MINISTRY OF EDUCATION, ARTS AND CULTURE€¦ · 4. limited ability to apply knowledge and...

MINISTRY OF EDUCATION, ARTS AND CULTURE

NAMIBIA SENIOR SECONDARY CERTIFICATE (NSSC)

FOR IMPLEMENTATION IN 2019 FOR FIRST EXAMINATION IN 2020

INTEGRATED PERFORMING ARTS SYLLABUS

ORDINARY LEVEL

SYLLABUS CODE: 6150

GRADES 10 – 11

Republic of Namibia

Ministry of Education, Arts and Culture National Institute for Educational Development (NIED) Private Bag 2034 Okahandja Namibia © Copyright NIED, Ministry of Education, Arts and Culture, 2019 Integrated Performing Arts Syllabus Ordinary Level Grades 10 - 11 ISBN: 978-99916-66-27-3 Printed by NIED Publication date: 2019

TABLE OF CONTENTS

1. Introduction ....................................................................................................................... 1

2. Rationale ........................................................................................................................... 2

3. Aims .................................................................................................................................. 2

4. Additional information ........................................................................................................ 2

4.1 Guided learning hours ....................................................................................................... 2

4.2 Prior learning ..................................................................................................................... 3

4.3 Progression ....................................................................................................................... 3

4.4 Support materials and approved textbooks ....................................................................... 3

5. Learning content ............................................................................................................... 3

6. Assessment objectives .................................................................................................... 21

7. Scheme of assessment ................................................................................................... 21

7.1 Differentiation .................................................................................................................. 21

7.2 Options ............................................................................................................................ 21

7.3 Description of papers ...................................................................................................... 23

8. Specification grid ............................................................................................................. 26

9. Coursework and practical performances ......................................................................... 26

9.1 Coursework activities and assessment criteria ................................................................ 26

9.2 Practical examination paper ............................................................................................ 27

10. Grade descriptions .......................................................................................................... 27

11. Glossary of terms ............................................................................................................ 30

11.1 Music............................................................................................................................... 30

11.2 Dance.............................................................................................................................. 35

11.3 Drama ............................................................................................................................. 42

Annexe A Stage layout ............................................................................................................ 47

Annexe B NSSCO assessment rubric for coursework .............................................................. 48

Annexe C Learner’s summary mark sheet: prepared work (individual) .................................... 50

Annexe D Learner’s summary mark sheet: prepared work (group) .......................................... 51

Annexe E Learner’s summary mark sheet: unprepared work (individual)................................. 52

Annexe F Learner’s summary mark sheet: unprepared work (group) ...................................... 53

Annexe G (1) NSSCO assessment rubric for prepared individual performance ....................... 54

Annexe G (2) NSSCO assessment rubric for prepared group performance ............................. 55

Annexe H (1) NSSCO assessment rubric for unprepared individual performance ................... 56

Annexe H (2) NSSCO assessment rubric for unprepared group performance ......................... 57

NSSCO Integrated Performing Arts syllabus, NIED 2019

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1. INTRODUCTION The Namibia Senior Secondary Certificate (NSSC) Ordinary Level is designed as a two-year course for examination after the completion of the Junior Secondary Phase. The syllabus is designed to meet the requirements of the National Curriculum for Basic Education (NCBE) and has been approved by the National Examination, Assessment and Certification Board (NEACB). The National Curriculum Guidelines, applicable at the stage of Senior Secondary Education (Grades 10-12) and at equivalent stages of non-formal education, as a part of life-long learning, recognise the uniqueness of the learner and adhere to the philosophy of learner-centred education. The Namibia National Curriculum Guidelines:

recognise that learning involves developing values and attitudes as well as knowledge and skills

promote self-awareness and an understanding of the attitudes, values and beliefs of others in a multilingual and a multicultural society

encourage respect for human rights and freedom of speech

provide insight and understanding of crucial “global” issues in a rapidly changing world which affect quality of life: the AIDS pandemic, global warming, environmental degradation, maldistribution of wealth, expanding and increasing conflicts, the technological explosion and increased connectivity

recognise that as information in its various forms becomes more accessible, learners need to develop higher cognitive skills of analysis, interpretation and evaluation to use the information effectively

seek to challenge and to motivate learners to reach their full potential and to contribute positively to the environment, economy and society

Thus the Namibia National Curriculum Guidelines provide opportunities for developing essential, key skills across the various fields of study. Such skills cannot be developed in isolation and they may differ from context to context according to the field of study. The Integrated Performing Arts (IPA) syllabus encourages personal expression, imagination, sensitivity, conceptual thinking, powers of observation, an analytical ability and practical attitudes. It leads to greater understanding of the role of the performing arts in the history of civilizations, widen cultural horizons, and enrich the individual. In addition, it combines a breadth and depth of study so that it may accommodate a wide range of abilities and individual resources. IPA is especially concerned with the development of visual-, dramatic- and musical perception and aesthetics and is a form of communication and a means of expressing ideas and feelings. It also complements the study of literary, mathematical, scientific and factual subjects. In addition to subject-specific skills, IPA contributes directly to the development of the following transferable skills:

communication

critical and creative thinking

self-management, self-discipline and confidence

problem-solving

social and co-operative abilities

research and application

physical well-being

numeracy


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2. RATIONALE IPA makes a major contribution to the education of the individual. While the school curriculum often places much attention on developing learners’ ability to acquire verbal and numerical skills, the ability to express oneself aesthetically is equally important and this syllabus is concerned with promoting aesthetic development. The performing arts make an important contribution to developing the learner’s social and emotional intelligence. When preparing learners for the world outside school, it is important to develop the qualities of capability and adaptability. The performing arts encourage the ability to innovate and to show initiative. They involve learners in problem solving and in identifying and pursuing opportunities and qualities that are highly sought after in the contemporary work place. By enabling learners to develop ideas about the world and to act within it, the performing arts assists learners to develop additional skills and qualities that are widely applicable and of great value to the learner, the school, the community and general development of the arts nationally and internationally. 3. AIMS The aims of the syllabus are set out below and describe the educational purposes of a course in Integrated Performing Arts (IPA).

inspire confidence, enthusiasm and a sense of achievement in the practice of IPA as a preparation for further studies

promote a sense of the aesthetic potential of performance work, foster creative awareness of IPA and stimulate an imaginative, creative and personal response to it

draw on observation and personal experience to create original performance work

an ability to identify and solve problems independently through investigation, improvisation, interpretation and analysis skills

develop practical skills in dance, drama and music and integrate them into a performance work

develop a critical understanding of other IPA practitioners (i.e. persons who practise any

element of Performing Arts), environments and cultures gain knowledge of a working vocabulary relevant to the subject

design, compose and communicate in two and/or three dimensions (the viewer should be able to observe in two and/or three dimensions, i.e. height, depth and breadth), engaging and experimenting with a range of traditional media, materials and techniques, as well as digital media

know and understand possibilities for employment in performing arts

understand how performance and production skills can contribute to the development of performing arts in Namibia

4. ADDITIONAL INFORMATION 4.1 Guided learning hours The NSSCO level syllabuses are designed on the assumption that learners have 130 guided learning hours per subject over the duration of two years, but this is for guidance only. The number of hours required to gain the qualification may vary according to local conditions and the learners’ prior experience of the subject. The National Curriculum for Basic Education (NCBE) indicates that this subject will be taught for 8 periods of 40 minutes each per 7-day cycle, or 6 periods of 40 minutes each per 5-day cycle, over two years.


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4.2 Prior learning It is recommended that learners who are beginning this course should have previously studied Integrated Performing Arts in Grades 8 and 9. This subject in the Junior Secondary phase introduces the learner to the elements and terminology of Integrated Performing Arts which lays the foundation for the study of the subject in NSSCO. 4.3 Progression NSSCO levels are general qualifications that enable learners to progress either directly to employment (that may include actor, musician, dancer, assistants to sound engineers, lighting engineers, wardrobe planners, producers) or to proceed to further qualifications. 4.4 Support materials and approved textbooks NSSCO syllabuses, question papers, examiner reports and assessment manuals in subjects, where applicable, are sent to all schools. Approved learning support materials are available on the Senior Secondary Textbook Catalogue for Schools. Prescribed DVDs and music appear under the learning content of this syllabus. 5. LEARNING CONTENT With the specific objectives in mind during performing arts activities, teachers should be aware of learner progression in the following aspects of learning: THEME 1: CONTEXTS

Listening

1.1 Different music styles/genres

1.2 The use of sound to create different moods/effects

1.3 Difference between sound production and timbres

Theory

1.4 Musical notation

1.5 Elements of drama

1.6 Dance terminology

Repertoire

1.7 Traditional and contemporary African music, dance and drama

1.8 European orchestral music and history since 1800

1.9 Classical, traditional and contemporary Western dance styles

1.10 Musical Theatre since 1945 (this may include opera)

1.11 Contemporary Drama

Appraising

1.12 Level of success achieved in a performance and production

1.13 Relationships between the elements of performing arts and relationships of performing arts

with other disciplines outside the performing arts

1.14 Contribution of design skills to a successful performance

1.15 The impact of a performance on the audience


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THEME 2: CREATING

2.1 Developing of stage performances, both prepared and improvised

2.2 Producing of short films/video clips

2.3 Identification and selection of topics

2.4 Conducting planning and research

2.5 Script writing, composing, choreographing

2.6 Rehearsing and refining

2.7 Production roles

2.8 Management roles

THEME 3: PERFORMING

3.1 Performance skills in drama, music and dance, and integration of components to stage a

comprehensive performance

3.2 Underlying principles of a successful performance

3.3 Performances portraying various cultures and historical periods

3. 4 Communication through a performance

PRESCRIBED MATERIALS TO BE STUDIED DURING THE COURSE

This list of materials forms part of the learning content of this course.

