking of her child by sharing food but apples have many connotations when it comes to women, motherhood and fertility.

‘Apples can have connotations to women’s breasts, and when split in half a woman's vulva.’

‘In Greek mythology, the apple appears repeatedly; Hera received an apple as a symbol of fertility upon her engagement to Zeus.’ (University of Michigan)

She places a flower on the floor under the tunnel, she has come to clear up her child’s memorial, filled with tealights and teddy bears.

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When we filmed, we had no need for the lighting equipment we had booked out; as it was so bright outside with clear skies. We wanted the lighting to be very natural and authentic with the sun glaring through the trees giving us hits of bright light - this was exactly what we wanted for this film. The shadows, light bouncing off the water furthermore, tied together the aesthetic of the piece. The lighting is symbolic of the hope she continues to have even though her child is gone, that she can move forward but look back positively.

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We tried to experiment with the different lenses so we could understand which lens works best with which shot. We mostly used a 35mm and 50mm lens as these are neutral lenses that can be used in most shots.

The 35mm lens is semi wide, so you can capture a lot of the background elements whilst still being quite intimate - which we liked to be able to focus pull from the background of the woods to the focus of the scene (our actress), also as we were using a lot of handheld shots, this gave us lots of room to get a lot of the scenery in the shot whilst following our main actress easily.

We liked using the 50mm lens as it is very familiar, it is compared to being very human like as the lens isn't wider or tighter than the human eye. It is good at capturing most detail on your subject without being too close. Being able to swap from the 35mm to 50mm lens for each shot meant we could get good coverage of a scene with being both wider and closer up in each shot - which complimented each other well and worked for us.

The 24mm lens we liked for centralised shots - keeping the frame with lots of room in the shot for your eyes to wonder but tight enough that your main focus is on the subject still. We didn't use much of this lens as it's not as realistic as the 35mm or 50mm lens.

The 85mm lens is extremely close, we filmed a couple off really close up shots including the apple being cut - so we could really get the definition of this subject. The 85mm lens is primarily used for extremely close ups so you can really see your subject focus well again this was barely used as it just isn't as applicable as other lenses.

Our opening shot uses the 14mm lens, this is quite a unique lens to use in film as it is extremely wide. We had our actress framed in the centre of the shot far away to really encapsulate the environment she was in. We only used the 14mm for this one shot as we really ante to get an array of lenses but didn't feel like this needed to be used again.

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So we had the LISHUAI LED Bi-Colour Lights, booked out initially to use as they are battery powered, meaning we didn't have to use a socket - perfect for filming in the woods. However, on our filming days it was so naturally sunny that the lights would have made little to no impact on our shots anyways - so we decided not to use them as we got the lighting we wanted anyways.

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When we were discussing where we could film, a lot of ideas came up such as the beach, a farm and even just a studio we could production design to how we want it. Although we wanted to really ground our film through meaning and aesthetic, so we thought shots of woodland and water would mean more to our thematic intent of mainly motherhood than these other locations. Hilsea Lines which is a woodland area with a lake running through we knew we could capture some beautiful shots here. On our recce we took those photos, so we could see what the scene would look like through the camera.

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Though the cinematography we wanted to create a very natural feel to the film - just like how heartfelt the poem is. Filled with nature and our actress reminiscing on her past we could create a very stylised aesthetic; sun coming through the trees, our subject walking through the woodland and the tree designs. The film consists of a mix of handheld shots and still shots on the tripod, we thought using this different range of cinematographic styles shows narratively how changeable her life is and uneasy she can feel yet be so content and still. With also showing our range as filmmakers. We used the Fibonacci spiral when we framed up the composition of our shots - to draw the audiences attention to certain elements of the mise en scene for example; the flowers, teddy bear and the walking sequences. Furthermore, the realism of the handheld shots draws your attention to the subject issue, most films about social issues are handheld, they feel more raw and real which is what we wanted to portray. We also used a range of lenses to compliment our ideas for this project.

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Our visual interpretation of this poem follows a mother who is navigating life after child loss. She goes for a walk in the woods, something that in another life would be ‘a daily act of no consequence’ or even something she would’ve done with her child. However, after losing her child, the mother goes on this walk and shares her food ‘like putting flowers on a tiny grave’. This walk is the mother’s last act of service for her child. She reminiscences on her child’s life which we see through blank stares into the distance and holding her child’s toy. Her emotions are also conveyed through the scenes in which our mother plays the violin, an instrument that creates what can be emotive and upsetting music, yet it is also a way for one to express themselves. In the same way that the mother is enjoying this walk, it is bittersweet as she would have once been enjoying this journey with her child.

