Creative Arts

CAPS

Grade

7
Grade

11
Teacher’s Guide

Gabby van Heerden • Dawn Heather Daniels

Joseph Bolton • Bernadia Virasamy

SM_Creative Arts_G7_TG_CAPS_ENG.indd 1 2013/06/05 7:16 PM

 Study & Master

Creative Arts

Grade 7
Teacher’s Guide

Gabby van Heerden • Dawn Heather Daniels

Joseph Bolton • Bernadia Virasamy

SM_Creative
CA Arts_G7_TG_TP_CAPS_ENG.indd
(7ENG).indb 1 1 2013/06/05 7:14PM
6/5/13 8:01:28 PM
 UnitIfTeacher’s
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CA (7ENG).indb 2 6/5/13 8:01:29 PM

 Contents

1. INTRODUCTION 1
1. Curriculum and Assessment Policy Statement (CAPS) 2
2. Creative Arts as a subject 2
3. How
 Study & Master Creative Arts
Grade 7 works 12
4. Grade 7 Term (teaching) Plans 14

2. LESSON-BY-LESSON 65
TERM 1 66
Dance 66
Unit 1 Dance conventions 66
Unit 2 Posture and alignment 68
Unit 3 Warm-up: Walking and running 70
Unit 4 Floor-work 72
Unit 5 Joint mobility 74
Unit 6 Transference of weight from side to side 76
Unit 7 Safe landing from movements of elevation 77
Unit 8 Simple locomotor movement combinations
across space 79
Unit 9 Cool-down 80
Unit 10 The elements of dance 81
Unit 11 Formal assessment: Practical 83

Drama 84
Unit 1 Vocal and physical development 84
Unit 2 Improvised drama 88
Unit 3 Listen and concentrate, act and react 90
Unit 4 Theme and message, setting and plot 92
Unit 5 Characters 94
Unit 6 Physical relationships in space and shaping scenes 96
Unit 7 Spatial arrangements 99
Unit 8 Performing careers 102
Unit 9 Critically reflect on a professional performance 104
Unit 10 Formal assessment: Practical 106

CA (7ENG).indb 3 6/5/13 8:01:29 PM

 Music 107
Unit 1 Music literacy 107
Unit 2 Body percussion and playing musical instruments 111
Unit 3 Music listening 112
Unit 4 Performing and creating music 115
Unit 5 Formal assessment: Practical 118

Visual Arts 119

Unit 1 Create in 2D: Observational drawings 119
Unit 2 Visual literacy: Describe and interpret artworks 122
Unit 3 Create in 3D: An African mask 124
Unit 4 Visual literacy: Communicate your thoughts and
opinions 126
Unit 5 Create in 3D: Earthenware figures 127
Unit 6 Formal assessment: Practical 129

TERM 2  130
Dance 130
Unit 1 What have you learnt so far? 130
Unit 2 Warm-up 132
Unit 3 Floor-work 134
Unit 4 Body-part isolations and arm movements 135
Unit 5 Transference of weight: backward and forward 137
Unit 6 Jump, turn, spot 138
Unit 7 Cool-down 140
Unit 8 The dance elements 142
Unit 9 Formal assessment: Practical 143
Unit 10 Formal assessment: Written 144

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 Drama 146
Unit 1 Vocal and physical development 146
Unit 2 Storytelling techniques 148
Unit 3 Narrative and dialogue 151
Unit 4 Create a narrative and dialogue 154
Unit 5 Vocal modulation, expression and characterisation 155
Unit 6 Movement and physical characterisation 156
Unit 7 Vocal sound effects 159
Unit 8 Careers in the creative team 161
Unit 9 Formal assessment: Written 162
Unit 10 Formal assessment: Practical 163

Music 164
Unit 1 Music literacy 164
Unit 2 Music listening 167
Unit 3 Performing and creating music 169
Unit 4 African drumming 171
Unit 5 Formal assessment: Written 173
Unit 6 Formal assessment: Practical 173

Visual Arts 174

Unit 1 Create in 2D: A scraperboard design 174
Unit 2 Visual literacy: Still life 176
Unit 3 Create in 2D: A still life painting 177
Unit 4 Formal assessment: Practical and written 179

TERM 3 180
Dance 180
Unit 1 Dance forms 180
Unit 2 Floor-work 182
Unit 3 Warming up – leg extensions and brushes 185
Unit 4 Body-part isolations: Hands, arms and feet 186
Unit 5 Jumps and turns 188

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 Unit 6 Dance steps from a South African dance 189
Unit 7 Dance improvisation and composition 192
Unit 8 Formal assessment: Practical 194

Drama 195
Unit 1 Characterisation 195
Unit 2 The relationships between characters 196
Unit 3 Characters in different environments 198
Unit 4 Careers in the support team 200
Unit 5 Drama elements in cultural and social events 202
Unit 6 Actors, audience, space and time 206
Unit 7 Costumes, props and special effects 208
Unit 8 Music and movement 211
Unit 9 Chants, call and response, dialogue 213
Unit 10 Formal Assessment: Practical 215

Music 216
Unit 1 Music literacy 216
Unit 2 Music listening 219
Unit 3 Performing and creating music 221
Unit 4 Formal assessment: Practical 224

Visual Arts 226

Unit 1 Create in 3D: A useful container 226
Unit 2 Visual literacy: The artist in society 228
Unit 3 Formal assessment: Practical  229
Unit 4 Create in 2D: Wet drawing media 229

TERM 4 231
Dance 231
Unit 1 Dance performance 231
Unit 2 Improvisation and composition 236
Unit 3 Formal assessment: Practical 237
Review 238

CA (7ENG).indb 6 6/5/13 8:01:29 PM

 Drama 242
Unit 1 Careers related to drama 242
Unit 2 Storytelling, narrative and dialogue 243
Unit 3 Movement 246
Unit 4 Physical characterisation 248
Unit 5 Vocal characterisation 250
Unit 6 Prepare for a dress rehearsal 251
Unit 7 Formal assessment: Practical examination (1) 253
Unit 8 Formal assessment: Practical examination (2) 253
Review 254

Music 257
Unit 1 Music literacy 257
Unit 2 Music listening 258
Unit 3 In-tune singing 259
Unit 4 Create own vocal music 261
Unit 5 Create own instrumental music 263
Unit 6 Formal assessment: Practical examination 264
Review 265

Visual Arts 266

Unit 1 Create in 2D: A life drawing 266
Unit 2 Create in 2D: Tone and texture 267
Unit 3 Create in 2D: Tonal range of colour 268
Unit 4 Create in 3D: Stick creatures 269
Review  270
Unit 5 Formal assessment: Practical and
written examination 272

3. Formal assessment 273

1. Assessment in Creative Arts in Grade 7  274
2. Programme of assessment  275
3. Formal Assessment Tasks per Creative Arts form 278
4. Recording and reporting  309
5. Photocopiable assessment resources 313

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 4. Resources 333
1. CD: List of tracks 334
2. Memoranda for Examination papers 335
3. Examples of generic assessment tools 344
4. Lesson plan template 348
5. Example lesson plans for each Creative Arts art form 349
6. Other resources 353

5. Documents  355

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 1. Introduction
1. C
 urriculum and Assessment Policy
Statement (CAPS) 2
2. Creative Arts as a subject  2
 ow Study & Master Creative Arts
3. H
Grade 7 works 12
4. Grade 7 Term (teaching) Plans  14

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 1. Curriculum and Assessment Policy Statement
(CAPS)
A single Curriculum and Assessment Policy Statement (CAPS)
exists for each school subject. The CAPS for each subject details the
minimum outcomes and standards of the learning process, as well as
assessment processes and procedures. For more information on the
CAPS, please see Section 1 of the CAPS document for Creative Arts.

2. Creative Arts as a subject

Aims
Creative Arts is a fundamental subject and is therefore compulsory for
all Grade 7 to 9 learners. The subject Creative Arts provides exposure
to and study of a range of art forms including dance, drama, music
and visual arts (including design and crafts).
The main purposes of the subject Creative Arts is to develop
learners as creative, imaginative individuals who appreciate the arts; to
provide learners with the basic knowledge and skills to participate in
arts activities; and to prepare them for possible further study in the art
forms of their choice in Further Education and Training (FET).

In other words, Creative Arts aims to:

• develop creative, expressive and innovative individuals and teams;
• provide learners with exposure to and experiences in dance,
drama, music and visual arts;
• provide access to basic arts education for all learners;
• identify and nurture artistic talent, aptitude and enthusiasm;
• equip learners with adequate basic skills to pursue further studies
in the art forms of their choice;
• develop an awareness of arts across diverse cultures;
• expose learners to the range of careers in the arts;
• develop arts literacy and appreciation;
• develop future audiences and arts consumers; and
• develop life skills through the arts.
Range of art forms in Creative Arts
The art forms dealt with in Creative Arts include:
• Dance
• Drama
• Music
• Visual Arts.
These topics relate to and build on the knowledge, skills and values
taught in Grades R to 6.
You will find an overview of the content covered by the four art
forms on pages 3–11.

2 INTRODUCTION

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 Overview of topics covered in each art form

CA (7ENG).indb 3
Art Topic Grade 7 Grade 8 Grade 9
form
Dance Topic 1 • Dance conventions: greeting, use of space, • Dance conventions: safe environment, • Dance conventions: use of space, respect
Dance controls code of conduct for others, class discipline
performance • Warm-up: gradually building up a warm- • Warm-up: gradually building up a warm-up • Warm-up: gradually building up a warm-up
up ritual and introduction to principles of ritual focusing on posture and alignment ritual with focus on safe dance practice,
posture and alignment • Floor work: core stability, breathing, placement and kinaesthetic awareness
• Floor work: limbering; joint mobility strengthening limbs, hands and arms • Floor work: core stability and side bends;
• Body-part isolation coordination hip mobility and strengthening exercises of
• Arm movements for coordination and • Body-part isolation combining different the legs and feet
mobility body parts • Body part isolation with increasing
• Leg muscles and joint mobility, • Arm movements and hand gestures for complexity and patterning
strengthening and control: knee bends coordination and control • Arm exercises to develop fluidity
and rises, simple leg brushes/shuffles and • Leg muscles and joint mobility, • Leg muscles and joint mobility
footwork strengthening and control: knee bends strengthening, and control: knee bends
• Turns: introduction to turning with and rises in parallel and turned-out and rises, with coordinating arms; low
‘spotting’ (eye focus) positions; low brushes, lunges, circular leg and high brushes, balancing on one
• Transfer of weight from side to side, movements and kicks/extensions leg, circular leg movements and kicks/
forward and backward • Turns on the spot and on one leg with extensions in all directions
• Preparation for aerial movement with spotting • Turns: travelling with spotting
safe landings, foot isolations, locomotor • Transfer of weight changing directions • Transfer of weight at a slow pace with
movements and steps with rhythmic • Articulation of the feet and jumps/ control and balance
variations footwork sequences with safe landings, • Building stamina through jumping,
• Steps from a South African dance travelling and aerial movement step-hops, galloping and leaping with
• Cooling down and stretching combinations across the floor changing coordinating arm movements and changes
directions, using a range of music genres of directions, to varied music genres
and rhythms and rhythms with variations in dynamics
• Steps and sequences from a social or (speed, energy)
popular dance • Dance steps and style from an indigenous
• Presentation skills: eye focus, commitment South African culture
to movements, memory of dance steps • Short fast dance sequences with attention
• Cooling down: flowing lyrical movements to detail, commitment to movement, focus,
to slow, calm music with stretching musicality and spatial awareness between
dancers

INTRODUCTION
• Cooling down with flowing lyrical
movement and relaxation imagery
followed by gentle slow stretching

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CA (7ENG).indb 4
4
Art Topic Grade 7 Grade 8 Grade 9
form
Topic 2 • Dance elements • Dance elements • Dance elements: contrasting dynamics
Dance ——Space — levels, directions, pathways, ——Space — symmetry and asymmetry, • Natural gestures with exaggeration, slow
improvisation shape, size patterning motion and repetition
and ——Time — tempo, rhythm, accent ——Time — slow motion, double time, • Composition structures: beginnings and
composition ——Force — flow of energy syncopation and polyrhythms endings, repetition, stillness, transitions,
• Relationships: working in pairs/groups ——Force — weight, energy, gravity, unison and canon
• Movement vocabulary in response to counterbalance • Relationships: meeting and parting, call

INTRODUCTION
different stimuli • Locomotor and non-locomotor and response, blind and guide, positive
• Eye contact and eye focus movements, varying directions, levels and and negative shapes, giving and receiving
• Composition of a short dance sequence tempo weight
based on a South African picture, • Relationships: leading and following, • Composition based on different stimuli
photograph or theme unison movement, active and passive
• Gestures: literal to abstract
• Composition exploring an idea, mood or
thought
Topic 3 • Dance terminology introduced in practical • Dance terminology introduced in practical • Dance terminology introduced in practical
Dance theory classes classes classes
• Importance of posture and alignment • Code of conduct • Principles of posture and alignment
• Importance of warming up and cooling • Purpose of warming up and cooling down • Use of core, use of spine, safe landings
down • Social/popular dance • Self-reflection on own dance experiences
• Importance of spotting • Dance and related careers • Dance literacy: simple analysis of own
• Dance literacy: own and others’; how • Dance literacy: description of a dance seen dances and dances seen on stage, in
movements convey meaning in the community, on television or on stage communities, on television, or on DVD
• Dance elements: space, time, energy/force, • Comparison between the dance forms in
relationships South Africa
• Different dance forms (at least 3)

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 Art Topic Grade 7 Grade 8 Grade 9
form