The examination paper will test knowledge and understanding of Integrated Performing Arts,

based predominantly on the following set works.

For examination in 2020, 2021 and 2022 (teaching to start in 2019 in Grade 10)

Mime Marcel Marceau

Stand-up Comedy Trevor Noah, The day walker

Dance Shall we dance?

Drama Forrest Gump

Musical Theatre since 1945 Phantom of the Opera

Music

African music Miriam Makeba Malaika

Miriam Makeba Pata Pata

Miriam Makeba Click song

Hugh Masekela Grazing in the grass

Elemotho There comes a time

Jackson Kaujeua The winds of change

Sharon van Rooi Take me away

Soweto String Quartet Skokiaan


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European orchestral music

from 1800 - 1939

Ludwig van Beethoven Symphony no. 5 in C minor

Gustav Holst The Planets - Mars, Venus

Pyotr Ilyich Tchaikovsky 1812 Overture

Maurice Ravel Bolero

For examination in 2023, 2024, 2025 and until further notice (teaching to start in 2022 in

Grade 10)

Mime Marcel Marceau

Stand-up Comedy Trevor Noah, Crazy Normal

Dance Chicago

Drama August Rush

Musical Theatre since 1945 My Fair Lady

Music

Traditional and contemporary

African music

Miriam Makeba Malaika

Miriam Makeba Pata Pata

Miriam Makeba Click song

Hugh Masekela Grazing in the grass

Elemotho There comes a time

Jackson Kaujeua The winds of change

Sharon van Rooi Take me away

Soweto String Quartet Skokiaan

European orchestral music

from 1800 - 1939

Ludwig van Beethoven Symphony no. 9in D minor

Gustav Holst The Planets - Jupiter, Mercury

Pyotr Ilyich Tchaikovsky The Nutcracker suite

Modest Mussorgsky Pictures at an exhibition


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THEME 1: CONTEXT

Listening

TOPIC GENERAL OBJECTIVES Learners will:

SPECIFIC OBJECTIVES Learners should be able to:

1.1 Different music

styles/genres

appreciate the differences in different music styles/genres

critically listen to performances given by themselves and others

evaluate their listening according to set criteria - origin - style - genre - artist

isolate sound events from each other in a performance

describe specific sound events in a given performance using appropriate terminology (e.g. duration, pitch, quality, volume, entry of a new instrument or vocal timbre)

explain a range of different genres and styles in music

1.2 The use of sound to

create different

moods/effects

understand the use of sound to create different moods/effects

use sound as a raw material for performance

analyse the use of sound in the performing arts (to create mood/atmosphere, soundscapes, sound effects, programmatic elements, story-telling, etc.)

experiment and create their own sounds to achieve certain effects in play and film

1.3 Difference between

sound production and

timbres

understand the difference in sound production and timbres

discriminate aurally between sounds

recognise and identify instrumental and vocal timbres

classify instruments (according to the method of sound production) as chordophones, idiophones, membranophones, aero phones, electrophones

distinguish between traditional and modern instruments


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THEME 1: CONTEXT (Continued)

Theory



1.4 Theory of music

know and understand basic theory of music

read semibreve (whole note), minim (half note), crotchet (quarter note), quaver (eight note), semi-quaver (sixteenth note), demi-semi-quaver (thirty-second note) and rests in:

2 3 4 6 4 4 4 8

develop notation skills to record musical ideas

identify and define standard notation symbols, elements of music (pitch, rhythm, melody, dynamics, tempo articulation, expression, pulse-line notation and graphic notation) and Italian terms (adagio, allegro, andante, crescendo, decrescendo, forte, fortissimo, largo, mezzo forte, mezzo piano, moderato, ostinato, pianissimo, piano, presto, tranquillo)

notate simple melodies in the treble clef (recognise note-values and rests, time signature, key signature)

complete the missing features in a short musical passage


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THEME 1: CONTEXT (Continued)

Theory



1.5 Elements of drama

appreciate the different elements of drama

explain the basic concepts of dialogue, action, structure, style, role, sound and language

analyse descriptions, dialogue and actions to discover, articulate and justify character motivation and invent character behaviours based on the observation of interactions, ethical choices, and emotional responses of people

identify and clearly distinguish between a range of stage movements

analyse and describe the components of their own performances, as well as the performances of others (DVDs and live performances)


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THEME 1: CONTEXT (continued)

Theory (continued)



1.6 Dance terminology know and understand dance terminology

describe the following movement skills - balance - initiation of movement - articulation of isolated body parts - weight shift - elevation and landing - fall and recovery

list different styles of dancing - ballet - ballroom (waltz, tango, cha-cha, flamenco) - jazz - hip-hop

state the origin of each dance style

describe the features of each dance style

define and explain dance terminology as contained in the glossary of this syllabus and prescribed DVDs


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Repertoire



1.7 Traditional and

contemporary African

music, dance and drama

know, understand and appreciate performance elements in various African cultures and historical periods

study in works from traditional and contemporary African cultures (where applicable) - origin - style and features of the style - genre - tempo - mood and atmosphere - facial and body expression - message/ story-line - instrument(s) - dialogue (where applicable) - actors - costumes - use of levels and space - props - make-up - lighting - sound and sound-effects - stage layout

recognise works from traditional and contemporary African cultures

describe similarities and differences in performances of traditional and contemporary African cultures

research cultural and historical information related to the environment and setting in which performances occur

discuss from original works how performing arts are used to achieve unity and variety as well as balance

recognise a variety of traditional and contemporary African instruments


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Repertoire (continued)



1.7 Traditional and

contemporary African

music, dance and drama

(continued)

know, understand and appreciate performance elements in various African cultures and historical periods (continued)

describe characters, environments and actions that show tension, conflict and resolution in dramatic performances

describe the ways in which real-life characters are transformed into performances

1.8 European orchestral

music and history from

1800 - 1939

know, understand and appreciate elements in European orchestral music from 1800 - 1939

study set works from European orchestral repertoire since 1800 - composer - style and features of the style - themes - genre - rhythm - tempo - mood and atmosphere - message - instruments used

recognise set works from European orchestral repertoire since 1800


discuss from original works how music achieves unity and variety as well as balance

familiarise with the instruments of the symphony orchestra and its layout in performance

recognise musical forms/structures (e.g. canon, suite), styles (e.g. opera, programme music) and themes


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1.9 Classical, traditional and

contemporary Western

dance styles

know, understand and appreciate elements in classical, traditional and contemporary Western dance styles

study works from classical, traditional and contemporary Western dance - choreography - style and features of the style - rhythm - tempo - mood and atmosphere - message - costumes - use of levels and space

recognise works from classical, traditional and contemporary Western dance

describe similarities and differences in performances of classical, traditional and contemporary Western dance


discuss from original works how dance achieves unity and variety as well as balance

describe characters, environments and actions that show tension, conflict and resolution in dance performances

describe the ways in which real-life characters are transformed into performances


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1.10 Musical Theatre since

1945

know, understand and appreciate elements in Musical Theatre since 1945

study works from the repertoire of musical theatre - choreography - style and features of the style - rhythm - tempo - mood and atmosphere - actors - story-line - costumes - use of levels and space - props - costumes - make-up - lighting - sound and sound-effects

recognise works from the repertoire of musical theatre

describe similarities and differences in performances in musical theatre


discuss from original works (including DVDs) how musical theatre achieves unity and variety as well as balance

describe characters, environments and actions that show tension, conflict and resolution in musical theatre performances


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1.11 Contemporary drama

know, understand and appreciate elements of contemporary drama

study works from various dramatic styles - story-line - dialogue (where applicable) - actors - style and features of the style - mood and atmosphere - costumes - use of levels and space - props - costumes - make-up - lighting - sound and sound-effects - stage layout

describe similarities and differences in various dramatic styles

recognise works from various dramatic styles


discuss from original works how drama achieves unity and variety as well as balance

describe characters, environments and actions that show tension, conflict and resolution in dramatic performance

explain and apply the techniques used in stand-up comedy and mime (live performances and DVDs)


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Appraising



1.12 Level of success

achieved in a

performance and

production

appreciate the level of success achieved in a performance

describe and evaluate the perceived quality and effectiveness of other learners' contributions (as playwrights, musicians, dancers, actors, composers/arrangers, designers, directors, choreographers) to the various phases of the performance process

evaluate the success of the practical work and offer constructive suggestions for improvement

compare and contrast the presentation of characters, environments and actions in each of the performing arts

1.13 Relationships between

the elements of

performing arts, and

relationships of

performing arts with other

disciplines outside the

performing arts

demonstrate the ability to interrelate elements of performing arts

explain the relationship between the elements of performing arts

demonstrate the ability to integrate elements of performing arts and other disciplines

analyse the ways in which the subject matter of other disciplines taught in the school have been interrelated with those of the performing arts