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Please note that the footage in the following shot rationale is prior to the colour grade.

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In our first shot we see our character playing the violin in a wide shot. The violin is a recurring motif throughout the film poem reflecting the mother's mind. The violin playing has parallels to the themes of the film as the walk she embarks on is bittersweet - she is surrounded by nature, yet she yearns to be with her child again in the same way that she happily expresses herself through playing this instrument even though it produces a melancholic sound.

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This establishing shot of the woodland area accompanied with the sun glimmering through the trees creates this feel of new life and new beginnings as we often associate mornings with new beginnings. In relation to our interpretation of the poem we wanted to create a film that highlights the cycle of motherhood itself which would start with new life and a new beginning. However, this bright light is also reminiscent of the bright light that people often associate with dying - 'the light at the end of the tunnel', which is relevant to this story as our protagonist has in fact lost her child.

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We wanted to incorporate yonic symbols throughout the film poem. The vagina is a huge part of motherhood and therefore aids to our story. Yonic symbols are a 'representation of the external female genitals as a symbol of female generative power.' (dictionary.com) We thought that by capturing yonic symbols in nature, we highlight how symbols of female power and motherhood can be found anywhere and are engrained in our society.

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This is another establishing shot that shows the bench in which our mother will sit on. By having a long shot here we were able to use the rule of thirds to really focus on the bench within the composition of the frame. This bench standing alone also highlights the mother's loneliness and how she views the world following the death of her child.

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This handheld shot introduces us to our character. The unsteady style of the handheld shot creates a sense of realism and authenticity while also aligning with our character's story as her life is also unsteady while she undergoes this grieving period.

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In this shot we wanted to highlight the similarities in colour between the flowers in the mother's bag and the flowers on the mothers' dress. Once again showing that this last act of service (which includes laying flowers at the memorial), makes up a huge part of this mothers' identity as it is a way for her child's memory to live on. Once agin we have used the rule of thirds here to position the tulips within the frame so that the human eye is drawn to them instantly.

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Here we see the mother's face staring blankly into the distance. Once again using handheld camera to create a sense of unease while also utilising aspects to mise-en-scene to enhance this such as having her hair look slightly dishevelled. The numb look on our character's face as highlighted here in the right side of the frame establishes her a sad woman.

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This centralised long shot of the mother sitting at the bench while a pram is pushed behind her shows us how life is moving past her while she is stuck with this grief. The fast paced action in the foreground contrasted with the mother's slow movements in the foreground really highlight this idea.

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This long shot of a duck jumping into the river is essentially the mother watching something 'let go', something she so desperately wants to be able to do, despite finding herself on this walk - clutching onto the past.

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This close-up shot allows for a level of vulnerability as we really see the mother's emotions here. Her blank stare tells us she is numb and grieving while she stares on at the nature in front of her.

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This centralised close-up once again familiarises the mother's character. We come to find she has just come here to sit and to feel. This longer duration shot allows for interpretation as to how she is feeling and why.

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Here is another example of a yonic symbol within the tree, this time with leaves around it. We used the rule of thirds to isolate the opening on the right side of the tree.

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This close-up shot uses handheld camera to highlight this vulnerable moment as the mother takes out her child's toy from her bag.

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We have used the rule of thirds here to position the teddy in the right side of the frame in a close-up shot. In a way the teddy establishes the child as a character, as it's the first visual indication as to what the mother is going through.

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This centralised long shot shows the mother holding her child's teddy with her expression still not changing to emphasise her numb feeling. She isn't crying, she is just numb, which in a way is also a sign of strength - which is also depicted in the poem. The mother is strong and doesn't let other people affect how she treats her own child.

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This focus pulled close-up shot of a sign is another reminder that the mother is navigating life after loss, with signs being an infamous symbol of navigation and finding your way. The composition here made sure that the 8 and the arrow were in the left third of the frame.

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This long shot depicts the mother wandering in the woods, once again this idea of navigating her life after loss.

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This focus pulled long shot also depicts the mother walking through the woods, navigating her life after grief.