CA (7ENG).indb 5
Drama Topic 1 Vocal development Vocal development Vocal development
Dramatic Explore Explore Explore
skills • relaxation exercises • relaxation exercises • relaxation exercises
development • breathing exercises: awareness of breath • breathing exercises: breath control and • breathing exercises: breath control and
• resonance exercises capacity capacity
• articulation exercises and tongue twisters • correct posture and alignment (neutral • correct posture and alignment (neutral
• exercises for audibility in classroom drama position) position)
• vocal expressiveness in spontaneous • tone and resonance exercises • tone and resonance exercises
conversation and presentation • articulation exercises • articulation exercises
• interpretation skills, using pause, pitch, • projection exercises
Physical development pace, stress, intonation and tone • modulation exercises
• Release of tension, loosening and • exercises for audibility in classroom drama • interpretation skills, using pause, pitch,
energising the body pace, projection, intonation and tone
• Controlled focused movements through Physical development
mirror work • Release of tension, loosening and Physical development
• Warm-up using imagery to explore energising the body • Release of tension, loosening and
movement dynamics • Concentration and focus in movement energising the body
• Lead and follow movements in pairs, small • Trust exercises • Development of focus through exercises
groups and as a class • Creating character and mood through • Spinal warm-up
movement • Isolating body parts to tell story, express
mood or character
• Understanding purpose of warming up and
cooling down
• Creating an environment through the body
• Physical characterisation
Topic 2 Short improvised dramas to explore structure Written sketch or polished improvisations: Classroom drama reflecting cultural
Drama of drama: beginning, middle and end • Theme(s) related to a social or practices:
elements in • Shape and development of the scene environmental issue for the drama • Integration of cultural practices into the
playmaking • Exploration of relevant themes • Isolating and developing a topic from the classroom drama, e.g. rituals, ceremonies
• Groupings and physical relationships in research and symbols
space • Structure of the performance • Purpose of performance
• Consideration of the audience in exploring • Shape and focus of the performance • Basic staging conventions
different spatial arrangements • Specialised style, e.g. melodrama, comedy, • Exploration of performance space:
• Characterisation: observe, imitate and tragedy, farce, musical and puppet show appropriate groupings and movement
invent detail • Technical resources to enhance the patterns

INTRODUCTION
• Drama elements in cultural and social performance • Technical elements: design, develop and
events compared to their use in theatre make
• Reflection on drama: give and receive

5
feedback constructively

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CA (7ENG).indb 6
6
Art Topic Grade 7 Grade 8 Grade 9
form
Topic 3 Interpretation and performance techniques Interpretation and performance techniques Interpretation and performance techniques
Interpretation in: in: in:
and • folktales • indigenous poems/praise poetry written • poetry or dramatised prose or monologue
performance • choral verse by South African poets, performed • scene work (theatre/television) or radio
of selected • reflection on own and others’ individually and/or in groups dramas
dramatic performances, constructive feedback • dialogues or dramatised prose or
forms indigenous storytelling

INTRODUCTION
Topic 4 Appreciation and reflection of at least ONE • Appreciation and reflection based on • Appreciation and reflection based on peer
Appreciation professional performance, preferably live, peer interpretation and performance interpretation of the polished improvised
and reflection through the course of the year of polished improvisation, using drama performance, using drama terminology
terminology • Appreciation and reflection of the poetry
• Appreciation and reflection of the poetry or dramatised prose or monologue, radio
performance, dialogues or dramatised drama or scene, using drama terminology
prose or indigenous storytelling, using • Appreciation and reflection of at least ONE
drama terminology professional performance, preferably live,
• Appreciation and reflection of at least ONE through the course of the year
professional performance preferably live,
through the course of the year
Topic 5 Exploration: • Accessible and relevant media • Positive and negative effects of media
Media and • Performers • Media forms such as film, television, radio, • Stereotyping (including typecasting,
careers • The creative team documentaries and the Internet labelling, stock characters) in stories,
• The support team • Drama elements in the selected media theatre, film, television and radio
• Related fields of study form • Stereotyping according to age, gender,
class/status and culture, etc.

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CA (7ENG).indb 7
Art Topic Grade 7 Grade 8 Grade 9
form
Music Topic 1 • Letter names of notes on the treble clef Duration Duration and pitch
Music literacy • Revision of the concept of note values • Meter — 2/4; 3/4; 4/4; compound duple 6/8 • Writing the scales of C, G, D and F major in
(already covered in Grades 4—6) and cover • Reading (clapping or playing) music in 2/4; the treble and bass clefs
all note values 3/4; 4/4; compound duple 6/8 • Key signatures of C, G, D and F major
• Clapping or drumming short rhythmic • Ledger lines
phrases that use crotchets, minims and Pitch • Intervals
quavers • Consolidation of the construction of the • Triads
major scale: C, G, D and F major • Writing of C, G, D and F major scales in the
Pitch • Reading (singing or playing) music in the treble clef rhythmically using note values
• Sight singing melodic phrases from known keys of C, G, D and F major learnt
and unknown songs using tonic solfa • Music terminology • Reading (singing or playing) music in the
• Following musical scores while listening to • Tempo: moderato, presto, ritardando, a keys of C, G, D and F major using either
music tempo tonic solfa or humming
• Duration: Introduction of the dotted note, • Articulation: legato, staccato
also in relation to:
——crotchets
——quavers
——minims
——semibreves
——dotted minim
• Treble and bass clef
• Duration: consolidation of content learned
• Treble and bass clef
• Letter names of notes on the treble and
bass clef
• Clapping or drumming polyrhythmic
phrases

INTRODUCTION
7

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CA (7ENG).indb 8
8
Art Topic Grade 7 Grade 8 Grade 9
form
Topic 2 • Listening to performed music and • Active listening to identify the elements • Listening to the sound of the families of
Music identifying or describing the: and principles of music in a variety of orchestral instruments and describing how
listening ——beats including — duple (two beats), musical styles (Western Classical, African, sound is produced:
triple (three beats) and quadruple (four Indian, popular music): ——strings
beats) meter ——Meter (duple, triple and quadruple) ——woodwind
——instruments used in the performance ——Dynamics (piano, forte) ——brass
——the story the music is telling (sad/happy, ——Repetition (rhythmic and melodic) ——percussion

INTRODUCTION
recognising a dance, march, etc.) ——Contrasts in tempo and texture • Listening to one of the following styles:
• Following simple musical scores while ——Meaning of the lyrics Reggae, kwaito, R&B, African jazz
listening to music • Listening to the sound of the families of • Writing own impression of the music
• Active listening to a variety of recorded instruments and describing how the sound focusing on the
or live music by clapping or humming or is produced: ——artist/s
moving ——membranophones ——special features of the music with regard
• Listening to a variety of recorded or live ——idiophones to rhythm, tempo, instruments, voices
music and describing the: ——chordophones • Story of the music/lyrics
——Meter of the music as duple or triple or ——aerophones ——Listening to excerpts from a musical (e.g.
quadruple time • Listen to recorded or live music and West Side Story) or an opera (e.g. Magic
——Tempo (fast/slow) identifying the sound of instruments in Flute, Nabucco)
——Dynamics (soft/loud) a variety of works using the following ——Writing a storyline of a musical/opera
——Meaning or story of the music instruments: • Sing along with one of the choruses/solos
——Lyrics of the music ——chordophones • Discussion of the National Anthem
——Texture of the music ——idiophones reflecting on the: contributors to the
• Creating a graphic score ——membranophones anthem; and the meaning of the text of the
(sound picture) of a musical piece that has ——aerophones anthem
been listened to, e.g. storm, rain • Listening to recorded or live music and
writing own impression focusing on:
——message of the music (lyrics)
——instruments/voices used
——tempo
——dynamics

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CA (7ENG).indb 9
Art Topic Grade 7 Grade 8 Grade 9
form
Topic 3 • Breathing exercises • Breathing and technical exercises suitable • Breathing and technical exercises suitable
Performing • Developing the ability to sing in tune for the instrument or voice for the instrument or voice
and creating through a repertoire of songs that include: • Group or solo performances from the • Group or solo performances from the
music ——the National Anthem of South Africa standard repertoire of Western/African/ standard repertoire of Western/African/
——folksongs (indigenous songs, cultural Indian/popular musical styles: Indian/popular musical styles:
songs) ——choral works ——choral works
——popular music ——group instrumental works ——group instrumental works
——light music ——solo vocal works ——solo vocal works
——rounds ——solo instrumental works ——solo instrumental works
——part singing (songs with descants) • Creating own music in group and solo • Writing own music in group and solo
• Accompanying songs with body context by composing a musical work and context by rhythmic and melodic
percussion, found or self-made adding another art form to it completion of a four-bar phrase in C, G, D
instruments, traditional instruments, Orff and F major after the first two bars have
instruments been given
• Playing music from graphic scores • Group or solo performances from the
• Creating instrumental music in group and standard repertoire of Western/African/
solo context: Indian/popular musical styles focusing on
——rhythmic repetition through clapping or a performance of the music learners were
drumming asked to appraise in Topic 2
• Continuous development of in-tune singing • Creating own music in group and solo
through a repertoire of songs that include context
instruments learners may be studying • Adding music to words (two lines)
(optional) • Group or solo performances from the
• Performing and composing music that appropriate repertoire of Western/African/
uses non–conventional notation, e.g. Indian/popular musical styles
graphic scores • Adding music to words of a poem (four
• African drumming lines)
• Creating own vocal and instrumental • Creating an advertisement for a product
music in group and solo context: or event using own lyrics and music
——melodic repetition (vocal or
instrumental)
——melodic question and answer (vocal or
instrumental)
——rhythmic improvisation on an ostinato or

INTRODUCTION
riff by clapping or drumming
——vocal or melodic improvisation on an
ostinato or riff

9
——rhythmic improvisation on African drums

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CA (7ENG).indb 10
Art Topic Grade 7 (cont.) Grade 8 Grade 9

10
form
• Performing music that uses non-
conventional notation, e.g. graphic scores
• Creating a sound picture based on a story
or poem using the voice or instruments
——light music
——rounds
• Creating own vocal and instrumental

INTRODUCTION
music in group and solo context:
——rhythmic and melodic improvisation on
an ostinato or riff
• Writing own four-line song lyrics and
melody based on a social issue
Visual Topic 1 Own and wider world: Own and wider world: Own and wider world:
Arts Create in 2D • Observation and interpretation of own • Observation and interpretation of own and • Observation and interpretation of global
visual world through various approaches broader visual world through increasing visual world through increasing complexity
to complexity of of
——drawing (line, tone, texture, mark-making) ——drawing ——drawing
——painting (colour-mixing, brush ——painting ——painting
manipulation, personal interpretation) ——exploration of media ——exploration of media
——exploration of a variety of media ——etching techniques ——etching techniques
——simple etching techniques (e.g.
scraperboard) Using Using
• art elements (same as before, but include • art elements (same as before, but include
Using analogous/related colour) analogous/related colour)
• art elements (shape, line, tone, texture, • design principles • design principles
colour to include complementary colour, • drawing and painting with extended use of • drawing and painting with extended use of
monochromatic colour) media and techniques media and techniques
• design principles • design projects • design projects
• design projects using art elements and • lettering and design projects • lettering and design projects
design principles • pattern-making • pattern-making
• lettering and design projects: images and • variation of paper size and format • variation of paper size and format
text
• pattern-making (drawings, collages,
designs, surface decorations)
• variation of paper size and format
(different scale and degrees of detail)

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CA (7ENG).indb 11
Art Topic Grade 7 (cont.) Grade 8 Grade 9
form
Topic 2 • Three-dimensional art works and design • Three-dimensional art works and design • Three-dimensional art works and design
Create in 3D projects based on own world focusing on projects of increasing complexity based on projects of increasing complexity based on
art elements and design principles with wider world focusing on art elements and global world focusing on art elements and
emphasis on accurate or imaginative design principles design principles
representation; conscious use of • Themes to explore the social world, and • Themes to explore current events in the
space; spatial awareness: developing popular culture global world
understanding of plane, depth and visual • More complex construction and modelling • Personalised construction and modelling
perspective techniques to deepen spatial awareness techniques to further deepen spatial
• Themes to explore learner’s interests • Extended manipulation of a variety awareness
• Construction and modelling techniques to of materials and tools using good • More complex manipulation of a variety
explore spatial awareness craftsmanship and safety precautions of materials and tools using good
• Manipulation of a variety of materials and • Concern for the environment: use of craftsmanship and safety precautions
tools using good craftsmanship and safety recyclable materials • Concern for the environment: use of
precautions recyclable materials
• Concern for the environment: use of
recyclable materials
Topic 3 • Communication skills: express, identify/ • Communication skills: express, identify/ • Communication skills: express, identify/
Visual literacy name, question and reflect through name, question and reflect through name, question and reflect through
looking, talking, listening and writing about looking, talking, listening and writing about looking, talking, listening and writing about
the visual world through the language of the visual world through the language of the visual world through the language of
art elements and design principles art elements and design principles art elements and design principles
• Interpret, analyse and recognise symbolic • Interpret, analyse and recognise symbolic • Interpret, analyse and recognise symbolic
language with reference to language with reference to language with reference to
——buildings ——creative lettering ——portraits
——still life ——functional containers ——the role of the artist
——local craft and crafters ——fashion design careers in the arts ——social commentary
——masks • The role of the artist in wider society and ——popular culture
——groups of figures careers in the arts and design fields ——design in public commentary
• The role of the artist in own society as • Developing research skills • The role of the artist in global society
contributor and observer • Planning and preparation: with guidance, as contributor, observer and social

INTRODUCTION
• Introducing research skills collect resources, visual information and commentator
preliminary drawings and sketches in • Further development of research skills
preparation for the final projects • Planning and preparation: same as before

11
but works independently

6/5/13 8:01:30 PM
 Time allocation and time-tabling
Creative Arts is allocated two hours per week in Grades 7–9. To allow
for depth of study and to prepare learners for arts subject choices from
Grade 10–12, learners study only TWO art forms.