1.14 Contribution of design

skills to a successful

performance

understand how different design skills can contribute to performances

discuss the effectiveness of the ways in which the design skills (costume, make-up, setting and props) were used in performance

1.15 The impact of a

performance on the

audience

appreciate the way in which the piece was received by the audience

evaluate the extent to which the performed piece created meaning for, and impact on, the audience

explain how culture influence the content and production values of the performances


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THEME 2: CREATING



2.1 Developing of stage

performances, both

prepared and improvised

develop an understanding of performance as a way to develop and communicate their own ideas

create performance works within specified guidelines

name, identify and explain types of stages - proscenium - thrust - theatre in the round (arena) - amphitheatre

incorporate elements of dance, music, drama and performing arts to express ideas and emotions in planned and improvised performance

develop practical skills in improvising in performance works

consult and use resources in their own and other communities as well as performance works from a different culture or time period

observe and explain how different accompaniments (such as sound, music, the spoken word) can affect the meaning of a performance

articulate and demonstrate the importance of being able to create character through their performance

2.2 Producing of short

films/video clips

know and understand the development of the different components for a short film/video clip

create (compose/arrange/choreograph/script) a film within specified guidelines

use appropriate digital technology (e.g. smart phone), making use of editing facilities (if available)

make use of modern technology to record stories, plays, television shows, radio talk shows and advertisements


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THEME 2: CREATING (continued)



2.3 Identification and selection

of topic

understand ways in which to identify and select an appropriate topic as the basis of coursework

identify and select an appropriate topic as the basis of coursework

make informed choices about the type of performance material most suited to their interest

accept advice and guidance from their educators to enable them to select appropriate material

identify appropriate people and resources to inform their investigation

2.4 Conducting planning and

research

understand how to conduct basic research

work collaboratively and safely to create a stage performance

plan thematic ideas for the stage and film environment using elements (line, texture, colour, space, repetition, balance, emphasis, contrast, unity, variety)

use elements of music, drama and dance from traditional and contemporary sources as appropriate to the intended nature of the performance or film/video clip


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2.5 Script writing, composing,

Choreographing and

designing

demonstrate ability in script writing, composing, choreographing and designing

create characters, environments and actions that show tension, conflict and resolution through dramatic improvisation

record ideas in the form of a scripted (written) performance

compose or select music to be used in performance

plan pre-production in areas of stage setting, décor, stage designing, costumes, props, make-up and technology

apply awareness and concentration during performing movement skills

apply the following movement skills - balance - initiation of movement - articulation of isolated body parts - weight shift - elevation and landing - fall and recovery

memorise and reproduce movement sequences

choreograph a dance within a group and successfully demonstrate the dance in front of an audience

choreograph dance that successfully communicates a topic, demonstrating sequence, development of ideas leading to climax and resolution

create a setting for a stage production or film/video clip

design and make a three-dimensional costume for a specific character (scale 1:10)

design a two-dimensional costume for a specific character


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2.6 Rehearsing and refining

demonstrate the ability to rehearse and refine practical work

organise rehearsals for improvised and planned performances

work effectively in small groups to develop and improve the practical work

demonstrate the process of re-ordering and change

work co-operatively in a small group, demonstrating co-operation, communication, collaboration, consensus, self-esteem, risk-taking, sympathy and empathy

2.7 Production roles

know, understand and appreciate the contribution and integration of each production role

explain the functions and interrelated nature of a variety of production roles (scenery, props, lighting, music and sound, wardrobe, make-up, set design, location managing) in creating an environment appropriate for performance

apply appropriate technical terminology and stage layout

2.8 Management roles

know, understand and appreciate the contribution and integration of each management role

explain the functions and interrelated nature of a variety of management roles (director, stage manager, front-of-house, box office, wardrobe mistress/master, marketing and advertising) in creating an environment appropriate for performance

explain appropriate technical terminology

plan pre-production in areas of stage setting, stage designing, costumes, make-up and technology

discuss the nature of a production schedule and the importance of adhering to deadlines


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THEME 3: PERFORMING



3.1 Performance skills in

drama, music and dance

and integration of

components to stage a

comprehensive

performance

demonstrate performance skills in drama, music and dance and integration of components to stage a comprehensive performance

perform individually and in groups with expression dramatic, musical and dance works of appropriate level, including some works performed from memory

interact as the invented characters in a play, demonstrating acting skills (such as sensory recall, concentration, breath control, direction, body alignment, control of isolated body parts) to develop characterisation

use music from diverse genres and cultures and/or their own compositions appropriate to the work being performed

apply practical dance skills in a style appropriate to the performance

3.2 Underlying principles of a

successful performance

demonstrate practical understanding of how to create a successful performance

apply the principles of technical competence, contrast, pacing, repetition, transition and audience impact in their performance work

analyse and implement the necessary technical requirements for performances (including design skills of costume, make-up, setting and props)

3.3 Performances portraying

various cultures and

historical periods

demonstrate practical ability to incorporate various cultures and historical periods in a performance

demonstrate effective use of resources from their own and other communities as well as performance works from a different culture (local and international) or time period

3.4 Communication through a

performance

demonstrate ability to communicate effectively to an audience

use practical skills in dance, drama and music to achieve an intended audience response


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6. ASSESSMENT OBJECTIVES The three assessment objectives in Integrated Performing Arts are: A Knowledge and understanding of performing arts

B Creating performance

C Performing skills

A description of each assessment objective follows: A Knowledge and understanding of Performing Arts Candidates will be assessed on their ability to analyse structure, recognise genre and understand historical context, using correct technical vocabulary from a wide variety of the elements of IPA. (The content that will be assessed under this assessment objective is set out mainly in Theme 1 of the learning content, which should be taught in an integrated manner). B Creating performance Candidates will be assessed on their ability to research, devise, realise, interpret and stage an original production. (This assessment objective links to Theme 2 of the learning content). C Performing skills Candidates will be assessed on their performance skills and their ability to communicate effectively to an audience. (This assessment objective links to Theme 3 of the learning content). 7. SCHEME OF ASSESSMENT The examination consists of three papers. Candidates must be entered for all three papers. 7.1 Differentiation All candidates are expected to pursue the same curriculum content and differentiation will be by outcome. 7.2 Options

A learner will choose from options A or B to determine which papers are applicable to them. Please note that Option B is only available to part time candidates who repeat this subject.

Option A Option B

Papers 1, 2 and 3 Papers 1, 3 and 4


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Paper Title Style of paper Marks Duration Weighting

1 Written paper Written examination with a listening component

90 2 hours

15 minutes 30%

2 Coursework Individual project 60 5 terms 20%

3 Performance paper

Visiting examination 150 ± 1 hour 50%

4 Coursework (Carried forward from previous year)

Individual project (Carried forward from previous year) Only available for part time candidates for only one year*

60 5 terms (carried forward)

20%

* Carry forward Coursework (open to part-time candidates): 12-month rule, coursework assignment must have been completed at a school and marked by a teacher.


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7.3 Description of papers

Paper 1 Written paper Approximately 2 hours 15 min 90 marks Weighting: 30% The written paper will test candidate’s knowledge and understanding of all the elements of IPA as identified in the learning content, glossary and the list of set works. The list of set works appears in the syllabus under the summary of the learning content. The paper will consist of two sections. Section A - Music (30 marks)

The questions in this section will be a listening test based predominantly on the set works. They

will test knowledge and understanding of traditional and contemporary African music (12 marks)

and European orchestral music of 1800 to 1939 (18 marks). Theory of music will be tested in this

section.

Candidates will have 5 minutes to read through the questions in Section A. The recordings for the listening test will be played from a CD. Once the CD has been started, it may not be stopped or paused. The time for the listening test is approximately 45 minutes. Candidates will after that be allowed 1 hour 30 minutes for Section B.

Section B (60 marks)

This section will consist of structured questions based on: Mime (10 marks), Stand-up Comedy (10

marks), Dance (10 marks), Drama (15 marks), and Musical Theatre since 1945 (15 marks).

The questions on Drama and/or Musical Theatre will include a previously unseen extract, on which candidates will be required to answer questions. Questions will require knowledge and understanding of the way individual pieces are structured, the techniques used to create and perform them, the stylistic influences on them and the historical, cultural and social context in which they were created. A number of questions will require detailed knowledge of technical vocabulary, as outlined in the glossary.


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Paper 2 Coursework Individual project 60 marks Weighting: 20% Learners will investigate a topic of their own choosing in an area of IPA, which must be approved by the IPA teacher beforehand. The project will consist of one piece of written work (40 marks), and one film/video clip (20 marks) The piece of written work will cover the following phases:

Planning and research (15 marks)

Process and refinement (15 marks)

evaluation (10 marks)

Learners must produce a commentary of between five and ten sides of A4 paper. The film/video clip will be assessed on the quality of the film/video clip (20 marks) The film/video clip should last between three and six minutes. Candidates will be assessed internally and centres will be moderated externally by DNEA. Paper 3 Performance Paper Visiting examination 150 marks Weighting: 50% The performances will be assessed by a visiting examiner. An audience is permitted by prior arrangement. Other candidates for the examination will not be allowed to form part of the audience for the prepared work. Once the performance commences, no other person may take part with the exception of the person operating the sound desk and lighting (if required). The candidates will receive the topics for prepared work for this examination fifteen school days before the examination. Section A: Individual Prepared work (40 marks) Candidates will present an individual IPA presentation of their own choice. This must include aspects of dance, drama and music, but not necessarily in equal measure. Voice production and dialogue are essential aspects, therefore if miming is included, it should be kept to a minimum. The presentation should last a maximum of ten minutes. If the performance is in excess of ten minutes, the examiner may stop it. Additional time of maximum five minutes will be allowed for preparation and removal of props etc. from the stage. Other learners may assist with preparation on the day if required. Candidates should provide the examiner with a well-designed programme with titles of scenes and an approximate time frame.