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Here is another example of a yonic symbol within the tree. We used the rule of thirds to isolate the opening on the right side of the tree.

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This long shot of the train going by on the bridge is another reminder that life still goes on after loss and that life is still passing by the mother despite her grief. The composition of this shot is effective as the train takes up half the frame with a man walking in the other half of the frame, making for a more dynamic shot.

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We decided to have a centralised close up of the mother cutting an apple as apples have many connotations when it comes to women, motherhood and fertility.

‘Apples can have connotations to women’s breasts, and when split in half a woman's vulva.’

‘In Greek mythology, the apple appears repeatedly; Hera received an apple as a symbol of fertility upon her engagement to Zeus.’ (University of Michigan)

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We used the rule of thirds here to focus on the mother as well as the apple she lays down next to her. This medium shot encapsulates the mother's childlike innocence as she is sharing her picnic with someone who is no longer there. This scene really highlights the line in the poem that states 'In another life this would have been a little daily act of no consequence...'. The strength of her maternal instincts live on. By using this composition we allow for space in the right side of the frame for someone to hypothetically be sat next to the mother - making the absence even more striking and apparent.

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This close-up shot as she eats also makes us feel sorry for the mother. People eating alone often makes others sad and eating itself can often be vulnerable. We chose to use handheld camera for this shot to heighten this vulnerability as our character is unsure on where her life goes from here, she is numb and upset yet also feels comforted by the fact she can still perform acts of service for her child.

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In this centralised medium shot we have highlighted the binary opposition of life and death through the presence of a knife to symbolise death and the apple which, as previously mentioned, can be a symbol of life and fertility. The mothers' lost look on her face in the middle of the frame portrays this life event as something that was unexpected to her and now she must work our where her life goes from here.

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Similarly to the first violin shot, we have decided that as the film goes on and we become familiar with the mother and her mindset that using a different lens to become closer to her would be appropriate. The violin is a recurring motif throughout the film poem reflecting the mother's mind. The violin playing has parallels to the themes of the film as the walk she embarks on is bittersweet - she is surrounded by nature, yet she yearns to be with her child again in the same way that she happily expresses herself through playing this instrument even though it produces a melancholic sound.

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This long shot simply depicts the mother walking into the tunnel where her child's memorial lies. We really liked the way the light from above her shone down here because its almost as if as she approaches the memorial, there is a glimmer of light and happiness that the mother feels as this is all that is left of her child. Clearing and refreshing this memorial is one of the few ways she feels she can reconnect with her child.

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In this medium shot we decided to make sure the flowers were more or less within the centre of the composition. This is because they have died and she will change them to fresh ones - a direct parallel to her child and her child's memory.

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This over the shoulder shot shows the mother placing the teddy down at the memorial. We used the rule of thirds to position the teddy within the left side of the frame in order to draw attention to it. In contrast to how she was holding onto this teddy when she was sat at the bench, we can see growth as she has decided to 'let go' of it.

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Once again this close-up highlights the vulnerability of emotion here. The inclusion of a passer-by also shows how life is moving so quickly past her despite this world altering event that she is going through. In the poem, there is talk of how the other mother's simply do not care while this mother still cares for her child with pride. Here we also see our mother feeling all these emotions on her own - with people simply walking past her.

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We went even closer for this final violin shot, using handheld camera to create a dreamlike feel, she seems slightly happier here, playing with emotion while seeming content. The violin playing has parallels to the themes of the film as the walk she embarks on is bittersweet - she is surrounded by nature, yet she yearns to be with her child again in the same way that she happily expresses herself through playing this instrument even though it produces a melancholic sound.

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TECHNICALLY: Through a lot of these handheld shots, our immediate thoughts were on more realistic films, such as shots by Don Burgess in 'Forest Gump' (Zemeckis, 1994) and 'Cast Away' (Zemeckis, 2001) where it feels a lot more invasive and raw for the audience. The shots in 'Forrest Gump' of him sat alone on the bench resonated with us for the main actress as it says lots to the audience without saying anything. 'Birdman' (Iñárritu, 2014) also uses really nice tracking shots with a centralised low angle shot which inspired us to be more unique and capture our shots through these angles too. These low angle shots are good at showing the emotion on the subjects face without spoon feeding the audience too much. This one tracking shot in 'Pulp Fiction' (Tarantino, 1994) looks similar to what we were going for at the beginning of our film poem - this also follows the Fibonacci spiral and rule of thirds as your eyes glaze over the screen and eventually land on the subject focus.