Topic Number of
hours per year
Dance 40
Drama 40
Music 40
Visual Arts 40
Contact time 70
Examinations 10
Total hours 80
Total weeks 40

For information on assessment in Creative Arts, please see Section 3

of this Teacher’s Guide.

3. How Study & Master Creative Arts Grade 7 works

Course components
Study & Master Creative Arts Grade 7 consists of a:
• Learner’s Book
• Teacher’s Guide with a CD.
Learner’s Book
The Learner’s Book is divided into four terms that cover the four
art forms for Creative Arts in the same order as they appear in the
Annual Teaching Plan of the CAPS document. Thus each term in the
Learner’s Book is divided as follows:
• Creative Arts art forms
• Units
• Activities.
There is a revision section (called ‘Review’) at the end of Term 4 which
learners can use to revise the years’ work in preparation for the written
assignment or tests at the end of Term 2 and the end-of-year examination.
Formal assessment opportunities for each arts form are included in the
Learner’s Book where appropriate:
Term 1: Practical assessment test
Term 2: Written assignment test; and Practical assignment test
Term 3: Practical assessment
Term 4: Practical examination; and Written examination
Teacher’s Guide
The Teacher’s Guide provides information and guidance on:
• Creative Arts as a subject (Section 1)
• planning for the Grade 7 year and lessons (Sections 1 and 2)
• using the units in the Learner’s Book to create lessons (Section 2)
• suggested answers for activities in the Learner’s Book (Section 2)

12 INTRODUCTION

CA (7ENG).indb 12 6/5/13 8:01:30 PM

 • consolidation and extension activity suggestions (Section 2)
• informal assessment suggestions (Section 2)
• a Programme of Assessment (Section 3)
• model end-of-year examination paper (Section 3)
• guidance on the assessment of all Formal Assessment Tasks (Section 3)
• memoranda for all Formal Assessment Tasks (Section 3)
• recording and reporting of Formal assessment (Section 3)
• a list of the items on the accompanying CD (Section 4)
• additional resources on all Creative Arts topics (Section 4).
Section 2 mirrors the Learner’s Book and is divided into terms.
All terms indicate how the units in the Learner’s Book can be used
to create lessons.
Inclusivity
An important part of teaching is to accommodate all learners, including
those who experience barriers to learning. Study & MasterCreative Arts
takes into account that learners come from different backgrounds and
have different abilities. So it offers learning material that learners can
relate to while extending their learning and experiences. There are a
variety of types of activities – activities that appeal to learners of all levels
and backgrounds, and that offer opportunities to work individually, in
pairs, in groups or as a whole class. This Teacher’s Guide also provides
consolidation and extension activities for each unit, which teachers need
when they have to manage a class of diverse learners.
A note about inclusivity and diversity
As a teacher of Creative Arts, you need to be able to recognise and be
sensitive to issues of diversity, such as poverty, inequality, race, gender,
language, age, and varying physical or intellectual abilities/challenges.
By its very nature, Creative Arts lends itself to encouraging all learners
to discover and develop their confidence, self-discipline, focus and
creativity to the best of their abilities. Your role as the teacher is
to encourage and support learners so that they feel safe enough to
participate in their chosen art form in an active and meaningful way.
The steps below will help you to ensure that inclusivity is a central
part of all your planning and teaching.

Steps to address barriers to learning

Step 1 Identify and list barriers to learning and to inclusivity in each class (for example, socio-
economic background, race, gender, physical and/or intellectual ability, language).
Step 2 List the support you or others can provide to address these barriers to learning (for
example, how can you adapt teaching strategies to ensure inclusivity?).
Step 3 Plan ways of creating a safe context for all learners in which they can explore their
creativity.
Step 4 Organise your class and lessons to encourage all learners to participate, collaborate,
explore and present the art form they are engaged with.
Step 5 Plan how you can encourage all learners to develop an awareness of barriers to
learning, to be sensitive to the needs and abilities/challenges of others, and to provide
relevant support where possible.
Step 6 Decide how you can assist all learners to develop an awareness of arts across diverse
cultures.

INTRODUCTION 13

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CA (7ENG).indb 14
4. Grade 7 Term (teaching) Plans

14
The table below indicates how Study & Master Creative Arts Grade 7
covers all the requirements of the CAPS for Creative Arts and how it is
intended for use in each of the 40 weeks in the school year.

TERM ONE
Dance

INTRODUCTION
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1 1. Dance conventions 45 minutes Topic 1: Dance performance Recommended:
per week • Dance conventions: setting up a safe classroom environment (control Music system with CD
cues, cleanliness, personal hygiene); establish conventions for entering, player/iPod; CDs or
leaving and greeting; establish a classroom code of conduct; establish percussion instruments
codes for required dancewear, appropriate use of space (own and Learner’s Book pp. 3—5
others), respect for and sensitivity to other dancers, trust exercises Teacher’s Guide pp. 66—68
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
2 2. Posture and 45 minutes Topic 1: Dance performance Recommended:
alignment per week • Dance conventions: setting up a safe classroom environment (control Music system with CD
cues, cleanliness, personal hygiene); establish conventions for entering, player/iPod; CDs or
leaving and greeting; establish a classroom code of conduct; establish percussion instruments
codes for required dancewear, appropriate use of space (own and Learner’s Book pp. 6—7
others), respect for and sensitivity to other dancers, trust exercises Teacher’s Guide pp. 68—70
• Introduction to principles of posture and alignment
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force, relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of good posture and alignment

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 Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

CA (7ENG).indb 15
3 3. Warm-up: Walking 45 minutes Topic 1: Dance performance Recommended:
and running per week • Dance conventions: setting up a safe classroom environment (control Music system with CD
cues, cleanliness, personal hygiene); establish conventions for entering, player/iPod; CDs or
leaving and greeting; establish a classroom code of conduct; establish percussion instruments
codes for required dancewear, appropriate use of space (own and Learner’s Book pp. 8—9
others), respect for and sensitivity to other dancers, trust exercises Teacher’s Guide pp. 70—72
• Introduction to principles of posture and alignment
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force, relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment
4 4. Floor-work 45 minutes Topic 1: Dance performance Recommended:
per week • Dance conventions: setting up a safe classroom environment (control Music system with CD
cues, cleanliness, personal hygiene); establish conventions for entering, player/iPod; CDs or
leaving and greeting; establish a classroom code of conduct; establish percussion instruments
codes for required dancewear, appropriate use of space (own and Learner’s Book pp. 10—11
others), respect for and sensitivity to other dancers, trust exercises Teacher’s Guide pp. 72—74
• Introduction to principles of posture and alignment
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force, relationships
• Exploration of elements of dance: space — shape, dimension, level,

INTRODUCTION
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)

15
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

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CA (7ENG).indb 16
16
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
5 5. Joint mobility 45 minutes Topic 1: Dance performance Recommended:
per week • Dance conventions: setting up a safe classroom environment Music system with CD
(control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book pp. 12–14
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 74—76
trust exercises
• Introduction to principles of posture and alignment

INTRODUCTION
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

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CA (7ENG).indb 17
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
6 6. Transference of 45 minutes Topic 1: Dance performance Recommended:
weight from side to side per week • Dance conventions: setting up a safe classroom environment Music system with CD
(control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book pp. 15—16
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 76—77
trust exercises
• Introduction to principles of posture and alignment
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
• Transference of weight from side to side
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

INTRODUCTION
17

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CA (7ENG).indb 18
18
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
7 7. Safe landing from 45 minutes Topic 1: Dance performance Recommended:
movements of elevation per week • Dance conventions: setting up a safe classroom environment Music system with CD
(control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book p. 17
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 77—78
trust exercises
• Introduction to principles of posture and alignment

INTRODUCTION
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
• Transference of weight from side to side
• Preparation for safe landing from movements of elevation/aerial
movements — small jumps from two feet landing ‘toe-ball-heel-bend’
• Simple locomotor movement combinations across space: running,
skipping and galloping
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

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CA (7ENG).indb 19
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
7 8. Simple locomotor 45 minutes Topic 1: Dance performance Recommended:
movement per week • Dance conventions: setting up a safe classroom environment Music system with CD
combinations across (control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
space for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book p. 18
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 79—80
trust exercises
• Introduction to principles of posture and alignment
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
• Transference of weight from side to side
• Preparation for safe landing from movements of elevation/aerial
movements — small jumps from two feet landing ‘toe-ball-heel-bend’
• Simple locomotor movement combinations across space: running,
skipping and galloping
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

INTRODUCTION
19

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CA (7ENG).indb 20
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

20
8 9. Cool-down 45 minutes Topic 1: Dance performance Recommended:
per week • Dance conventions: setting up a safe classroom environment Music system with CD
(control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book p. 19
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 80—81
trust exercises
• Introduction to principles of posture and alignment

INTRODUCTION
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
• Transference of weight from side to side
• Preparation for safe landing from movements of elevation/aerial
movements — small jumps from two feet landing ‘toe-ball-heel-bend’
• Simple locomotor movement combinations across space: running,
skipping and galloping
• Cooling down with safe slow stretching
15 minutes Topic 2: Dance improvisation and composition
per week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topic 1)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

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CA (7ENG).indb 21
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
9 10. The elements of 45 minutes Topic 1: Dance performance Recommended:
dance per week • Dance conventions: setting up a safe classroom environment Music system with CD
(control cues, cleanliness, personal hygiene); establish conventions player/iPod; CDs or
for entering, leaving and greeting; establish a classroom code of percussion instruments
conduct; establish codes for required dancewear, appropriate use of Learner’s Book pp. 20—24
space (own and others), respect for and sensitivity to other dancers, Teacher’s Guide pp. 81—83
trust exercises
• Introduction to principles of posture and alignment
• Warm-up: walking and running, interspersed with freezes that show
variation in shape, direction and level
• Introduction to floor-work for core stability, strength and flexibility:
flexing and stretching feet, rounding/lengthening of the spine
• Joint mobility: knee bends and rises on two legs with legs in parallel
position and outwardly rotated at the hips
• Transference of weight from side to side
• Preparation for safe landing from movements of elevation/aerial
movements — small jumps from two feet landing ‘toe-ball-heel-bend’
• Simple locomotor movement combinations across space: running,
skipping and galloping
• Cooling down with safe slow stretching
15 minutes per Topic 2: Dance improvisation and composition
week • Introduction to elements of dance: space, time, energy/force,
relationships
• Exploration of elements of dance: space — shape, dimension, level,
direction, pathways
• Exploration of elements of dance: time — duration, tempo, accent,
phrases — using rhythm-steps, e.g. stamps, claps, body percussion
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Dance terminology
• Importance of warming-up
• Importance of good posture and alignment

INTRODUCTION
• Discussion of elements of dance: space and time
10 11. Formal assessment: 1 hour Technique and improvisation (space, time) Learner’s Book p. 25
Practical Teacher’s Guide p. 83

21

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CA (7ENG).indb 22
Drama

22
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—2 1. Vocal and physical 15 minutes per Topic 1: Dramatic skills development Recommended:
development week Teacher–devised warm–up routine Drum/tambourine
(2 hours 30 Vocal development Learner’s Book pp. 27—30
minutes per term) • Relaxation exercises Teacher’s Guide pp. 84—88
• Breathing exercises
• Resonance exercises
• Articulation exercises

INTRODUCTION
Physical development
• Release tension, loosen up and energise the body
• Lead and follow movements in pairs, small groups and as a class
1—2 2. Improvised drama 15 minutes per Topic 1: Dramatic skills development Recommended:
week Teacher–devised warm–up routine Drum/tambourine,
Vocal development pictures, newspaper
• Relaxation exercises articles, etc. used as
• Breathing exercises stimulus in playmaking
• Resonance exercises Learner’s Book pp. 31—33
Physical development Teacher’s Guide pp. 88—89
• Release tension, loosen up and energise the body
• Mirror work in pairs and small groups (slow and smooth movements
while one learner leads the movement and the other follows, extend
to four learners in a diamond shape, facing the same direction.
Person at the head of the diamond leads.)
• Lead and follow movements in pairs, small groups and as a class
45 minutes per Topic 2: Drama elements in playmaking
week Playmaking/group improvisation — structure, grouping, shape, climax
(6 hours 30 • Develop several short improvised dramas in groups of two to four
minutes per term) learners, with a beginning, middle and end
• Ask the questions: who, what, where and when
• Reflection and feedback: discussion of learners’ experience and
exploring ways for improvement

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CA (7ENG).indb 23
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
3 3. Listen and 15 minutes Topic 1: Dramatic skills development Recommended:
concentrate, act and per week Teacher–devised warm–up routine Drum/tambourine,
react Vocal development pictures, newspaper
• Relaxation exercises articles, etc. used as
• Breathing exercises stimulus in playmaking
• Resonance exercises Learner’s Book pp. 34—35
Physical development Teacher’s Guide pp. 90—91
• Release tension, loosen up and energise the body
• Mirror work in pairs and small groups (slow and smooth movements
while one learner leads the movement and the other follows, extend
to four learners in a diamond shape, facing the same direction.
Person at the head of the diamond leads.)
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Playmaking/group improvisation — structure, grouping, shape, climax
• Develop several short improvised dramas in groups of two to four
learners, with a beginning, middle and end
• Ask the questions: who, what, where and when
• Explore listening and concentrating, action and reaction (using clues
from one another’s reactions to build the drama together)
• Reflection and feedback: discussion of learners’ experience and
exploring ways for improvement
4 4. Theme and message, 15 minutes Topic 1: Dramatic skills development Recommended:
setting and plot per week Teacher–devised warm–up routine Drum/tambourine,
Physical development pictures, newspaper
• Use imagery to warm-up the body and explore movement dynamics articles, etc. used as
45 minutes Topic 2: Drama elements in playmaking stimulus in playmaking
per week Playmaking/group improvisation — structure, grouping, shape, climax Learner’s Book pp. 36—38
• Develop several short improvised dramas in groups of two to four Teacher’s Guide pp. 92—94
learners, with a beginning, middle and end
• Ask the questions: who, what, where and when
• Explore themes of relevance to the learners