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Unprepared work (20 marks) Each candidate will be given a topic (there will be six different topics) selected by the visiting examiner. The themes may include areas such as environmental issues, social issues, family relationships, health and well-being, and current affairs. He/she will be required to devise an individual performance lasting between five and eight minutes. This must include aspects of drama, music and dance. A period of 15 minutes’ preparation time on the day of the examination will be allowed.

Section B: Group Prepared work (60 marks) Candidates must present an original group presentation based on a given topic. All groups will be given the same topic. The candidates will receive the topic for this examination fifteen school days before the examination. Each group will be required to devise a performance lasting between ten and fifteen minutes. If the performance is in excess of fifteen minutes, the examiner may stop it. The performance must include aspects of dance, drama and music, but not necessarily in equal measure. Groups will consist of four to six candidates and all learners must be equally involved in the performance.

Unprepared work (30 marks) The group will be handed a topic by the visiting examiner. Groups will consist of four to six candidates and all groups will be given the same topic. This will be a different topic from the individual unprepared work. The group will be required to devise a performance lasting between ten and fifteen minutes. This must include aspects of dance, drama and music. The visiting examiner will award a mark for the group as a whole, but this may be varied for individual candidates if necessary. A period of fifteen minutes’ preparation time on the day of the examination will be allowed. The theme will change from year to year and may include themes such as environmental issues, social issues, family relationships, health and well-being and current affairs.

Paper 4 Coursework Individual project 60 marks Weighting: 20% (carried forward from previous year) Part time candidates, who wish to rewrite the Integrated Performing Arts external year-end examination, may carry their previous year’s coursework mark over to the next year. These “carried forward” coursework marks are only open to part-time or private candidates. The marks are valid for 1 year only. The coursework assignment must have been completed at a school and marked by a teacher of that school.


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8. SPECIFICATION GRID The relationship between assessment objectives and components of the scheme of assessment is shown below.

Assessment objectives Paper 1 Written

Examination

Paper 2 Coursework

Paper 3 Weighting of assessment objectives

A Knowledge and understanding of Performing Arts

90 30%

B Creating Performance 60 20%

C Performing skills 150 50%

Total marks 90 60 150 100%

Weighting 30% 20% 50%

9. COURSEWORK AND PRACTICAL PERFORMANCES

9.1 Coursework activities and assessment criteria The coursework activities are all contained in Paper 2 and will count 60 marks towards the learner’s final mark and will contribute 20% towards the final mark.

Coursework components Duration Marks

Paper 2 Individual project Extended period 60

Total 60

Marking grids for the coursework are provided in the syllabus (Annexe B). Coursework forms will be sent to schools by the Directorate of National Examinations and Assessment (DNEA). The portfolio should comprise of one short film. The film should have been directed, filmed and edited by the learner. Proof of the development of the film should accompany the portfolio. A timeline, the original own script, a full description of the filming and editing should be included. The portfolio should consist of between five and ten sides of A4 paper. Portfolios will be marked by the subject teacher(s) at the school. 10% or ten portfolios (whichever is the most) will be externally moderated by DNEA. If a learner changes from one school to another during the course, all relevant coursework activities (where applicable) should be forwarded to the learner’s new school.


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9.2 Practical examination paper The practical examinations are all contained in Paper 3 and will count 150 marks towards the learner’s final mark and will contribute 50% towards the final mark

Practical examination Marks

Paper 3 Performance Section A: Individual Prepared Unprepared Section B: Group Prepared Unprepared

40 20 60 30

Total 150

Prepared group examination topics must be handed to learners fifteen school days before the practical examinations to allow enough time for preparation The prepared individual performance consists of a performance of the learner’s own choice. The prepared group, as well as the unprepared individual and group, will have a specific topic as given by the DNEA. Learners are responsible for own costumes, props, music and multimedia. All aspects of IPA (music, dance and drama) should be covered in this examination. 10. GRADE DESCRIPTIONS

Grade descriptions are provided to give a general indication of the standards of achievement likely to have been shown by learners awarded particular grades. The grade assessment will depend in practice upon the extent to which the learner has met the assessment objectives overall and it might conceal weakness in one aspect of the examination which is balanced by above average performance in some other aspect. Learners will be graded on a scale of A*-G. The descriptors for judgmental thresholds (A, C, E and G) are given below At Grade A the learner will be expected to show:

A Knowledge and understanding of Performing Arts 1. an excellent ability to identify detailed facts and principles in relation to the content of the

syllabus. 2. an excellent ability to research and apply knowledge in this field of study 3. an excellent ability to define the concepts and terminology of performing arts 4. an excellent ability to apply knowledge and understanding, using terminology, concepts, theories

and methods effectively during performances 5. an excellent understanding of the different careers that is available in the study field of

performing arts 6. a thorough knowledge on the history and developments in different performing arts genres

displaying a deep understanding of the role of performing arts in society


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B Creating Performance 1. an excellent ability to apply researched and first-hand experience knowledge of life by

presenting this knowledge in the form of a stage- or a short multimedia production 2. an excellent ability to analyse and evaluate information by weighing up the advantages and

challenges before deciding on actions 3. an excellent ability to judge and differentiate between quality of other stage or a short

multimedia production

C Performing skills 1. a convincing performance by the learner where all aspects of performing arts are present 2. an excellent production that indicates modern trends

At Grade C the learner will be expected to show:

A Knowledge and understanding of Performing Arts 1. an average ability to identify detailed facts and principles in relation to the content of the

syllabus. 2. an average ability to research and apply knowledge in this field of study 3. an average ability to define the concepts and terminology of performing arts 4. an average ability to apply knowledge and understanding, using terminology, concepts, theories

and methods effectively during performances 5. an average understanding of the different careers that is available in the study field of performing

arts 6. some knowledge on the history and developments in different performing arts genres

displaying some understanding of the role of performing arts in society B Creating Performance 1. an average ability to apply researched and first-hand experience knowledge of life by presenting

this knowledge in the form of a stage- or a short multimedia production 2. an average ability to analyse and evaluate information by weighing up the advantages and

challenges before deciding on actions 3. an average ability to judge and differentiate between quality of other stage or a short multimedia

production

C Performing skills 1. an average performance by the learner where all aspects of performing arts are present 2. an average production that shows some indication of modern trends

At Grade E the learner will be expected to show:

A Knowledge and understanding of Performing Arts 1. some ability to identify detailed facts and principles in relation to the content of the syllabus. 2. some ability to research and apply knowledge in this field of study 3. some ability to define the concepts and terminology of performing arts 4. some ability to apply knowledge and understanding, using terminology, concepts, theories and

methods effectively during performances 5. some understanding of the different careers that is available in the study field of performing arts 6. some knowledge on the history and developments in different performing arts genres displaying

a basic understanding of the role of performing arts in society


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B Creating Performance 1. some ability to apply researched and first-hand experience knowledge of life by presenting this

knowledge in the form of a stage- or a short multimedia production 2. some ability to analyse and evaluate information by weighing up the advantages and challenges

before deciding on actions 3. some ability to judge and differentiate between quality of other stage or a short multimedia

production

C Performing skills 1. a below average performance by the learner where all aspects of performing arts are present 2. a below average production that shows little indication of modern trends

At Grade G the learner will be expected to show:

A Knowledge and understanding of Performing Arts 1. limited ability to identify detailed facts and principles in relation to the content of the syllabus. 2. limited ability to research and apply knowledge in this field of study 3. limited ability to define the concepts and terminology of performing arts 4. limited ability to apply knowledge and understanding, using terminology, concepts, theories and

methods effectively during performances 5. limited understanding of the different careers that is available in the study field of performing arts 6. limited knowledge on the history and developments in different performing arts genres displaying

a basic understanding of the role of performing arts in society B Creating Performance 1. limited ability to apply researched and first-hand experience knowledge of life by presenting this

knowledge in the form of a stage- or a short multimedia production 2. limited ability to analyse and evaluate information by weighing up the advantages and

challenges before deciding on actions 3. limited ability to judge and differentiate between quality of other stage or a short multimedia

production

C Performing skills 1. a rudimentary average performance by the learner where all aspects of performing arts are

present 2. a rudimentary average production that shows little indication of modern trends


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11. GLOSSARY OF TERMS

This glossary of terms forms part of the learning content of the subject

11.1 MUSIC

British name American name Note Rest Number of beats

semibreve whole note

4 beats

minim half note

2 beats

crotchet quarter note

1 beat

quaver eighth note

½ beat

Note: For notes of this length and shorter, the note has the same

number of flags (or hooks) as the rest has branches.