STORY: His House (Weekes, 2020) storyline is similar to ours in the aspect that the parent lost their child and they are going through the grieving process throughout the film, even though they deal with this in very different ways - the thematic intent is still there which is portrayed strongly.

Mother! (Aronofsky, 2017) strongly conveys emotions that are similar to the loss our poem presents as the main actress really struggles with her child's death but comes across so beautifully.

We Need To Talk About Kevin (Ramsay, 2011) focuses on the mothers feelings and actions towards her son - even though our film poem doesn't hold any of the same ideas, the overall theme of motherhood and this feeling is similar. Furthermore, the main actress in this film 'Tilda Swinton' has this blank stare of just emptiness and she looks emotionally drained - which we liked for our film.

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Download before watching for improved quality.

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Shot #: 1

Ext

Shot: ELS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 14mm

FPS: 25

Subject: The Mother

Description: The mother playing violin in the distance

Shot #: 2

Ext

Shot: LS

Camera Angle: Low Angle

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Subject: Trees

Description: Sun gleaming through trees

Shot #: 3

Ext

Shot: CU

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 50mm

FPS: 25

Subject: Tree

Description: Yonic tree

Shot #: 4

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Subject: The Mother

Description: The mother walks towards the bench

Shot #: 5

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 35mm

FPS: 25

Subject: The Mother

Description: The mother walking towards the bench

Shot #: 6

Ext

Shot: MS

Camera Angle: High Angle

Camera Movement: Handheld

Camera: Sony FS7

Lens: 35mm

FPS: 25

Subject: The Mother

Description: The mother sits on bench with bag of tulips on her lap

Shot #: 7

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 35mm

FPS: 25

Subject: The mother

Description: She stares in front of her

Shot #: 8

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 24mm

FPS: 25

Description: The Mother and the man walking past with his children in the buggy

Shot #: 9

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 24mm

FPS: 25

Description: Duck jumping into the river

Shot #: 10

Ext

Shot: CU

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The mother looking out to the water

Shot #: 11

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 24mm

FPS: 25

Description:The mother looking out to the water

Shot #: 12

Ext

Shot: CU

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description:

Shot #: 13

Ext

Shot: CU

Camera Angle: High Angle

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The Mother takes out the teddy from her bag

Shot #: 14

Ext

Shot: CU

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The Mother clutching to the teddy in her lap

Shot #: 15

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 24mm

FPS: 25

Description: The Mother sat on bench

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Shot #: 16

Ext

Shot: CU

Camera Angle: Eye Level, Focus Pull

Camera Movement: Static

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: Sign

Shot #: 17

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother walks in the woods.

Shot #: 18

Ext

Shot: LS

Camera Angle: High Angle

Camera Movement: Focus Pull, Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother walks in the woods.

Shot #: 19

Ext

Shot: CU

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: Yonic symbol tree

Shot #: 20

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: Train going past on bridge

Shot #: 21

Ext

Shot: CU

Camera Angle: High Angle

Camera Movement: Static

Camera: Sony FS7

Lens: 85mm

FPS: 25

Description: Apple being cut in half

Shot #: 22

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Pan

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother sits at a table and eats the apple she has just split in half

Shot #: 23

Ext

Shot: CU

Camera Angle: High Angle

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The Mother takes a bite from the apple

Shot #: 24

Ext

Shot: Centralised MS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother sits at a table and eats the apple she has just split in half

Shot #: 25

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother plays the violin

Shot #: 26

Ext

Shot: LS

Camera Angle: Eye Level

Camera Movement: Static

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother walking through a tunnel

Shot #: 27

Ext

Shot: MS

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother crouches down at the memorial but we only see her legs

Shot #: 28

Ext

Shot: Over The Should, MS

Camera Angle: High Angle

Camera Movement: Handheld

Camera: Sony FS7

Lens: 35mm

FPS: 25

Description: The Mother changes the flowers to fresh ones and then puts down the teddy

Shot #: 29

Ext

Shot: CU

Camera Angle: Low Angle

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The Mother’s face as she looks at the memorial

Shot #: 30

Ext

Shot: MCU

Camera Angle: Eye Level

Camera Movement: Handheld

Camera: Sony FS7

Lens: 50mm

FPS: 25

Description: The Mother playing the violin