INTRODUCTION
• Group according to the characters, space, theme, message of the
improvised drama
• Reflection and feedback: discussion of learners’ experience and

23
exploring ways for improvement

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

24
5 5. Characters 15 minutes Topic 1: Dramatic skills development Recommended:
per week Teacher–devised warm–up routine Drum/tambourine,
Vocal development pictures, newspaper
• Relaxation exercises articles, etc. used as
• Breathing exercises stimulus in playmaking
• Resonance exercises Learner’s Book pp. 39—40
• Articulation exercises Teacher’s Guide pp. 94—96
Physical development

INTRODUCTION
• Release tension, loosen up and energise the body
• Mirror work in pairs and small groups (slow and smooth movements
while one learner leads the movement and the other follows, extend
to four learners in a diamond shape, facing the same direction.
Person at the head of the diamond leads.)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Playmaking/group improvisation — structure, grouping, shape, climax
• Develop several short improvised dramas in groups of two to four
learners, with a beginning, middle and end
• Ask the questions: who, what, where and when
• Group according to the characters, space, theme, message of the
improvised drama
• Explore physical relationships in space: proximity of people to one
another, using levels, point of focus in the picture
• Reflection and feedback: discussion of learners’ experience and
exploring ways for improvement

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CA (7ENG).indb 25
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
6 6. Physical 15 minutes Topic 1: Dramatic skills development Recommended:
relationships in space per week Teacher–devised warm–up routine Drum/tambourine,
and shaping scenes Vocal development pictures, newspaper
• Relaxation exercises articles, etc. used as
• Breathing exercises stimulus in playmaking
• Resonance exercises Learner’s Book pp. 41—43
Physical development Teacher’s Guide pp. 96—98
• Release tension, loosen up and energise the body
• Mirror work in pairs and small groups (slow and smooth movements
while one learner leads the movement and the other follows, extend
to four learners in a diamond shape, facing the same direction.
Person at the head of the diamond leads.)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Playmaking/group improvisation — structure, grouping, shape, climax
• Group according to the characters, space, theme, message of the
improvised drama
• Exploring physical relationships in space: proximity of people to one
another, using levels, point of focus in the picture
• Shape and develop the scenes — using tableaux (frozen/picture/still
image) to focus the action
• Reflection and feedback: discussion of learners’ experience and
exploring ways for improvement

INTRODUCTION
25

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CA (7ENG).indb 26
7 7. Spatial arrangements 15 minutes Topic 1: Dramatic skills development Recommended:

26
per week Teacher–devised warm–up routine Drum/tambourine,
Vocal development pictures, newspaper
• Relaxation exercises articles, etc. used as
• Breathing exercises stimulus in playmaking
• Resonance exercises Learner’s Book pp. 44—46
• Articulation exercises Teacher’s Guide pp. 99—102
Physical development
• Release tension, loosen up and energise the body

INTRODUCTION
• Mirror work in pairs and small groups (slow and smooth movements
while one learner leads the movement and the other follows, extend
to four learners in a diamond shape, facing the same direction.
Person at the head of the diamond leads.)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Playmaking/group improvisation — structure, grouping, shape, climax
• Explore themes of relevance to the learners
• Group according to the characters, space, theme, message of the
improvised drama
• Consider spatial arrangements: where/how the audience views the
picture (use a variety of arrangements, e.g. end-on, in the round, into
the corner)
• Reflection and feedback: discussion of learners’ experience and
exploring ways for improvement
8 8. Performing careers 1 hour Topic 5: Careers Recommended:
Explore performing careers including actors (theatre, film), dancers, Drum/tambourine,
singers, clowns, stand-up comedians, etc. pictures, newspaper
articles, etc. used as
stimulus in playmaking
Learner’s Book pp. 47—49
Teacher’s Guide pp. 102—104
9 9. Critically reflect 1 hour Topic 2: Drama elements in playmaking Learner’s Book pp. 50—51
on a professional Playmaking/group improvisation — structure, grouping, shape, climax Teacher’s Guide pp. 104—106
performance Critical reflection on professional performance, preferably live.
NOTE: This can be moved elsewhere in the year, if more convenient for
the school.
10 10. Formal assessment: 1 hour Classroom improvisation: Process and performance (group work) Learner’s Book p. 52
Practical Teacher’s Guide p. 106

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Music
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—5 1. Music literacy 15 minutes per Topic 1: Music literacy Recommended:
week • Treble clef Musical instruments,
• Letter names of notes on the treble clef songbooks/file resource
• Duration: Concepts of all notes values: with or without CD
——semibreve with music and/or
——minim accompaniments for
——crotchet songs, DVDs
——quaver Learner’s Book pp. 54—59
——semi-quaver Teacher’s Guide pp. 107—110
• Clapping or drumming short rhythmic phrases that use crotchets,
minims and quavers
• Pitch:
——Sight singing melodic phrases from known and unknown songs
using tonic solfa
• Follow musical scores while listening to music
6—9 2. Body percussion 15 minutes per Topic 1: Music literacy Recommended:
and playing musical week • Clapping or drumming short rhythmic phrases that use crotchets, Musical instruments,
instruments minims and quavers songbooks/file resource
• Follow musical scores while listening to music with or without CD
30 minutes per Topic 3: Performing and creating music with music and/or
week • Accompanying songs with body percussion, found or self-made accompaniments for
instruments, traditional instruments, Orff instruments songs, DVDs; musical
• Playing music from graphic scores scores, tuned and untuned
• Creating instrumental music in group and solo context using: instruments
——rhythmic repetition through clapping or drumming; Learner’s Book pp. 60—62
——rhythmic question and answer through clapping or drumming Teacher’s Guide pp. 111—112
1—9 3. Music listening 15 minutes per Topic 2: Music listening Recommended:
week • Active listening to a variety of recorded or live music by clapping or Musical equipment —
humming or moving along sound system, CDs/DVDs

INTRODUCTION
• Listening to performed music and identifying or describing: Learner’s Book pp. 63—65
——Meter including duple (two beats), triple (three beats) and Teacher’s Guide pp. 112—115
quadruple (four beats)
——Instruments used in the performance

27
——The story that the music is telling (sad/happy, recognising a dance,
march, etc.)

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1—9 4. Performing and 30 minutes per Topic 3: Performing and creating music Recommended:

28
creating music week • Breathing exercises Songbooks, musical
• Developing ability to sing in tune through a repertoire of songs that scores, tuned and untuned
include: instruments, CDs/DVDs
——the National Anthem of South Africa; Learner’s Book pp. 66—69
——folksongs (indigenous songs, cultural songs); and Teacher’s Guide pp. 115—118
——popular music
• Accompanying songs with body percussion, found or self-made
instruments, traditional instruments, Orff instruments

INTRODUCTION
• Playing music from graphic scores
• Creating instrumental music in group and solo context using:
——rhythmic repetition through clapping or drumming;
——rhythmic question and answer through clapping or drumming
10 5. Formal assessment: 1 hour Solo/group work performance Learner’s Book p. 70
Practical Teacher’s Guide p. 118

Visual Arts
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—2 1. Create in 2D: 2 hours Topic 1: Create in 2D Recommended:
Observational drawings • Drawing and painting: exploring a variety of media and techniques — Art equipment,
line, tone, texture, mark-making consumables, art room
• Art elements — line, tone, texture, shape or appropriate space;
• Design principles — balance, contrast, emphasis pencils, charcoal, wax
• Themes to explore — observational projects (small objects and still crayons, colour inks
life arrangements) Learner’s Book pp. 72—79
• Variation of paper size and format Teacher’s Guide pp. 119—121
3 2. Visual literacy: 1 hour Topic 3: Visual literacy Recommended:
Describe and interpret • Art elements: use in description of artworks — shape, line, tone, Photographs in resource
artworks texture, colour books and/or real
• Design principles: use in description of artworks — balance, examples of local craft
proportion, emphasis and contrast (e.g. African masks)
• Emphasis on learners’ personal expression and interpretation of local craft Learner’s Book pp. 80—81
• Discussion of similarities and differences, respect and understanding Teacher’s Guide pp. 122—123
of self and community; the arts as heritage
• Communication skills: talking, listening and looking; discuss art, craft,
design to engage in moral, ethical and philosophical discussions, to
formulate values and to learn respect for the opinions and visual
expression of others

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
4—6 3. Create in 3D: An 3 hours Topic 2: Create in 3D Recommended:
African mask • Art elements: shape, line, tone, texture, monochromatic colour Visual stimuli (e.g.
• Design principles: proportion, emphasis, contrast African mask), recyclable
• Good craftsmanship: pasting, wrapping, tying, constructing, joining monochromatic materials
• Concern for the environment: use of recyclable materials Learner’s Book pp. 82—83
• Sharing resources Teacher’s Guide pp. 124—125
7 4. Visual literacy: 1 hour Topic 3: Visual literacy Recommended:
Communicate your • Art elements: use in description of artworks (shape, line, tone, Visual stimuli (e.g. groups
thoughts and opinions texture, colour) of figures: musicians)
• Design principles: use in description of artworks — balance, Learner’s Book pp. 84—85
proportion, emphasis and contrast Teacher’s Guide pp. 126—127
• Emphasis on learners’ personal expression and interpretation of local
craft
• Communication: Express, identify/name, question and reflect
through looking, talking, listening and writing about the visual world:
interpret, analyse and recognise symbolic language with reference to
groups of figures (e.g. musicians)
8—9 5. Create in 3D: 2 hours Topic 2: Create in 3D Recommended:
Earthenware figures • Art elements: shape/form, texture Earthenware clay,
• Design principles: proportion, emphasis, contrast scratching tools; visual
• Modelling techniques: pinching, rolling, joining techniques, surface stimuli (e.g. groups of
texture figures: musicians)
Learner’s Book pp. 86—87
Teacher’s Guide pp. 127—129
10 6. Formal assessment: 1 hour Create in 3D: Earthenware figures Learner’s Book p. 88
Practical Teacher’s Guide p. 129

INTRODUCTION
29

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TERM TWO

30
Dance
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1 1. What have you learnt 45 minutes Topic 1: Dance performance Recommended:
so far? per week • Consolidation of work done in Term 1 Music system with CD
15 minutes Topic 3: Dance theory and literacy player/iPod; CDs or
per week • Dance terminology percussion instruments
• Importance of cooling-down Learner’s Book p. 91

INTRODUCTION
• Talking about own and others’ dance work in class with sensitivity Teacher’s Guide pp. 130—132
2 2. Warm-up 45 minutes Topic 1: Dance performance Recommended:
per week • Consolidation of work done in Term 1 Music system with CD
• Warm-up exercises, focusing on posture and alignment player/iPod; CDs or
15 minutes Topic 3: Dance theory and literacy (integrated with Topic 1) percussion instruments
per week • Dance terminology Learner’s Book pp. 92—93
Teacher’s Guide pp. 132—133
3 3. Floor-work 45 minutes Topic 1: Dance performance Recommended:
per week • Warm-up exercises, focusing on posture and alignment Music system with CD
• Floor–work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book pp. 94—95
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 134—135
15 minutes Topic 3: Dance theory and literacy (integrated into Topic 1)
per week • Dance terminology
4 4. Body-part isolations 45 minutes Topic 1: Dance performance Recommended:
and arm movements per week • Warm-up exercises, focusing on posture and alignment Music system with CD
• Floor–work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book pp. 96–97
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 135—137
• Arm movements to develop mobility, co-ordination and control
• Body-part isolations: head, shoulders, torso and hips
15 minutes Topic 3: Dance theory and literacy (integrated into Topic 1)
per week • Dance terminology

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
5 5. Transference of 45 minutes Topic 1: Dance performance Recommended:
weight: backward and per week • Warm-up exercises, focusing on posture and alignment Music system with CD
forward • Floor work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book pp. 98—99
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 137—138
• Arm movements to develop mobility, co-ordination and control
• Body-part isolations: head, shoulders, torso and hips
• Transference of weight forward and backward
• Learning a short movement sequence using travelling/locomotor
steps
15 minutes Topic 2: Dance improvisation and composition
per week • Exploration of dance elements: force — flow of energy, opposites
(strong /light, jerky/smooth)
Topic 3: Dance theory and literacy (integrated into Topics 1 and 2)
• Dance terminology
6 6. Jump, turn, spot 45 minutes Topic 1: Dance performance Recommended:
per week • Warm-up exercises, focusing on posture and alignment Music system with CD
• Floor–work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book pp. 100—101
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 138—140
• Arm movements to develop mobility, co-ordination and control
• Body-part isolations: head, shoulders, torso and hips
• Transference of weight forward and backward
• Small jumps off two feet, changing direction with emphasis on safe
landings (toe–ball–heel–bend)
• Introduction to principles of spotting during turning movements
15 minutes Topic 2: Dance improvisation and composition
per week • Exploration of dance elements: force — flow of energy, opposites
(strong/light, jerky/smooth)