semiquaver sixteenth note

¼ beat

demi-semiquaver thirty-second note

⅛ beat

http://en.wikipedia.org/wiki/File:Music-wholenote.png

http://en.wikipedia.org/wiki/File:Music-wholerest.png

http://en.wikipedia.org/wiki/File:Music-halfnote.png

http://en.wikipedia.org/wiki/File:Music-halfrest.png

http://en.wikipedia.org/wiki/File:Music-quarternote.png

http://en.wikipedia.org/wiki/File:Music-quarterrest.png

http://en.wikipedia.org/wiki/Eighth_note

http://en.wikipedia.org/wiki/File:Music-eighthnote.png

http://en.wikipedia.org/wiki/File:Music-eighthrest.png

http://en.wikipedia.org/wiki/File:Music-sixteenthnote.png

http://en.wikipedia.org/wiki/File:Music-sixteenthrest.png

http://www.google.com.na/url?sa=i&source=images&cd=&cad=rja&docid=6hCRB1jkjnusiM&tbnid=rvI14h8-EcGU7M:&ved=0CAgQjRwwAA&url=http://www.music-mind.com/Music/mpage2.HTM&ei=hkkKUpuZBYa84ASWtoHQDg&psig=AFQjCNHsEGCNvgJmwCaCBCmvnF2HvsSf6A&ust=1376492294188201

http://www.google.com.na/url?sa=i&source=images&cd=&cad=rja&docid=6hCRB1jkjnusiM&tbnid=rvI14h8-EcGU7M:&ved=0CAgQjRwwAA&url=http://www.music-mind.com/Music/mpage2.HTM&ei=hkkKUpuZBYa84ASWtoHQDg&psig=AFQjCNHsEGCNvgJmwCaCBCmvnF2HvsSf6A&ust=1376492294188201


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Term Symbol Explanation

beamed notes

beams connect eighth notes (quavers) and notes of shorter value in metered music, beams reflect the rhythmic grouping of notes they may also be used to group short phrases of notes of the same value, regardless of the meter

dotted note

placing a dot to the right of a note head lengthens the note's duration by one-half; additional dots lengthen the previous dot instead of the original note, thus a note with one dot is one and one half its original value, a note with two dots is one and three quarters, a note with three dots is one and seven eighths, and so on. Rests can be dotted in the same manner as notes

multi-measure rest

indicates the number of measures in a resting part without a change in meter, used to conserve space and to simplify notation also called "gathered rest" or "multi-bar rest"

key signatures the arrangement of sharp or flat signs on particular lines and spaces of a musical staff to indicate that the corresponding notes, in every octave, are to be consistently raised (by sharps) or lowered (by flats) from their natural pitches

flat

lowers the pitch of a note by one semitone

sharp

raises the pitch of a note by one semitone

natural

cancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the prevailing key signature (such as F-sharp in the key of G major, for example)

double flat

lowers the pitch of a note by two chromatic semitones, usually used when the note to be modified is already flattened by the key signature

time signatures define the meter of the music music is "marked off" in uniform sections called bars or measures, and time signatures establish the number of beats in each - this is not necessarily intended to

http://en.wikipedia.org/wiki/Beam_(music)

http://en.wikipedia.org/wiki/File:Music-beam.svg

http://en.wikipedia.org/wiki/Dotted_note

http://en.wikipedia.org/wiki/File:Music-dotnote.svg

http://en.wikipedia.org/wiki/Multiple_measure_rest

http://en.wikipedia.org/wiki/File:Music-measurerest.svg

http://en.wikipedia.org/wiki/Flat_(music)

http://en.wikipedia.org/wiki/File:Music-flat.svg

http://en.wikipedia.org/wiki/Semitone

http://en.wikipedia.org/wiki/Sharp_(music)

http://en.wikipedia.org/wiki/File:Music-sharp.svg

http://en.wikipedia.org/wiki/Natural_sign

http://en.wikipedia.org/wiki/File:Music-natural.svg

http://en.wikipedia.org/wiki/Double_flat

http://en.wikipedia.org/wiki/File:Music-doubleflat.svg

http://en.wikipedia.org/wiki/Time_signature


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indicate which beats are emphasized, however a time signature that conveys information about the way the piece actually sounds is thus chosen time signatures tend to suggest, but only suggest, prevailing groupings of beats or pulses

specific time - simple time signatures

the bottom number represents the note value of the basic pulse of the music (in this case the 4 represents the crotchet or quarter-note); the top number indicates how many of these note values appear in each measure this example announces that each measure is the equivalent length of three crotchets (quarter-notes) you would pronounce this as "Three Four Time", and was referred to as a "perfect" time

specific time - compound time signatures

the bottom number represents the note value of the subdivisions of the basic pulse of the music (in this case the 8 represents the quaver or eighth-note); the top number indicates how many of these subdivisions appear in each measure to derive the unit of the basic pulse in compound meters, double this value and add a dot, and divide the top number by 3 to determine how many of these pulses there are each measure this example announces that each measure is the equivalent length of two dotted crotchets (dotted quarter-notes) you would pronounce this as "Six Eight Time”

common time

this symbol is a throwback to fourteenth century rhythmic notation, when it represented 2/4, or "imperfect time" today it represents 4/4

tie

indicates that the two (or more) notes joined together are to be played as one note with the time values added together to be a tie, the notes must be identical, that is, they must be on the same line or the same space, otherwise, it is a slur

slur indicates that 2 or more notes are to be played in one physical stroke, one uninterrupted breath, or (on instruments with neither breath nor bow) connected into a phrase as if played in a single breath in certain contexts, a slur may only indicate that the notes are to be played legato; in this case, rearticulation is permitted

http://en.wikipedia.org/wiki/File:Music-timesig.png

http://en.wikipedia.org/wiki/File:Compound_duple_drum_pattern.png

http://en.wikipedia.org/wiki/Common_time

http://en.wikipedia.org/wiki/File:Music-commontime.png

http://en.wikipedia.org/wiki/Tie_(music)

http://en.wikipedia.org/wiki/File:Music-tie.png

http://en.wikipedia.org/wiki/Slur_(music)

http://en.wikipedia.org/wiki/File:Music-slur.png

http://en.wikipedia.org/wiki/Legato


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slur (continued) NOTE: Slurs and ties are similar in appearance. A tie is distinguishable because it always joins exactly two immediately adjacent notes of the same pitch, whereas a slur may join any number of notes of varying pitches. A phrase mark (or less commonly, ligature) is a mark that is visually identical to a slur, but connects a passage of music over several measures. A phrase mark indicates a musical phrase and may not necessarily require that the music be slurred. In vocal music, a phrase mark usually shows how each syllable in the lyrics is to be sung

staff

the staff is the fundamental latticework of music notation, upon which symbols are placed the five stave lines and four intervening spaces correspond to pitches of the diatonic scale—which pitch is meant by a given line or space is defined by the clef

ledger or leger lines

used to extend the staff to pitches that fall above or below it - such ledger lines are placed behind the note heads, and extend a small distance to each side multiple ledger lines can be used when necessary to notate pitches even farther above or below the staff

bar line

used to separate measures (see time signatures below for an explanation of measures) bar lines are extended to connect the upper and lower staffs of a grand staff

double bar line/ double barline

used to separate two sections of music also used at changes in key signature, time signature or major changes in style or tempo

bold double bar line/ bold double barline

used to indicate the conclusion of a movement or an entire composition

dotted bar line/ dotted barline

subdivides long measures of complex meter into shorter segments for ease of reading, usually according to natural rhythmic subdivisions

http://en.wikipedia.org/wiki/File:Music-legato.png

http://en.wikipedia.org/wiki/Slur_(music)

http://en.wikipedia.org/wiki/Staff_(music)

http://en.wikipedia.org/wiki/File:Music-staff.svg

http://en.wikipedia.org/wiki/Diatonic_scale

http://en.wikipedia.org/wiki/Clef

http://en.wikipedia.org/wiki/Ledger_line

http://en.wikipedia.org/wiki/File:Music-ledger.svg

http://en.wikipedia.org/wiki/Bar_(music)

http://en.wikipedia.org/wiki/File:Music-bar.svg

http://en.wikipedia.org/wiki/List_of_musical_symbols#Time_signatures

http://en.wikipedia.org/wiki/File:Music-doublebar.svg

http://en.wikipedia.org/wiki/Key_signature

http://en.wikipedia.org/wiki/Time_signature

http://en.wikipedia.org/wiki/Tempo

http://en.wikipedia.org/wiki/File:Music-endbar.svg

http://en.wikipedia.org/wiki/File:Music-dottedbar.svg


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accolade, brace

connects two or more lines of music that are played simultaneously - depending on the instruments playing, the brace, or accolade, will vary in designs and style

clefs

clefs define the pitch range, or tessitura, of the staff on which it is placed. a clef is usually the leftmost symbol on a staff additional clefs may appear in the middle of a staff to indicate a change in register for instruments with a wide range in early music, clefs could be placed on any of several lines on a staff

G clef (Treble clef)

the centre of the spiral defines the line or space upon which it rests as the pitch G above middle C, or approximately 392 Hz, positioned here, it assigns G above middle C to the second line from the bottom of the staff, and is referred to as the "treble clef." this is the most commonly encountered clef in modern notation, and is used for most modern vocal music Middle-C is the 1st ledger line below the stave here, the shape of the clef comes from a stylised upper-case-G