INTRODUCTION
Topic 3: Dance theory and literacy (integrated into Topics 1 and 2)
• Dance terminology
• Importance of spotting during turning movements

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7 7. Cool-down 45 minutes Topic 1: Dance performance Recommended:

32
per week • Warm-up exercises, focusing on posture and alignment Music system with CD
• Floor–work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book p. 102
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 140—141
• Arm movements to develop mobility, co-ordination and control
• Body-part isolations: head, shoulders, torso and hips
• Small jumps off two feet, changing direction with emphasis on safe

INTRODUCTION
landings (toe–ball–heel–bend)
• Cooling down with relaxation and slow stretching while sitting
15 minutes Topic 3: Dance theory and literacy
per week • Dance terminology
• Importance of cooling-down
8 8. The dance elements 45 minutes Topic 1: Dance performance Recommended:
per week • Warm-up exercises, focusing on posture and alignment Music system with CD
• Floor–work for core stability, strength and flexibility: flexing and player/iPod; CDs or
stretching feet, inward and outward rotation of the legs from the hip percussion instruments
joints, strengthening and mobility exercises for feet, legs and hips, Learner’s Book pp. 103—104
strengthening exercises for abdominal and spinal muscles Teacher’s Guide pp. 142—143
• Arm movements to develop mobility, co-ordination and control
• Body-part isolations: head, shoulders, torso and hips
• Transference of weight forward and backward
• Small jumps off two feet, changing direction with emphasis on safe
landings (toe–ball–heel–bend)
• Introduction to principles of spotting during turning movements
• Learning a short movement sequence using travelling/locomotor
steps
• Cooling down with relaxation and slow stretching while sitting
15 minutes Topic 2: Dance improvisation and composition
per week • Exploration of dance elements: force — flow of energy, opposites
(strong/light, jerky/smooth)
• Exploration of dance elements: relationships to the floor, other
dancers, props
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Dance terminology
• Importance of spotting during turning movements
• Importance of cooling-down
• Talking about own and others’ dance work in class with sensitivity
• Discussion of elements of dance: energy/force and relationships

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
9 9. Formal assessment: 1 hour Technique and improvisation (force, relationships) Recommended:
Practical Music system with CD
player/iPod; CDs or
percussion instruments
Learner’s Book p. 105
Teacher’s Guide p. 143
10 10. Formal assessment: 1 hour Test: Warming up, cooling down, elements of dance and dance Learner’s Book p. 106
Written terminology Teacher’s Guide pp. 144—145

Drama
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—8 1. Vocal and physical 15 minutes each Topic 1: Dramatic skills development Recommended:
development week at the • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
beginning of a new exercises in each of the following areas: pictures, newspaper
lesson (2 hours Vocal development articles, etc. used as
30 minutes per • relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
term) articulation exercises Learner’s Book pp. 108—111
Physical development Teacher’s Guide pp. 146—148
• release tension, loosen and energise the body
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class

INTRODUCTION
33

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2 2. Storytelling 15 minutes Topic 1: Dramatic skills development Recommended:

34
techniques per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book pp. 112—115
Physical development Teacher’s Guide pp. 148—151
• release tension, loosen and energise the body
• control focused movements through mirror work (class mirrors,

INTRODUCTION
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
(6 hours 30 Interpretation and performance of choice of dramatic forms:
minutes per term folktales or choral verse
plus outside class Folktales (individual or group performance)
rehearsal once Explore:
a week) • storytelling techniques
3 3. Narrative and 15 minutes Topic 1: Dramatic skills development Recommended:
dialogue per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book pp. 116—120
Physical development Teacher’s Guide pp. 151—153
• release tension, loosen and energise the body
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
Interpretation and performance of choice of dramatic forms:
folktales or choral verse
Folktales (individual or group performance)
Explore:
• storytelling techniques
• narrative and dialogue

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
4 4. Create a narrative 15 minutes Topic 1: Dramatic skills development Recommended:
and dialogue per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book p. 121
Physical development Teacher’s Guide pp. 154—155
• release tension, loosen and energise the body
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
Interpretation and performance of choice of dramatic forms:
folktales or choral verse
Folktales (individual or group performance)
Explore:
• storytelling techniques
• narrative and dialogue

INTRODUCTION
35

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

36
5 5. Vocal modulation, 15 minutes Topic 1: Dramatic skills development Recommended:
expression and per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
characterisation new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book pp. 122—125
Physical development Teacher’s Guide pp. 155—157
• release tension, loosen and energise the body

INTRODUCTION
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
Interpretation and performance of choice of dramatic forms:
folktales or choral verse
Folktales (individual or group performance)
Explore:
• storytelling techniques
• narrative and dialogue
• vocal modulation and expression: pitch, inflection, pace, pause,
volume, emphasis, tone-colour
• vocal characterisation and physical characterisation: expressing the
characters through body and voice

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
6 6. Movement 15 minutes Topic 1: Dramatic skills development Recommended:
and physical per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
characterisation new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book pp. 126—127
Physical development Teacher’s Guide pp. 157—159
• release tension, loosen and energise the body
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
Interpretation and performance of choice of dramatic forms:
folktales or choral verse
Folktales (individual or group performance)
Explore:
• storytelling techniques
• narrative and dialogue
• vocal modulation and expression: pitch, inflection, pace, pause,
volume, emphasis, tone-colour
• movement, using the body as a tool to tell the story: body language,
facial expression and eye contact
• vocal characterisation and physical characterisation: expressing the
characters through body and voice

INTRODUCTION
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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

38
7 7. Vocal sound effects 15 minutes Topic 1: Dramatic skills development Recommended:
per week • Teacher-devised warm-up routine. Develop a warm-up routine with Drum/tambourine,
new exercises in each of the following areas: pictures, newspaper
Vocal development articles, etc. used as
• relaxation exercises, breathing exercises, resonance exercises, stimulus in playmaking
articulation exercises Learner’s Book p. 128
Physical development Teacher’s Guide pp. 159—160
• release tension, loosen and energise the body

INTRODUCTION
• control focused movements through mirror work (class mirrors,
where the class is in two rows facing one another, and each pair
mirrors their opposite, creating a large group mirror)
• use imagery to warm-up the body and explore movement dynamics
• lead and follow movements in pairs, small groups and as a class
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse
Interpretation and performance of choice of dramatic forms:
folktales or choral verse
Folktales (individual or group performance)
Explore:
• storytelling techniques
• narrative and dialogue
• vocal modulation and expression: pitch, inflection, pace, pause,
volume, emphasis, tone-colour
• movement, using the body as a tool to tell the story: body language,
facial expression and eye contact
• vocal characterisation and physical characterisation: expressing the
characters through body and voice
• using vocal sound effects as background sounds or as a sound track:
integrating song where appropriate
8 8. Careers in the 1 hour Topic 5: Careers Learner’s Book p. 129
creative team Explore the creative team, including: the writer, director, producer, Teacher’s Guide p. 161
designer, composer, and lighting designer

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
9 9. Formal assessment: 1 hour Test: Careers and basic drama elements Recommended:
Written Drum/tambourine,
pictures, newspaper
articles, etc. used as
stimulus in playmaking
Learner’s Book p. 130
Teacher’s Guide pp. 162—163

10 10. Formal assessment: 1 hour Performance: Folktale (group work) Learner’s Book p. 131
Practical Teacher’s Guide p. 163

Music
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—8 1. Music literacy 15 minutes per Topic 1: Music literacy Recommended:
week • Letter names of notes on the treble clef Musical instruments,
• Duration: Introduction of the dotted note, also in relation to: textbooks/songbooks/file
——crotchets resource with or without
——quavers CD with music and/or
——minims accompaniments for
——semibreves songs, DVDs
——dotted minim Learner’s Book pp. 133—136
• Clapping or drumming short rhythmic phrases that use crotchets, Teacher’s Guide pp. 164—166
minims, quavers dotted minims and semibreves
• Pitch:
——Sight singing melodic phrases from known and unknown songs
using tonic solfa

INTRODUCTION
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1—8 2. Music listening 15 minutes per Topic 2: Music listening Recommended:

40
week • Active listening to a variety of recorded or live music by clapping or Music equipment — sound
humming or moving along system, CDs/DVDs
• Following simple musical scores while listening to music Learner’s Book pp. 137—138
• Listening to a variety of recorded or live music and describing the: Teacher’s Guide pp. 167—168
——Meter of the music as duple (2 beats) or triple (3 beats) or
quadruple (4 beats) time
——Tempo (fast/slow; faster/slower)
——Dynamics (soft/loud; softer/louder)

INTRODUCTION
——Meaning or story of the music
——Lyrics of the music
1—6 3. Performing and 30 minutes per Topic 3: Performing and creating music Recommended:
creating music week • Breathing exercises Music equipment — sound
• Continuous development of in-tune singing through a repertoire of system, CDs/DVDs
songs that include Learner’s Book pp. 139—141
——folksongs (indigenous songs, cultural songs); Teacher’s Guide pp. 169—171
——light music;
——rounds; and
——part singing (songs with descants)
• Accompanying songs with body percussion, found or self-made
instruments, traditional instruments, Orff instruments
• including instruments that learners are studying
• Performing and composing music that uses non-conventional
notation, e.g. graphic scores
7—8 4. African drumming 30 minutes per Topic 3: Performing and creating music Recommended:
week • African drumming Music equipment — sound
• Creating own vocal and instrumental music in group and solo context: system, CDs/DVDs
——Melodic repetition (vocal or instrumental) Learner’s Book pp. 142—145
——Melodic question and answer (vocal or instrumental) Teacher’s Guide pp. 171—172
——Rhythmic improvisation on African drums
9 5. Formal assessment: 1 hour Music literacy activities Recommended:
Written Music equipment — sound
system, CDs/DVDs
Learner’s Book p. 146
Teacher’s Guide p. 173
10 6. Formal assessment: 1 hour Solo/group work performance Learner’s Book p. 147
Practical Teacher’s Guide p. 173

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Visual Arts
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—3 1. Create in 2D: A 3 hours Topic 1: Create in 2D Recommended:
scraperboard design • Art elements: shape, line, tone, texture White wax crayons, black
• Design principles: contrast, proportion, emphasis waterproof ink, black
• Own and wider world: still life arrangements tempera paint, small
• Simple etching techniques: etching, drawing, scratching amount of dishwashing
liquid, simple etching tools
(sharp found objects:
nails, pins, compass
points, etc), stiff paper/
board (approximately
15 x 20 cm)
Learner’s Book pp. 149—150
Teacher’s Guide pp. 174—175
4 2. Visual literacy: Still 1 hour Topic 3: Visual literacy Recommended:
life • Art elements: use in description of artworks — line, tone, texture, Writing instruments and
shape, colour paper
• Design principles: use in description of artworks — balance, Learner’s Book pp. 151—152
proportion, harmony, emphasis, contrast Teacher’s Guide pp. 176—177
• Interpret, analyse and recognise symbolic language with reference to
still life
• Express, identify/name, question and reflect through looking, talking,
listening and writing about still life
5—8 3. Create in 2D: A still 4 hours Topic 1: Create in 2D Recommended:
life painting • Art elements: shape, line, tone, texture, complementary colour, tints Tempera paint in limited
and shades colour range and white
• Design principles: contrast, proportion, emphasis, unity and black; A2 paper
• Own and wider world: Emphasis on the observation and interpretation Learner’s Book pp. 153—154
local still life arrangements Teacher’s Guide pp. 177—179
• Painting: colour-mixing: tonal range, shades and tints

INTRODUCTION
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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

42
9—10 4. Formal assessment: 2 hours Topic 3: Visual literacy (Investigation of a local crafter) Learner’s Book pp. 155–156
Practical and written • Identifying art elements and design principles in examples of local Teacher’s Guide p. 179
craft
• Express, identify/name, question and reflect through looking, talking,
listening and writing about the visual world
• Descriptions of examples of craft: Personal meaning and recognition
of images expressed in words
• Initial research skills: Investigation of local crafter/artist/artwork/style
using various sources: books, libraries, internet, etc.; formal written

INTRODUCTION
response or class presentation (could be group work)

TERM THREE
Dance
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1 1. Dance forms 45 minutes Topic 1: Dance performance Recommended:
per week • Consolidation of work done in Term 1 and 2 Music system, CDs,
• Warm-up as before, with increasing complexity percussion instruments,
15 minutes Topic 2: Dance improvisation and composition textbook; pictures, props,
per week • Response to different stimuli: themes, ideas, stories, pictures, music pictures of different dance
or props to develop movement vocabulary, utilising knowledge of forms
elements of dance Learner’s Book pp. 159—160
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2) Teacher’s Guide pp. 180—181
• Selection of three different dance forms, viewing excerpts on DVD/
live and discussion of their similarities and differences
2—3 2. Floor-work 45 minutes Topic 1: Dance performance Recommended:
per week • Consolidation of work done in Term 1 and 2 Music system , CDs,
• Warm-up as before, with increasing complexity percussion instruments,
• Floor-work for core stability, strength and flexibility: articulation textbook; pictures, props,
of the feet, increasing mobility of the ankle, knee and hip joints, pictures of different dance
strengthening exercises for feet and legs, strengthening exercises for forms
abdominal and spinal muscles Learner’s Book pp. 161—164
15 minutes Topic 2: Dance improvisation and composition (integrated with Topic 1) Teacher’s Guide pp. 182—184
per week • Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of
elements of dance
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
4 3. Warming up – leg 45 minutes Topic 1: Dance performance Recommended:
extensions and brushes per week • Consolidation of work done in Term 1 and 2 Music system , CDs,
• Warm-up as before, with increasing complexity percussion instruments,
• Floor-work for core stability, strength and flexibility: articulation textbook; pictures, props,
of the feet, increasing mobility of the ankle, knee and hip joints, pictures of different dance
strengthening exercises for feet and legs, strengthening exercises for forms
abdominal and spinal muscles Learner’s Book pp. 165—166
• Body-part isolations: hands, arms and feet Teacher’s Guide pp. 185—186
• Leg extensions, brushes, circular leg movements and kicks
15 minutes Topic 2: Dance improvisation and composition (intergrated with Topic
per week 1)
• Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of
elements of dance
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning
5 4. Body-part isolations: 45 minutes Topic 1: Dance performance Recommended:
Hands, arms and feet per week • Consolidation of work done in Term 1 and 2 Music system , CDs,
• Warm-up as before, with increasing complexity percussion instruments,
• Floor-work for core stability, strength and flexibility: articulation textbook; pictures, props,
of the feet, increasing mobility of the ankle, knee and hip joints, pictures of different dance
strengthening exercises for feet and legs, strengthening exercises for forms
abdominal and spinal muscles Learner’s Book pp. 167—168
• Body-part isolations: hands, arms and feet Teacher’s Guide pp. 186—187
• Leg extensions, brushes, circular leg movements and kicks
• Combinations of locomotor movements with co-ordinating arm
movements
15 minutes Topic 2: Dance improvisation and composition (integrated into
per week Topic 1)
• Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of

INTRODUCTION
elements of dance
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning

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44
6 5. Jumps and turns 45 minutes Topic 1: Dance performance Recommended:
per week • Consolidation of work done in Term 1 and 2 Music system , CDs,
• Warm-up as before, with increasing complexity percussion instruments,
• Body-part isolations: hands, arms and feet textbook; pictures, props,
• Simple half and full turns with spotting pictures of different dance
• Small jumps off two feet landing on one foot and off one foot landing forms
on one foot focusing on safe landing Learner’s Book pp. 169—170
• Combinations of locomotor movements with co-ordinating arm Teacher’s Guide pp. 188—189

INTRODUCTION
movements
15 minutes Topic 2: Dance improvisation and composition
per week • Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of
elements of dance
• Exploration of the importance of eye contact and eye focus
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning
7—8 6. Dance steps from a 45 minutes Topic 1: Dance performance Recommended:
South African dance per week • Consolidation of work done in Term 1 and 2 Music system, CDs,
• Warm-up as before, with increasing complexity percussion instruments,
• Combinations of locomotor movements with co-ordinating arm textbook; pictures, props,
movements pictures of different dance
• Learning dance steps from a South African dance forms
• Cooling down and leg stretches — lying down Learner’s Book pp. 171—172
15 minutes Topic 2: Dance improvisation and composition Teacher’s Guide pp. 189—192
per week • Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of
elements of dance
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
8—9 7. Dance improvisation 45 minutes Topic 1: Dance performance Recommended:
and composition per week • Warm-up as before, with increasing complexity Music system, CDs,
• Floor-work for core stability, strength and flexibility: articulation percussion instruments,
of the feet, increasing mobility of the ankle, knee and hip joints, textbook; pictures, props,
strengthening exercises for feet and legs, strengthening exercises for pictures of different dance
abdominal and spinal muscles forms
• Body-part isolations: hands, arms and feet Learner’s Book pp. 173—174
• Leg extensions, brushes, circular leg movements and kicks Teacher’s Guide pp. 192—193
• Simple half and full turns with spotting
• Small jumps off two feet landing on one foot and off one foot landing
on one foot focusing on safe landing
• Combinations of locomotor movements with co-ordinating arm
movements
• Learning dance steps from a South African dance
• Cooling down and leg stretches — lying down
15 minutes Topic 2: Dance improvisation and composition
per week • Response to different stimuli: themes, ideas, stories, pictures, music
or props to develop movement vocabulary, utilising knowledge of
elements of dance
• Exploration of the importance of eye contact and eye focus
Topic 3: Dance theory and literacy (integrated with Topics 1 and 2)
• Discussion of how movements may convey meaning
10 8. Formal assessment: 1 hour Technique and improvisation (short movement sentence around a Learner’s Book p. 175
Practical theme) Teacher’s Guide p. 194

INTRODUCTION
45

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Drama

46
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1 1. Characterisation 15 minutes per Topic 1: Dramatic skills development Recommended:
week (2 hours, 30 Teacher-devised warm-up routine. Build on the warm-up routine of Drum/tambourine,
minutes per term) Term 2 adding new exercises in each area. textbook, examples of
Vocal development cultural and social events,
• Relaxation exercises, breathing exercises, resonance exercises, e.g. wedding ceremony
articulation exercises and opening ceremony
Physical development Learner’s Book pp. 177—178

INTRODUCTION
• Physical loosening up and energising of the body Teacher’s Guide pp. 195—196
• Trust exercises in partners and small groups
• Mirror work (using slow, controlled mirroring of narrative mime
sequences)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes per Topic 2: Drama elements in playmaking
week (6 hours, 30 Focus on character observation, imitation and imagination in several
minutes per term, short improvised dramas in groups of two to four learners:
plus outside class • Listening and concentration; action and reaction
rehearsal once a • Characterisation:
week) ——making clear character choices (voice and body)
——relationships between different characters
——characters in different environments
2 2. The relationships 15 minutes Topic 1: Dramatic skills development Recommended:
between characters per week Teacher-devised warm-up routine. Build on the warm-up routine of Drum/tambourine,
Term 2 adding new exercises in each area. Learner’s Book pp. 179—181
Physical development Teacher’s Guide pp. 196—198
• Mirror work (using slow, controlled mirroring of narrative mime
sequences)
• Trust exercises in partners and small groups
45 minutes Topic 2: Drama elements in playmaking
per week Focus on character observation, imitation and imagination in several
short improvised dramas in groups of two to four learners:
• Listening and concentration; action and reaction
• Characterisation:
——relationships between different characters

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
3 3. Characters in 15 minutes Topic 1: Dramatic skills development Copies of the mime cards
different environments per week Teacher-devised warm-up routine. Build on the warm-up routine of on pp. 314—315 in the
Term 2 adding new exercises in each area. Teacher’s Guide
Physical development Learner’s Book pp. 182—183
• Mirror work (using slow, controlled mirroring of narrative mime Teacher’s Guide pp. 198—200
sequences)
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Focus on character observation, imitation and imagination in several
short improvised dramas in groups of two to four learners:
• Listening and concentration; action and reaction
• Characterisation:
——characters in different environments
4 4. Careers in the 1 hour Topic 5: Careers Additional information
support team Explore the support team, including the stage manager, stage hands, on careers in the support
make-up artists, costume mistress, props mistress, lighting and sound team
technicians and front of house Learner’s Book pp. 184—186
Teacher’s Guide pp. 200—201

INTRODUCTION
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5 5. Drama elements 15 minutes Topic 1: Dramatic skills development Forest Scene story on
in cultural and social per week Teacher-devised warm-up routine. Build on the warm-up routine of page 201 of this Teacher’s

48
events Term 2 adding new exercises in each area Guide
Vocal development Learner’s Book pp. 187—189
• Relaxation exercises, breathing exercises, resonance exercises, Teacher’s Guide pp. 202—205
articulation exercises
Physical development
• Physical loosening up and energising of the body
• Trust exercises in partners and small groups
• Mirror work (using slow, controlled mirroring of narrative mime sequences)

INTRODUCTION
• Lead and follow movements in pairs, small groups and as a class
Topic 2: Drama elements in playmaking
45 minutes Focus on drama elements in cultural and social events, compared to
per week their use in theatre, and create a drama using a cultural or social event
as stimulus:
• Actors (the people involved in the activity who have specific roles to
fulfil)
• Audience (the people watching or participating from the sidelines)
• Space (arrangement of the space to accommodate all the
participants/audience)
• Time (certain times only; of a particular duration)
6 6. Actors, audience, 15 minutes Topic 1: Dramatic skills development Scarves, belts or ties for
space and time per week Teacher-devised warm-up routine. Build on the warm-up routine of blindfolds; large pieces of
Term 2 adding new exercises in each area. paper; koki pens
Vocal development Learner’s Book pp. 190—192
• Relaxation exercises, breathing exercises, resonance exercises, Teacher’s Guide pp. 206—208
articulation exercises
Physical development
• Physical loosening up and energising of the body
• Trust exercises in partners and small groups
• Mirror work (using slow, controlled mirroring of narrative mime sequences)
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Focus on drama elements in cultural and social events, compared to
their use in theatre, and create a drama using a cultural or social event
as stimulus:
• Actors (the people involved in the activity who have specific roles
to fulfil)
• Audience (the people watching or participating from the sidelines)
• Space (arrangement of the space to accommodate all the
participants/audience)
• Time (certain times only; of a particular duration)

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
7 7. Costumes, props and 15 minutes Topic 1: Dramatic skills development Learner’s Book pp. 193—194
special effects per week Teacher-devised warm-up routine. Build on the warm-up routine of Teacher’s Guide pp. 208—210
Term 2 adding new exercises in each area.
Vocal development
• Relaxation exercises, breathing exercises, resonance exercises,
articulation exercises
Physical development
• Physical loosening up and energising of the body
• Mirror work (using slow, controlled mirroring of narrative mime sequences)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Focus on drama elements in cultural and social events, compared to their use
in theatre, and create a drama using a cultural or social event as stimulus:
• Costumes (to make a particular impact and to differentiate
participants in the event)
• Props (objects used by participants in the event, given significance)
• Special effects (use of technology to create impressive visual or aural
displays)
8 8. Music and movement 15 minutes Topic 1: Dramatic skills development Learner’s Book p. 195
per week Teacher-devised warm-up routine. Build on the warm-up routine of Teacher’s Guide pp. 211—213
Term 2 adding new exercises in each area.
Vocal development
• Relaxation exercises, breathing exercises, resonance exercises,
articulation exercises
Physical development
• Physical loosening up and energising of the body
• Mirror work (using slow, controlled mirroring of narrative mime
sequences)
• Use imagery to warm-up the body and explore movement dynamics
• Lead and follow movements in pairs, small groups and as a class
45 minutes Topic 2: Drama elements in playmaking
per week Focus on drama elements in cultural and social events, compared to
their use in theatre, and create a drama using a cultural or social event

INTRODUCTION
as stimulus:
• Music or accompaniment (including instruments, song)
• Movement or choreography (including processions, or the use of

49
simultaneous gesture)
• Chants or use of call and response, dialogue

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9 9. Chants, call and 15 minutes Topic 1: Dramatic skills development Learner’s Book p. 196

50
response, dialogue per week Teacher-devised warm-up routine. Build on the warm-up routine of Teacher’s Guide pp. 213—215
Term 2 adding new exercises in each area.
Vocal development
• Relaxation exercises, breathing exercises, resonance exercises,
articulation exercises
Physical development
• Physical loosening up and energising of the body
45 minutes Topic 2: Drama elements in playmaking

INTRODUCTION
per week Focus on drama elements in cultural and social events, compared to
their use in theatre, and create a drama using a cultural or social event
as stimulus:
• Chants or use of call and response, dialogue
10 10. Formal assessment: 1 hour Polished performance: A short improvised drama (group work) Learner’s Book p. 197
Practical Teacher’s Guide p. 215

Music
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—9 1. Music literacy 15 minutes per Topic 1: Music literacy Recommended:
week • Treble and bass clef Musical instruments
• Letter names of notes on the treble and bass clef Learner’s Book p. 199—203
• Duration: consolidation of content learned Teacher’s Guide pp. 216—219
• Pitch: Sight singing melodic phrases from known and unknown songs
using tonic solfa
• Clapping or drumming rhythms that use crotchets, minims,
quavers, dotted minims and semibreves, introducing the concept of
polyrhythm
1—9 2. Music listening 15 minutes per Topic 2: Music listening Recommended:
week • Active listening to a variety of recorded or live music by clapping or Music equipment — sound
humming or moving along system, CDs/DVDs,
• Listening to a variety of recorded or live music and describing the: Learner’s Book pp.
——Meter of the music as duple or triple or quadruple time 204—205
——Tempo (fast/slow) Teacher’s Guide pp. 219—220
——Dynamics (soft/loud)
——Meaning or story of the music
——Lyrics of the music
——Texture of the music
• Creating a graphic score (sound picture) of a musical piece listened
to, e.g. storm, rain

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—9 3. Performing and 30 minutes per Topic 3: Performing and creating music Recommended:
creating music week • Breathing exercises Songbooks, musical
• Continuous development of in-tune singing through a repertoire of scores, tuned and un-
songs that include tuned musical instruments
——folksongs (indigenous songs, cultural songs); Learner’s Book pp. 206—210
——light music; Teacher’s Guide pp. 221—224
——rounds; and
——part singing (songs with descants; soprano/soprano; soprano/alto;
soprano/baritone)
• Accompanying songs with body percussion, found or self-made
instruments, traditional instruments, Orff instruments
• Performing music that uses non-conventional notation, e.g. graphic
scores
• African drumming
• Create own vocal and instrumental music in group and solo context:
——Melodic repetition
——Melodic question and answer
——Rhythmic improvisation on an ostinato or riff by clapping or
drumming
——Vocal or melodic improvisation on an ostinato or riff
——Creating a sound picture based on a story or poem using the voice
or instrument
10 4. Formal assessment: 1 hour Solo and ensemble work Learner’s Book p. 211
Practical Teacher’s Guide pp. 224—225

INTRODUCTION
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Visual Arts

52
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—4 1. Create in 3D: A useful 4 hours Topic 2: Create in 3D Recommended:
container • Art elements: shape, line, tone, texture, shape, colour Visual stimuli and
• Design principles — proportion, emphasis, contrast (construction and artefacts, e.g. craft, useful
modelling techniques) containers, recyclable
• Craftsmanship — pasting, cutting, wrapping, tying, stitching using a materials, fabric off—cuts,
variety of materials beads, coloured cottons,
• Pattern-making — creates own experiments with art elements and ribbons, braids, etc.