F clef (Bass clef)

the line or space between the dots in this clef denotes F below middle C, or approximately 175 Hz, positioned here; it makes the second line from the top of the staff F below middle C, and is called a "bass clef." this clef appears nearly as often as the treble clef, especially in choral music, where it represents the bass and baritone voices Middle C is the 1st ledger line above the stave here the shape of the clef comes from a stylised upper-case-F (which used to be written the reverse of the modern F)

suite many shorter pieces of music which together form one large composition composition

adagio slow

allegro cheerful & lively - generally taken as fast

andante medium slow, walking pace

crescendo cresc. gradually getting louder

decrescendo decresc. gradually softer

forte f loud

http://en.wikipedia.org/wiki/File:Accolade.svg

http://en.wikipedia.org/wiki/Tessitura

http://en.wikipedia.org/wiki/G_clef

http://en.wikipedia.org/wiki/Treble_clef

http://en.wikipedia.org/wiki/File:Music-GClef.svg

http://upload.wikimedia.org/wikipedia/commons/7/71/392Hz.ogg

http://en.wikipedia.org/wiki/F_clef

http://en.wikipedia.org/wiki/Bass_clef

http://en.wikipedia.org/wiki/File:Music-Fclef.svg

http://upload.wikimedia.org/wikipedia/commons/4/42/175Hz.ogg


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fortissimo ff very loud

largo very slow

mezzo forte mf medium loud

mezzo piano mp medium soft

moderato moderate speed

ostinato persistent; repetition of a rhythm

pianissimo pp very soft

piano p soft

presto very fast

tranquillo calm

11.2 DANCE African dance African dance comprises many traditional and modern dances, with great

variation in style and form across the continent. In Africa, dance is closely related to music, mime, storytelling, costume and ritual. African children, who traditionally learn to drum and dance as early as they learn to walk, participate in public ceremonies alongside the adults. Often, a "call and response" dialogue occurs between dancer, drummer and spectators, which make all parties integral to the event. (Source: ArtsAlive.ca)

AB a two-part compositional form with an A theme and a B theme; the binary

form consists of two distinct, self-contained sections that share either a character or quality (such as the same tempo, movement quality, or style)

ABA a three-part compositional form in which the second section contrasts with

the first section; the third section is a restatement of the first section in a condensed, abbreviated, or extended form.

abstract to remove movement from a particular or representative context and (by

manipulating it with elements of space, time, and force) create a new sequence or dance that retains the essence of the original

accent a stress or emphasis on a specific beat or movement aesthetic criteria standards upon which judgements are made about the artistic merit of a

work of art alignment the body’s organized response to gravity and the need to find balance;

synonym: posture.


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anatomy structural make-up of an organism/individual (skeleton, muscles) audience etiquette parameters of acceptable behaviour for audience members at a

performance balance the ability to maintain one’s stability call and response a structure that is most often associated with African music and dance

forms, although it is also used elsewhere; one soloist/group performs with the second soloist/group entering “in response” to the first

canon choreographic form that reflects the musical form of the same name, in

which individuals and groups perform the same movement/phrase beginning at different times

celebration a joyful occasion for special festivities to mark some happy event chance a choreographic process in which elements are specifically chosen and

defined but randomly structured to create a dance or movement phrase - this process demands high levels of concentration in performance to deal effectively with free association and surprise structures that appear spontaneously

choreographic principles compositional elements in dance; factors to be considered to attain

aesthetically satisfying dance composition (intent, form/design, theme, repetition)

choreography describes a dance sequence that has been created with specific intent classical dance that has been developed into highly stylized structures within a

culture; generally developed within the court or circle of power in a society contemporary dance as it is being explored by current choreographers core muscular and skeletal structures in the centre of the body, including the

abdomen, spine, and pelvis Djembe drum a large goblet shaped drum, traditionally carved out of one log; lke an

ashiko, yields a resonant bass tone when struck in the middle, and a high ringing tone when struck on the rim - the djembe is perhaps the most well-known West African instrument throughout the world (Source: Africaguide.com)

downstage at or toward the front of the performance space dynamics the expressive content of human movement, sometimes called qualities or

efforts; dynamics manifest the interrelationships among the elements of space, time, and force/energy. (See also movement quality)

elements of dance energy/force, space, time


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energy/force the quality of movement; how a movement is performed (e.g., smooth, sharp, free flow, bound flow, strong, light, sustained, percussive)

elevation the body’s propulsion into the air away from the floor, such as in a leap, hop,

or jump ethnic dances that have been created and used by a specific group within a

culture, when they are performed outside the original culture flocking a type of improvisation in which students move in groups, with no set

pattern or in a diamond formation, following a leader and all doing the same movements simultaneously. This is an extended version of mirroring for three or more people -participants do not necessarily need to be able to watch each other, as long as they can see the leader

folk dances that are created and performed by a specific group within a specific

culture, generally these dances originated outside the courts or circle of power within a society

form/design a principle of choreography/composition; organization and sequence of

sections of a dance into an overall whole genre type or category of dance (e.g., ballet, modern, jazz, tap, ballroom, hip-hop) improvisation movement that is created spontaneously, ranging from free-form to highly

structured environments, but always with an element of chance - provides the dancer with the opportunity to bring together elements quickly, and requires focus and concentration

intent the purpose of an artistic work initiation point at which a movement is said to originate; this particularly refers to

specific body parts and is generally said to be either distal (from the limbs or head) or central (from the torso)

kinesiology the study of anatomy in relation to human movement kinesphere the movement space, or the space surrounding the body in stillness and in

motion, which includes all directions and levels both close to the body and as far as the person can reach with limbs or torso (also known as personal space)

kinesthetic refers to the ability of the body’s sensory organs in the muscles, tendons,

and joints to respond to stimuli while dancing or viewing a dance levels the height of the dancer in relation to the floor, for example: sitting on the

floor would be low level, kneeling could be middle level, and standing or jumping would be high level


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loco motor movement movement that travels from place to place, usually identified by weight transference on the feet - basic locomotors steps are walk, run, hop, jump, skip, leap, gallop, crawl, and roll

movement problem a specific focus or task that serves as direction for exploration in

composition. movement quality the identifying attributes created by the release, follow through, and

termination of energy, which are key to making movement become dance (typical terms denoting qualities include sustained, swing, percussive, collapse, and vibratory; and effort combinations such as float, dab, punch, and glide) (see also dynamics)

movement study a short piece of choreography based on a specific idea movement theme a complete idea in movement that is manipulated and developed within a

dance musicality the attention and sensitivity to the musical elements of dance while creating

or performing narrative choreographic structure that follows a specific story line and intends to

convey specific information through that story non-locomotor movement any movement that is anchored to one spot by a body part using only the

available space in any direction without losing the initial body contact; movement is organized around the axis of the body rather than designed for travel from one location to another (twist, bend, shake, vibrate, swing, push, pull, kick, rise, fall); also known as axial movement

performance execution of dance movement in class or on stage phrase a brief sequence of related movements that has a sense of rhythmic

completion projection a confident presentation of one’s body and energy to vividly communicate

movement and meaning to an audience; performance quality space where bodies move in a dance (e.g., levels, directions, pathways, sizes,

relationships) stage left at or toward the performer’s left when facing downstage stage right at or toward the performer’s right when facing downstage style a distinctive manner of moving; the characteristic way dance is done,

created, or performed that identifies the dance of a particular performer, choreographer, or period

technique proper execution of skills within a given dance form


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tempo the pace at which a piece of music or dance is performed theatrical dance genres primarily developed for the stage (e.g. jazz and tap) theme the content that informs a piece of choreography; may be taken from the

movement itself, or from other sources (e.g., ideas, images, emotions); a phrase or sequence of movement around which a dance is constructed

time including tempo, rhythm, duration, speed upstage at or toward the back of the performance space variation a choreographic process in which known and defined elements (e.g.,

specific movements, movement phrases) are separated from their original relationship and restructured in a different pattern; male or female solo in a classical ballet

warm-up movements and/or movement phrases designed to raise the core body

temperature, practice technical skills, and bring the mind into focus for the dance activities to follow

11.2.1 BALLET adagio a music term used for slow, sustained movements - the ‘adagio’ portion of

ballet class may encompasses high développés above 90°, or partnering work

allegro rapid tempo movements, often includes jumping steps - petit allegro

includes smaller jumping steps, grand allegro includes large expansive jumps such as grand jeté

arabesque the gesture leg is extended behind the dancer’s body at 90° or higher, which

requires hip and spine hyperextension, knee extension, and ankle-foot plantar flexion

attitude the hip of the gesture leg is at 90°, the knee is bent, and the foot is pointed -

attitude croisée devant: the leg is lifted to the front, attitude croisée derriere: the leg is lifted to the back

avant, en to the front. center floor the second portion of the ballet class, comprised of the adagio, turns, and

small jumps (petit allegro) dehors, en outward - a circular movement of the gesture limb from front to back, or a

turn which moves away from the stance limb demi half (as in demi-plié) derrière behind


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devant in front dèveloppé a large, relatively slow leg gesture - the gesture limb begins from first or fifth

position, passes through passé, to extend at 90° or higher to the front (en avant), side (a la seconde), or back (en arrière - arabesque)

elevé a rise upward onto the toes fifth position the legs are externally rotated, one foot is crossed in front of the other, with

forward toe touching the back heel first position the legs are externally rotated, and heels are together fourth position the legs are externally rotated, one foot is crossed in front of the other,

separated by the distance of one foot glissade “slide or glide” - a linking or preparatory step; the initiating leg slides out into

dégagè, weight is transferred to it to allow the other leg to point and slide into fifth. It can be performed slow (adagio) or fast (allegro), but is always smooth and continuous

grand large jeté a “throwing step” where a leaping jump is executed from one foot to the

other - the forward leg battements to the front, and the other leg follows in arabesque (may also be executed to the side)

l’aire in the air pas step petite small; little piroutté “whirl or spin” - a controlled turn on one leg in relevé; the gesture leg may

be held in retiré (passé), seconde, attitude, cou-de-pied, etc. while the turn may be performed en dedans or en dehors

plié a bend of the knees while the torso is held upright - the action relies on

varying degrees of hip and knee flexion, with ankle and MTP dorsiflexion, depending on whether the plié is demi- or grand

pointe, en on pointe - position of the foot in a pointe (or toe) shoe, in which the dancer

stands on the toes port-de-bras carriage of the arms - the codified arm positions which provide strength and

balance to the trunk, and may also serve as gesture or enhancement of focus

reverence “bow” - traditional port-de-bras and port-de-corps showing respect and

gratitude to the ballet master or audience


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sauté a simple jump in the vertical direction seconde, la to the side (second position) second position the legs are externally rotated and separated by the distance of one foot, in

the frontal plane third position the legs are externally rotated, and one heel is placed in front of the other tour turn of the body tour en l’aire “turns in the air” - sauté which incorporates airborne rotations, primarily

performed by men tour jeté a jeté which incorporates an angular rotation of the body and switching of

the legs in mid-air 11.2.2 MODERN AND JAZZ DANCE body roll a rolling movement through the body bridge also called a back bend chest lift with back on the floor, chest lifts off the floor compass turn like an arabesque turn, but the toes stay in contact with the floor contraction tightening the abdominals, tucking the pelvis, and forming a “C” with the

torso so that the shoulders are over the pelvis (Graham technique) fan kick a high straight leg kick in which the gesture leg makes a swooping circular

arc across the front of the body flat back position in which the legs are in parallel, the back is kept flat, parallel to the

floor, with the torso hinged at the hips (Horton technique) forced arch weight bearing position of the foot in which the heel is lifted and the knee is

bent with extreme metatarsal dorsiflexion isolations moving one part of the body, such as the head, shoulder, ribs, or hips, while

the rest are immobile jazz frame arms are crossed overhead with fingers in jazz hands jazz hand fingers are spread knee hinge a tilt of the torso in which the knees are bent and at a 45° angle, the back is

flat, and the heels are lifted (Horton technique) lateral a side stretch of the torso, with legs in 2nd position (Horton technique)


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lunge a large, open fourth position in which one knee is bent (usually the front),

and the other is straight primitive squat legs are in parallel, torso is straight, knees are fully bent, with heels

remaining on the floor in a squat (Horton technique) release a relaxing or arching movement shimmy shoulder shaking: alternating in a rapid motion

11.3 DRAMA act to represent, perform, interpret, communicate a character other than

oneself; a major division of a play advertise to call public attention to an event apron the curved part of the stage that extends beyond the main curtain arena stage also called theatre-in-the-round and central staging - there is seating on all

sides of the stage audition an action-oriented interview between director and actors for the purpose of

deciding who will be cast in what role; usually involves script reading, performing a prepared monologue, and/or improvisation

backdrop a painted piece of muslin hung from the battens to depict a scene backstage this designation also applies to the wings area and, loosely, can be used to

indicate anything in the physical plant that is not stage or house basic makeup applying base, highlights, and shadow to improve or alter facial structure for

the stage batten a wood or metal pipe from which stage lights, drops, and scenery are hung blackout stage goes to complete black; the blackout lighting cue is often used for a

startling effect at the end of a scene blocking the actor’s basic stage positioning given to the actor by the director or used

in self-direction bow a movement at the waist that demonstrates acknowledgment and thanks to

the audience for coming to the performance box office manager a person in charge of selling the tickets for a production box-set a feature of realistic theatre, a two- or three-walled set representing the

interior of a room


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cat-walk a narrow bridge above the stage providing access to stage scenery or

lighting units cast 1. (verb) to assign the roles of a dramatic production to actors; 2. (noun) the

group of actors with specific roles in a play or narrative. character a person or entity (e.g., animal) in a play, or the personality of that person or

entity (e.g. animal) characterization the art of developing the character (e.g. their life, emotions, choices,

motivations, objectives) choices the decisions of the actor or director regarding how a character will be

interpreted in a given production - most directors prefer to allow the actors some rehearsal time to explore their own choices before deciding what will best serve the show

choral speaking reciting, in unison, a poem or piece of literature concentration the actor’s focus on the moment of the play costumes clothing worn by the actors in a performance cue the action or words that signals what happens next creative drama an improvisational, non-exhibitional, process-centred form of theatre in

which participants are guided by a leader to imagine, enact, and reflect upon human experience

crew group of people working on technical aspects of production (e.g., set crew,

costume crew, lighting crew, sound crew, running crew) cyc short for Cyclorama - it is a huge, light blue curtain at the back of the stage

that can be made to look like the sky dialogue two or more characters speaking with each other director person responsible for coordinating, guiding and developing of all aspects of

a production so that the performance represents a unified vision dramatize to present or view a story in a dramatic way dramatic criticism an evaluation and analysis of a play according to accepted aesthetic

principles ensemble acting in which a cast works together as a team to create a total effect

rather than a group of individual performances fourth wall the invisible wall of a set through which the audience sees the action of a

play


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front of house 1. the part of the theatre in front of the proscenium arch, for example, the

lighting equipment placed there is referred to as front of house lights 2. non-stage related production concerns, such as ticket sales, seating, concessions and theatre house maintenance by the front of house staff

gel a thin piece of coloured plastic, available in a wide variety of colours, that

can be cut and fitted to a light to color the beam directed onto the stage gesture an intentional movement of the arms, hands, or other parts of the body that

expresses or emphasizes a feeling or idea graphic organizer a visual representation of organized data relating to a content area that

integrates knowledge, fosters organization, and links higher order thinking skills

grid/gridiron a steel framework above the stage to which lines are attached to fly scenery

and lights ground plan a bird’s-eye view of a stage set; also called a floor plan that often includes

scenery placement house the place where the audience sits house manager the person in charge of the theatre house, seating people, ushers, etc improvisation a spontaneous scene or episode created without a script by an actor or

actors leg a tall, narrow curtain that an actor can stand behind before an entrance

without being seen lighting plot a plan, usually drawn to scale, showing the placement of lighting

instruments mask to use backing, such as flats, draperies and drops to hide backstage areas

from the view of the audience motivation the reason a character does something; the reason for an action musical a production consisting of a series of song and dance scenes, as well as

spoken words nonverbal communication communication without words objective the goal a character has in a particular scene or throughout the performance orchestra pit the place where the orchestra or band is set up: usually in the front of the

theatre or under the stage


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oral interpretation interpreting and communicating a story or script primarily through voice, facial expression, posture, and minimal gestures - in formal theatre, used in specialized presentations like Readers Theatre and storytelling

pantomime creating an imaginary object through hand and body movement personal review an announcement in print or broadcast media of a production with some

description of the cast, plot, and technical elements places a stage manager’s term - it means you go to your first entrance and are

quiet so that he/she knows you are ready and can start the show play space any space where drama takes place (e.g., classroom, stage) playwright a person who writes a play portfolio an organized, systematic record of student work chosen by the student and

teacher that documents growth in student learning - portfolio types usually include process, product, and cumulative portfolios

producer the person who puts together a theatrical production: obtains financial

backing; leases rights to the play; rents the theatre; hires the directors, designers, crews; and supervises the budget

prompt book a notebook containing a script pasted on large pages with areas for notes -

the notebook also contains production notes, blocking, and all lighting, sound, and special effects cues

props short for stage properties - usually divided into four categories: hand props,

set props, dress props, and effects not produced within the lighting and sound boards

proscenium stage a performance space in which the audience views the action as if through a

picture frame rising action the events of a play leading up to the climax; the creation of conflict; the

entanglement of forces scene a division of an act or of the play itself setting the surroundings in which the action of the play develops; also the units of

scenery that combine to suggest a particular place sight line lines indicating visibility of onstage and backstage areas from various points

in the house or audience stage areas/directions key: upstage right – UR

upstage center – UC upstage left – UL stage right – R center stage – C


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stage left – L down stage right – DR down stage center – DC down stage left – DL apron - A

stage crew the backstage technical crew responsible for running the show stage manager the person in charge backstage during the performance stage property anything that the actor handles onstage as well as furniture and other items

used to enhance the set story board the depiction of the script in comic book form to help visualize a play storytelling the process of orally interpreting a story with a script or from memory using

voice, facial expression, and gestures tableau a frozen picture tech control center the place where the lighting and sound operation equipment is set up and run technical elements lighting, sound, makeup, costumes, set design/construction, props theme what the play means as opposed to what happens thrust stage a combination of the proscenium and arena stages, where the audience sits

on two or three sides of the acting area understudy someone who learns a role for the purpose of performing in the absence of

the primary actor cast in that role venues types of performance space verbal communication communicating with words wings the offstage area to the right and left of the set used as entrances but

concealing backstage areas


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ANNEXE A Stage layout


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ANNEXE B NSSCO assessment rubric for Coursework Individual project 60 marks Assessment criteria Each candidate will submit one piece of written work (40 marks), and one film/video clip (20 marks) 1. Written work

1.1. Planning and research (15 marks)

13-15 A full and detailed discussion of how the practical work was planned and a tightly focused explanation of the research undertaken.