INTRODUCTION
design principles in pattern-making as surface Learners’ Book pp. 213—214
• decoration; repeat pattern Teacher’s Guide pp. 226—227
• Use of tools — safety, consideration of others, sharing resources
5 2. Visual literacy: The 1 hour Topic 3: Visual literacy Recommended:
artist in society • Art elements and design principles: use in the description of artworks Photographs in resource
(e.g. buildings) books (e.g. buildings)
• The role of the artist in society: role of artist as contributor to society Learners’ Book pp. 215—217
• Emphasis on learners’ personal expression and interpretation of Teacher’s Guide p. 228
architecture
• Social development: similarities and differences, respect and
understanding of self and community; the arts as heritage
• Values development: respect for the opinions of others; investigate
and understand the contribution of the arts to heritage
• Communication skills: express, identify/name, question and reflect
through looking, talking, listening and writing about buildings
6—8 3. Formal assessment: 3 hours Topic 1: Create in 2D: A paper cut collage Recommended:
Practical • Paper cut collage: buildings as heritage Photographs in resources
• Art elements: shape, geometric and organic, line, tone, texture books (e.g. buildings),
(colour to include monochromatic colour) recyclable papers in a
• Design principles: balance, contrast, harmony, proportion limited range of colours
• Pattern-making — in collages, designs (exploration of various repeat from found sources; white
methods) paper in unusual format:
• Emphasis on the interpretation buildings in paper cut collage — circle, thin rectangle, etc;
cutting, layering, pasting, monochromatic colour glue, cardboard strips for
• Variation of paper size and format: different scale and degrees of applying glue, scissors
detail Learners’ Book pp. 218—219
Teacher’s Guide p. 229

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
9—10 4. Create in 2D: Wet 2 hours Topic 1: Create in 2D Recommended:
drawing media • Art elements — shape, line, tone, texture Visual stimuli/real objects;
• Design principles — contrast, proportion, emphasis small brushes, dipping
• Emphasis on the observation and interpretation of the small objects implements (sharp sticks,
• Variation of paper size and format — different scale and degrees of pieces of cane, etc.) of
detail various thicknesses,
• Drawing — observational drawing (small objects, wet drawing media) waterproof ink or food
colouring; A5 paper
Learners’ Book pp. 220—222
Teacher’s Guide pp. 229—230

TERM FOUR
Dance
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—7 1. Dance performance 45 minutes per Topic 1: Dance performance (45 minutes per week/lesson) Recommended:
week • Consolidation of class-work covered in Terms 1 — 3 in preparation for Music system , CDs,
formal assessment percussion instruments,
• Mastering and performing a short group dance for formal assessment textbook; pictures, props,
Topic 3: Dance theory and literacy (integrated into Topics 1 and 2) pictures of different dance
• Revision of dance theory and literacy topics from Terms 1, 2 and 3 for forms
formal assessment Learner’s Book pp. 225—229
Teacher’s Guide pp. 231—235
1—7 2. Improvisation and 15 minutes per Topic 2: Dance improvisation and composition (15 minutes per week/ Recommended:
composition week lesson) Music system , CDs,
• Composition in small groups (3—4 dancers) of a short dance percussion instruments,
sequence based on a South African picture, photograph or theme for textbook; pictures, props,
formal assessment pictures of different dance

INTRODUCTION
Topic 3: Dance theory and literacy (integrated into Topics 1 and 2) forms
• Revision of dance theory and literacy topics from Terms 1, 2 and 3 for Learner’s Book pp. 230—231
formal assessment Teacher’s Guide pp. 236—237

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54
9 3. Formal assessment: 2 hours Performance of class work, group dance sequence and composition Recommended:
Practical (South African theme) Music system, CDs,
percussion instruments,
textbook; pictures, props,
pictures of different dance
forms
Learner’s Book p. 232
Teacher’s Guide p. 237

INTRODUCTION
10 Review Homework Prepare for written examination Recommended:
Music system, CDs,
percussion instruments,
textbook; pictures, props,
pictures of different dance
forms
Learner’s Book p. 233
Teacher’s Guide pp. 238—241

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Drama
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1 1. Careers related to 1 hour Topic 5: Careers Learner’s Book pp. 235—237
drama Explore the related fields of study, including the drama teacher, drama Teacher’s Guide pp. 242—243
therapist, drama life coach, voice and speech therapist, movement
therapist, radio and television presenters, master-of-ceremonies and
agent
2—3 2. Storytelling, 15 minutes Topic 1: Dramatic skills development Recommended:
narrative and dialogue per week Consolidation of warm-up exercises to establish the flow of a warm-up Drum/tambourine;
and to prepare for dress rehearsals examples of a variety of
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms: folktales
per week folktales or choral verse (depending on the selection in Term 2) Learner’s Book pp. 238—239
Learners prepare for final assessment through one interpretative Teacher’s Guide pp. 243—245
piece (the choral verse or the performance of the folktale).
One of these pieces has been developed earlier in the year.
The focus is to prepare learners for the final assessment on:
• Focus and concentration in performance
• Confidence and preparation
• Relationship with the audience
• Vocal and physical interpretation
• Group work
• Use of space
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Storytelling techniques
• Narrative and dialogue, different kinds of narrating voice (pitch, pace,
volume, tone-colour, pause, emphasis) and vocal sound effects

INTRODUCTION
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4—5 3. Movement 15 minutes Topic 1: Dramatic skills development Learner’s Book pp. 240—241
per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide pp. 246—248
and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
Learners prepare for final assessment through one interpretative
piece (the choral verse or the performance of the folktale).
One of these pieces has been developed earlier in the year.

INTRODUCTION
The focus is to prepare learners for the final assessment on:
• Focus and concentration in performance
• Confidence and preparation
• Relationship with the audience
• Vocal and physical interpretation
• Group work
• Use of space
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Storytelling techniques
• Movement, using the body as a tool to tell the story, body language,
facial expression and eye contact
• Vocal characterisation and physical characterisation — showing the
characters vocally and physically
• Reflection and feedback

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
6 4. Physical 15 minutes Topic 1: Dramatic skills development Learner’s Book pp. 242—243
characterisation per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide pp. 248—249
and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
Learners prepare for final assessment through one interpretative
piece (the choral verse or the performance of the folktale).
One of these pieces has been developed earlier in the year.
The focus is to prepare learners for the final assessment on:
• Focus and concentration in performance
• Confidence and preparation
• Relationship with the audience
• Vocal and physical interpretation
• Group work
• Use of space
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Storytelling techniques
• Movement, using the body as a tool to tell the story, body language,
facial expression and eye contact
• Vocal characterisation and physical characterisation — showing the
characters vocally and physically
• Reflection and feedback

INTRODUCTION
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58
7 5. Vocal 15 minutes Topic 1: Dramatic skills development Learner’s Book pp. 244—245
characterisation per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide pp. 250—251
and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
Learners prepare for final assessment through one interpretative
piece (the choral verse or the performance of the folktale).
One of these pieces has been developed earlier in the year.

INTRODUCTION
The focus is to prepare learners for the final assessment on:
• Focus and concentration in performance
• Confidence and preparation
• Relationship with the audience
• Vocal and physical interpretation
• Group work
• Use of space
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Storytelling techniques
• Movement, using the body as a tool to tell the story, body language,
facial expression and eye contact
• Vocal characterisation and physical characterisation — showing the
characters vocally and physically
• Reflection and feedback

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Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
8 6. Prepare for a dress 15 minutes Topic 1: Dramatic skills development Learner’s Book pp. 246—247
rehearsal per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide pp. 251—252
and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
Learners prepare for final assessment through one interpretative
piece (the choral verse or the performance of the folktale).
One of these pieces has been developed earlier in the year.
The focus is to prepare learners for the final assessment on:
• Focus and concentration in performance
• Confidence and preparation
• Relationship with the audience
• Vocal and physical interpretation
• Group work
• Use of space
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Reflection and feedback
• Rehearsal and performance as a final practical assessment
9 7. Formal assessment: 15 minutes Topic 1: Dramatic skills development Learner’s Book p. 248
Practical examination per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide p. 253
(1) and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
Learners prepare for final assessment through one interpretative
piece (the choral verse or the performance of the folktale).
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):
• Reflection and feedback

INTRODUCTION
• Rehearsal and performance as a final practical assessment

59

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CA (7ENG).indb 60
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

60
9 8. Formal assessment: 15 minutes Topic 1: Dramatic skills development Learner’s Book p. 249
Practical examination per week Consolidation of warm-up exercises to establish the flow of a warm-up Teacher’s Guide p. 253
(2) and to prepare for dress rehearsals
45 minutes Topic 3: Interpretation and performance of choice of dramatic forms:
per week folktales or choral verse (depending on the selection in Term 2)
The following skills should be the focus when exploring these dramatic
forms:
Folktales (individual or group performance):

INTRODUCTION
• Storytelling techniques
• Narrative and dialogue, different kinds of narrating voice (pitch, pace,
volume, tone-colour, pause, emphasis) and vocal
• sound effects
• Movement, using the body as a tool to tell the story, body language,
facial expression and eye contact
• Vocal characterisation and physical characterisation — showing the
characters vocally and physically
• Reflection and feedback
• Rehearsal and performance as a final practical assessment
10 Review Homework Prepare for the written examination Learner’s Book p. 250
Teacher’s Guide p. 254—256

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CA (7ENG).indb 61
Music
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—8 1. Music literacy 15 minutes per Topic 1: Music literacy Recommended:
week • Treble and bass clef Musical instruments,
• Letter names of notes on the treble and bass clef textbooks/songbooks/file
• Duration resource with or without
• Clapping or drumming short rhythmic phrases that use crotchets, CD with music and/or
minims, semibreves, quavers and semiquavers accompaniments for
• Pitch: Sight singing melodic phrases from known and unknown songs songs; DVDs
using tonic solfa Learner’s Book pp. 252—254
• Clapping or drumming polyrhythmic phrases Teacher’s Guide pp. 257—258
This should be done through the songs and instrumental pieces that
learners are performing as well as the active listening to music played
by others.
1—8 2. Music listening 15 minutes per Topic 2: Music listening Recommended:
week • Active listening to a variety of recorded or live music by clapping or Music equipment — sound
humming or moving along system, CDs/DVDs
• Listening to a variety of recorded or live music and describing the: Learner’s Book p. 255
——meter of the music as duple or triple or quadruple time Teacher’s Guide p. 258
——tempo (fast/slow)
——dynamics (soft/loud)
——timbre
——meaning or story of the music
——lyrics of the music
——texture of the music
• Creating a graphic score of a musical piece that has been listened to

INTRODUCTION
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CA (7ENG).indb 62
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources

62
1—5 3. In-tune singing 30 minutes per Topic 3: Performing and creating music Recommended:
week • Breathing exercises Songbooks, musical
• Continuous development of in-tune singing through a repertoire of scores, tuned and untuned
songs that include musical instruments, CDs/
——folksongs (indigenous songs, cultural songs) DVDs
——light music and Learner’s Book pp. 256—258
——rounds Teacher’s Guide pp. 259—261
• Accompanying songs with body percussion, found or self-made

INTRODUCTION
instruments, traditional instruments, Orff instruments
• Performing music that uses non-conventional notation, e.g. graphic
scores
• African drumming
• Playing music from graphic scores
6—7 4. Create own vocal 30 minutes per Topic 3: Performing and creating music Learner’s Book pp. 259—261
music week • Creating own vocal and instrumental music in group and solo context: Teacher’s Guide pp. 261—262
——Rhythmic and melodic improvisation on an ostinato or riff
——Sound pictures based on a story or poem using the voice or
instruments
——Writing own four-line song lyrics and melody based on a social
issue

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CA (7ENG).indb 63
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
8 5. Create own 30 minutes per Topic 3: Performing and creating music Learner’s Book pp. 262—264
instrumental music week • Breathing exercises Teacher’s Guide pp. 263—264
• Continuous development of in-tune singing through a repertoire of
songs that include
——folksongs (indigenous songs, cultural songs)
——light music and
——rounds
• Accompanying songs with body percussion, found or self-made
instruments, traditional instruments, Orff instruments
• Performing music that uses non-conventional notation, e.g. graphic
scores
• African drumming
• Playing music from graphic scores
• Creating own vocal and instrumental music in group and solo context:
——Rhythmic and melodic improvisation on an ostinato or riff
——Sound pictures based on a story or poem using the voice or
instruments
——Writing own four-line song lyrics and melody based on a social
issue
9 6. Formal assessment: 1 hour Solo and group work: playing and improvising Learner’s Book p. 265
Practical examination Teacher’s Guide p. 264
10 Review Homework Prepare for the written examination Learner’s Book p. 266
Teacher’s Guide p. 265

INTRODUCTION
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Visual Arts

64
Week/s Unit number and title Time allocation Creative Arts CAPS reference Resources
1—2 1. Create in 2D: A life 2 hours Topic 1: Create in 2D Recommended:
drawing • Art elements: line, shape Visual stimuli, e.g. model
• Design principles: contrast, proportion, balance, emphasis, direction draped in shawl/sheet/
• Drawing: life drawing on large scale in line only blanket; charcoal; large
• Exploration of media sheets of paper (A1)
Learner’s Book pp. 268—269
Teacher’s Guide pp. 266—267