10-12 A clear discussion of how the practical work was planned and a broad explanation of the research undertaken.

7-9 A variable discussion of how the practical work was planned and an explanation of some of the research undertaken.

4-6 An attempt at discussing how the practical work was planned and some references to aspects of the research undertaken.

1-3 A basic attempt at describing the practical work.

0 No answer or work that does not meet the requirements of the band above.

1.2. Process and refinement (15 marks)

13-15 A full and detailed discussion of how the practical work was rehearsed and a tightly focused explanation of the way the piece developed.

10-12 A clear discussion of how the practical work was rehearsed and a broad explanation of the way the piece developed.

7-9 A variable discussion of how the practical work was rehearsed and an explanation of some of the ways in which the piece developed.

4-6 An attempt at discussing how the practical work was rehearsed and some references to aspects of how the piece developed.

1-3 A basic attempt at describing the practical work.



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1.3. Evaluation (10 marks)

9-10 A full and detailed evaluation of the practical work with a closely focused discussion of the success of the piece.

7-8 A clear evaluation of the practical work with a well-supported discussion of the success of the piece.

5-6 An effective evaluation of some aspects of the practical work with some discussion of the success of the piece.

3-4 An attempt to evaluate the practical work with brief reference to the success of the piece.

1-2 A basic attempt to evaluate of the success of the work undertaken.


2. Quality of the film/video clip (20 marks)

17-20 An original and highly creative film/video clip, which makes the best possible use of technical resources available.

13-16 An original and creative film/video clip, which makes very good use of technical resources available

9-12 A competent piece of film/video clip, which makes variable use of technical resources available

5-8 A poorly structured piece of film/video clip, which makes limited use of technical resources available

1-4 A basic piece of film/video clip, which makes hardly any use of technical resources available


In marking this criterion, teachers should include remarks on the level of technology the learners had access to e.g. a high quality camera, editing facilities, sound, lighting compared to low quality cell phone with no editing facilities and limited sound and lighting facilities.


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ANNEXE C Learner’s summary mark sheet: prepared work (individual) Name of Learner………………………………………...........................

Prepared work (individual) This individual presentation must cover the following aspects:

Drama

Music

Dance

All the aspects do not have to be covered equally. The teacher must look at the following: Maximum mark Total

Facial expression 6

Body expression 6

Voice production 6

Correct application/interpretation of music 6

Correct interpretation of work 6

General standard/impression of presentation 10

Total 40


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ANNEXE D Learner’s summary mark sheet: prepared work (group) Names of Learners: 1. ………………………………............................... 2. ………………………………..............................

3. ………………………………..............................

4. ………………………………..............................

5. ………………………………………………..…….

6. ………………………………………………..…….

Prepared work (group)

The teacher should note the following of the various group members:

Maximum mark Total

Interpretation and preparation of the theme 10

Presentation of the group as a whole 10

Use of space and levels 10

Correct application/interpretation of music 10

Correct interpretation of movement/dance 10

Dramatic interpretation 10

Total 60


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ANNEXE E Learner’s summary mark sheet: unprepared work (individual)

Name of Learner……………………………….………………………...

Unprepared work (individual) This individual presentation must cover the following aspects:

Drama

Music

Dance

All the aspects do not have to be covered equally. The teacher must look at the following: Maximum mark Total

Facial expression and body expression 6

Voice production 6

General standard/impression of presentation and correct interpretation of work 8

Total 20


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ANNEXE F Learner’s summary mark sheet: unprepared work (group) Names of Learners 1. …………………………………………………….…… 2. …………………………………………….…………… 3. ………………………………………………..………..

4. …………………………………………………….……

5. ……………………………………………….…………

6. ……………………………………………….…………

Unprepared work (group)

The teacher should note the following of the various group members:

Maximum mark Total

Presentation of the group as a whole and dramatic interpretation of the theme 10

Use of space and levels 10

Correct application/interpretation of music and correct interpretation of movement/dance 10

Total 30


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ANNEXE G (1) NSSCO assessment rubric for prepared individual performance

(these guidelines are for practise activities for teachers and will not be used during examinations)

NSSCO INTEGRATED PERFORMING ARTS

Prepared performances

TOTAL: 40 P

ER

FO

RM

AN

CE

Very audible, excellent language use, precise rhythm, excellent contact with audience, good voice production, excellent facial expression

Audible, good language, good rhythm, acceptable voice production, good facial expression

Not always audible, rhythm not always precise. voice production not always clear, some facial expression

Lacks audibility, rhythm not precise, little voice production, little facial expression

Not audible, no rhythm, no voice production, total lack of facial expression

CREATIVITY 10 9 8 7 6 5 4 3 2 1 0

Very creative, ideas well thought out and prepared, performance shows proper practice beforehand

10 40 38 36

9 38 36 34 32 30

8 36 34 32 30 28

Good creativity, thought out ideas and good preparation, practice beforehand satisfactorily

7 32 30 28 26

6 30 28 26 24 22 17-18

Creativity satisfactorily, ideas not thoroughly thought out, needs to practise more

5 22 17-18 16 12-13 11

4 17-18 16 12-13 11 10

Limited creativity, Ideas lack proper thought, needs a lot of practice

3 12-13 11 10 9 8 6

2 10 9 8 6 5


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ANNEXE G (2) NSSCO assessment rubric for prepared group performance



Prepared performances

TOTAL: 60 P

ER

FO

RM

AN

CE

Very audible, excellent language use, precise rhythm, excellent contact with audience, good voice production, excellent facial expression


Not always audible, rhythm not always precise. voice production not always clear, some facial expression

Lacks audibility, rhythm not precise, little voice production, little facial expression

Not audible, no rhythm, no voice production, total lack of facial expression

CREATIVITY 10 9 8 7 6 5 4 3 2 1 0

Very creative, ideas well thought out and prepared, performance shows proper practice beforehand

10 60 57 54

9 57 54 51 48 45

8 54 51 48 45 42

Good creativity, thought out ideas and good preparation, practice beforehand satisfactorily

7 48 45 42 38

6 45 42 38 34 30 26-27

Creativity satisfactorily, ideas not thoroughly thought out, needs to practise more

5 26-27 24-25 20-21 16-17 13

4 24-25 20-21 16-17 13 10

Limited creativity, Ideas lack proper thought, needs a lot of practice

3 16-17 13 10 9 8 6

2 10 9 8 6 5


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ANNEXE H (1) NSSCO assessment rubric for unprepared individual performance



Unprepared

performances

TOTAL: 20

PE

RF

OR

MA

NC

E

Very audible, excellent language use, good rhythm, excellent contact with audience, good voice production, excellent facial expression


Not always audible, little use of music/dance, voice production not always clear, some facial expression

Lacks audibility, no use of music/dance, little voice production, little facial expression

Not audible, lack of music/dance and drama, no voice production, total lack of facial expression

CREATIVITY 10 9 8 7 6 5 4 3 2 1 0

Very creative, ideas well thought out and prepared, performance shows some practise beforehand, proper use of levels and stage

10 20 19 18

9 19 18 17 16 15

8 18 17 16 15 14

Good creativity, thought out ideas and good preparation, good use of levels and stage

7 16 15 14 13

6 15 14 13 12 11 10

Creativity satisfactorily, Ideas not thoroughly thought out, little use of levels and stage

5 11 10 9 8 7

4 10 9 8 7 6

Limited creativity, ideas lack proper thought, no use of levels and stage

3 8 7 6 5 7 5

2 6 5 3-4 2 1


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ANNEXE H (2) NSSCO assessment rubric for unprepared group performance



Unprepared

performances

TOTAL: 30 P

ER

FO

RM

AN

CE

Very audible, excellent language use, good rhythm, excellent contact with audience, good voice production, excellent facial expression


Not always audible, little use of music/dance, voice production not always clear, some facial expression

Lacks audibility, no use of music/dance, little voice production, little facial expression

Not audible, lack of music/dance and drama, no voice production, total lack of facial expression

CREATIVITY 10 9 8 7 6 5 4 3 2 1 0

Very creative, ideas well thought out and prepared, performance shows some practice beforehand, proper use of levels and stage

10 30 28 26

9 28 26 25 23 21

8 26 25 23 21 19

Good creativity, thought out ideas and good preparation, good use of levels and stage

7 24 23 21 19

6 23 21 19 17 15 13

Creativity satisfactorily, Ideas not thoroughly thought out, little use of levels and stage

5 13 12 11 10 9

4 12 11 10 9 8

Limited creativity, ideas lack proper thought, no use of levels and stage

3 10 9 8 7 6 5

2 6 5 3-4 2 1

The National Institute for Educational Development Private Bag 2034 Okahandja NAMIBIA Telephone: +264 62 509000 Facsimile: +264 62 509073 E-mail: [email protected] Website: http://www.nied.edu.na

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