INTRODUCTION
3—4 2. Create in 2D: Tone 2 hours Topic 1: Create in 2D Recommended:
and texture • Art elements: tone, texture Visual stimuli (e.g. drawing
• Design principles: contrast, proportion, balance, emphasis from previous lesson),
• Emphasis on the observation and interpretation of tone in a ruler; 2B/3B pencil,
measured block within the format of the life drawing charcoal
Learner’s Book p. 270
Teacher’s Guide p. 267
5—6 3. Create in 2D: Tonal 2 hours Topic 1: Create in 2D Recommended:
range of colour • Art elements: tonal range of colour Visual stimuli (e.g. drawing
• Design principles: contrast, balance, emphasis from previous lesson),
• Emphasis on the interpretation of a tonal range of colour in a ruler; pencil crayons
measured block within the format of the life drawing Learner’s Book p. 271
Teacher’s Guide p. 268
7—9 4. Create in 3D: Stick 3 hours Topic 2: Create in 3D Recommended:
creatures • Design: experiments with art elements and design principles in Appropriate visual stimuli
metamorphosis of a common recyclable object (e.g. metamorphosis of
• Craft skills: good craftsmanship, unfamiliar and familiar techniques a common recyclable
(pasting, cutting, modelling, wrapping, tying, stitching, joining, object); common
scoring and other) recyclable object,
• Spatial awareness: conscious experience of working with shapes in appropriate recyclable
the construction process materials
• Concern for the environment: use of recyclable materials Learner’s Book pp. 272—273
• Manipulation of a variety of materials Teacher’s Guide pp. 269—270
• Use of tools: safety, consideration of others, sharing resources
7—9 Review Homework Prepare for the written examination Learner’s Book p. 274
Teacher’s Guide pp 270—271
10 5. Formal assessment: 1 hour Life drawing and painting with written reflection on use of art Learner’s Book p. 275
Practical and written elements and design principles Teacher’s Guide p. 272
examination

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 2. Lesson-by-lesson
This section contains teaching notes for the units in the Learner’s Book,
answers to all the activities, informal assessment suggestions and
consolidation and extension activity suggestions.

TERM 1
Dance 66
Drama 84
Music 107
Visual Arts 119

TERM 2
Dance 130
Drama 146
Music 164
Visual Arts 174

TERM 3
Dance 180
Drama 195
Music 216
Visual Arts 226

TERM 4
Dance 231
Drama 242
Music 257
Visual Arts 266

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 DANCE

UnitUnit
Discover
Dance
1 conventions
your strengths
1 Learner’s Book pages 3–5
xx—xx Duration:
Duration:2 1hours
hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
Term and week/s literacy (integrated with Topics 1 and 2)
Term 1, Week 1

Resources Curriculum and Assessment Policy Statement

Learner’s Book
pages 3–5; different (CAPS) content
coloured felt-tip See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
pens; cardboard or ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
big sheets of paper
(A1) old magazines;
Preparation
Prestik
• Although the learners are meant to bring magazines and pictures
New words to class, it would be a good idea to have some on standby.
and concepts • Also have some coloured pens that they could use and Prestik to
dance conduct; put up the charts.
personal hygiene; • You will need to get chart paper as well.
dance conventions; • Read through the unit and familiarise yourself with the content
safe classroom that you will need to teach. Think about what learners may
environment
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Week 1)
Ensure that you control the discussion and help the learners to decide
which rules are important, which ones are obvious and which ones
they need to be reminded of constantly. They need to write up the
rules that they feel are most important. It would be pointless to paste
lots and lots of rules all around the room as learners will stop noticing
them. Put up a few important ones. Ensure that the learners make
these rules as visible as possible. Finally, remind the learners to use
their notes.

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 Activity 1: Set up a safe classroom environment
• Learner’s work in pairs to evaluate how safe their classroom is
for dance.
• Through marking off a checklist, learners think about practical
ways of making their dance space safe.
• This checklist could be used before each lesson until it becomes
part of their dance routine.
• Learners’ initial analysis of the class should prompt them to think
carefully about the state of their dance space.
• Sum up the previous discussion and then ask: What does the
term, ‘dance conventions’ mean? Allow discussion.

Activity 2: Decide on how to work together

• It is important to allow the learners the opportunity to come up
with the rules themselves.
• Guide them but do not dictate the rules. There needs to be a sense
among the class that these are their rules and this is what they
have come up with.
• Guide the process and gently steer learners back on track if they
get distracted. Use as little intervention as possible. Allow them
the creativity to come up with their own ideas.

Answers
Activity 1
There are no answers but learners should assess their dance space using
a checklist. They discuss what they have discovered and ways to make
the space safer to move in.

Activity 2
• This activity is open to free discussion and there is no incorrect
way of managing it.
• This activity is subject to the opinions of learners and the rules
they consider necessary for a dance class to function well.
• You could remind learners about personal hygiene. Remind them
that they will sweat a lot in a dance class therefore they need to
wash their clothes regularly, wash or shower after the class and
use deodorant.
• Use of the dance space is important. It needs to be clean and the
floors free of anything that could hinder movement or
cause injury.
• Learners should discuss why absenteeism is a problem not just
for the person who misses class but for the rest of the class. They
should discuss late-coming in the same manner.

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 For information Informal assessment
on Informal
assessment, refer Activity 2: This is an informal assessment and would not involve
to the generic any marking. In the assessment itself you follow through on the
assessment tools maintenance of the rules and regulations that the learners have set
for observation, up themselves. The culmination of the activity is the completion of
practical work, the charts with the rules for the dance class. Leave a blank sheet of
performance,
paper up on the wall so that new rules that become necessary can
correspondence
and peer assessment be noted. This would be an on-going activity throughout the year.
in Section 4:
Resources on pages Consolidation
344–347 of this
Teacher’s Guide.
• Quickly review some of the rules at the beginning of each class.
• Engage all learners equally. It is important to create a space where
every learner feels safe to express him/herself as this filters into the
creativity and expression of dance.

Extension
Learners who complete this task with time to spare, could focus on
decorating their charts, making them attractive and eye-catching and
including any further aspects.

UnitUnit
Posture
1 and alignment
2 Learner’s Book pages 6—7 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 6–7; space
to work; variety of Preparation
music; CD player; • Read through the unit and familiarise yourself with the content
full length mirror that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words
any areas of difficulty that you think they might encounter.
and concepts
body alignment; • Master good posture and alignment yourself, before you teach this
posture; agility; lesson. This will give you some experience in adjusting the posture
duet and alignment of the learners.

Teaching the unit

Lesson 1 (Week 2)
• Clearly explain to the learners what the concepts of alignment and
posture entail.

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 • Work through the theory and review the concepts until the
learners fully understand them.
• Then move onto the application of the theory.

Activity 1: Check your posture and alignment

• It is important to use a full length mirror for this activity as it will
give the learners a keen sense of what aspects of their alignment
needs adjusting.
• Explain to them that softening their knees means to hold them in
a naturally relaxed position, not holding them tightly or locked.
• Ask other learners to adjust the positions of those that need it, for
example, gently pushing their shoulders back. When this happens,
it means that the learners are getting the idea of what the body
looks like if it maintains good posture and alignment.

Answers
Activity 1
There are no answers here. Learners need to work on their ability to
adjust their body positioning so as to maintain good posture. Use the
picture of the dancer with good posture as an example of what makes
dance graceful, beautiful and flowing.

For information Informal assessment

on Informal
assessment, refer Activity 1: Check that the learners are able to fully understand
to the generic the dynamics of holding the body in good alignment.
assessment tools They should automatically hold their shoulders back, lengthen
for observation, their spine and tuck in their tummy.
practical work, They should have the ability to identify areas of the body that
performance,
need to be adjusted. They should be able to do this by themselves
correspondence
and peer assessment and assist others if necessary.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide. • It will help if you can adjust the posture of the learners while they
are standing so that they can understand what good posture and
alignment are.
• Ask learners to stand against a straight wall with their heads
against the wall. Their shoulders should be aligned to their knees
and ankles. While keeping this position, they should take a step
forward. This is what good alignment should be. Note that their
shoulders are pulled back and not drooping forward. This is a
common mistake of poor posture.

Extension
• Learners who have mastered posture and alignment could practice
moving while maintaining good alignment.
• They could begin by simply walking around the room and then
slowly adding other movements, such as arm swings or leg extensions.

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 • They can be as creative as they like but should constantly look in
the mirror to ensure that they hold their posture correctly.
• Other learners could watch and assist with adjusting posture
in motion.

UnitUnit
Warm-up:
1 Walking and running
3 Learner’s Book pages 8—9 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 8–9; space
to work; variety of
Preparation
music; CD player
• Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may
and concepts already know about the topics, what skills they already have and
warm-up; heart rate any areas of difficulty that you think they might encounter.
• Ensure that you fully understand the reason for warming-up the
body and the function that it serves.

Teaching the unit

Lesson 1 (Week 3)
Warm-up is a crucial aspect of dance and learners need to remember
this at all times. Warming-up the body is an ideal way to prevent
injuries and to prepare the body for dance. It serves many functions,
one of which is to preserve the movement functions of the body so
that dancers can dance for many years to come.

Activity 1: Walk, run, freeze

• Play a warm-up game with the learners. Get them to move around
the space. Tell them to walk slowly around the room and then ‘freeze’.
• Then get them to move faster while using their arms to make big
shapes and then ‘freeze’.
• Follow this with other fun instructions that will allow learners to
enjoy themselves and warm-up at the same time.

Activity 2: Create a warm-up routine

• Learners explore how to create a warm-up routine. This is basically
putting together a series of different warm-up exercises that target
the different muscle groups and joints.

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 • The learners should first use the example in Table 1.2.1 so that
they can identify the different muscles or body parts that will be
warmed-up.
• Learners need to put the warm-up exercises in a sequence that will
create flow and make it easy for them to shift from one exercise to
the next.

More warm-up activities

Simon says
• Play a simple game like Simon says, but use only movements that
will warm up the body.
• Simon says works like an instruction game, where instructions are
given to the class, e.g. Simon says, ‘Shake your body’ or ‘Nod your
head’. When you give an instruction without first saying ‘Simon
says’, the learners should ignore the instruction. This is meant to
be done deviously, so the learners cannot anticipate what you are
going to say.
• Instead of eliminating a learner who gets caught in the game,
simply have the other learners point him or her out, and then
allow everyone to continue.
• You could say: Simon says, ‘Jump on one leg on the spot’, or
‘Gallop forward for three steps and back for three’, or ‘Skip
around the room’, or ‘Do five arm swings’.

Grab the ball

• Let the learners stand in a circle and place a ball in the centre.
• Let the learners jog slowly around the ball in the circle.
• Then, at random, shout, ‘Grab!’ They all run into the circle to try
to grab the ball.
• Once the ball has been grabbed by a learner, they all run out of the
circle to avoid being tapped with the ball by the person who has it.
• Once the person with the ball has tapped another learner, the
learners form a circle again, and the game restarts.

Copy and add

• Let the learners stand in a circle.
• Ask one learner to begin with a movement. All the learners copy
that movement.
• Do this until all the learners have had a chance to begin with a
movement.
• Then play this game again: After the first learner has done his or
her movement, a second learner copies the movement, but also
adds his or her movement, to form a sequence. Then everyone
copies the sequence of movements. Then a third learner copies the
sequence, but also adds his or her movement to the sequence. The
game continues in this way until everyone has had a chance.
• Make sure the learners stick to the same movements they did in
the first round.

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 Answers
Activity 1
There are no answers here, but watch for learner’s creativity of
movement, their ability to follow instructions and also look at their
posture and alignment (as you did in the previous lesson). This
exercise will make for good follow-through from the last lesson.

Activity 2
Learners need to formulate a warm-up sequence that is fun, targets all
the major muscle groups and flows from one exercise to the next. They
should also choose music that is lively and enhances the entertainment
of the warm-up.

For information Informal assessment

on Informal
assessment, refer Activity 2: Ensure that the learners have created a lively and fun
to the generic warm-up routine with a good selection of music. Their routine needs
assessment tools to warm up the whole body.
for observation,
practical work,
performance, Consolidation
correspondence • Learners should focus on identifying the muscle groups that need
and peer assessment to be warmed-up.
in Section 4:
Resources on pages • Then they should focus on a few exercises that could target
344–347 of this
these muscles.
Teacher’s Guide. • Let them work with a few exercises first before they create the
whole routine.

Extension
Learners can work towards adding more to the routine and targeting
more specific muscles with some exercises. They can also create a
combination to target more than one muscle group at a time.

UnitUnit
Floor-work
1
4 Learner’s Book pages 10—11 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 4 (CAPS) content
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
‘Introduction’ of this Teacher’s Guide for the topics in this unit.

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 Resources
Preparation
Learner’s Book • Read through the unit and familiarise yourself with the content
pages 10–11; space that you will need to teach. Think about what learners may
to work; some soft, already know about the topics, what skills they already have and
slow music; exercise any areas of difficulty that you think they might encounter.
book • Practise the three floor-work exercises so that you are able to explain
to learners what they should experience when they do the exercises.
New words
and concepts
core muscles; core Teaching the unit
stability; stable; Lesson 1 (Week 4)
flexibility • Ask the learners to lie flat on their backs on the floor and ask
them to feel their core muscles in their abdomen and stomach in
the front of the pelvis.
• Ask them to turn over and identify the core muscles in their lower
back and back of the pelvis.
• This will help them understand which are their core muscles and
which muscles they will be exercising.
• When learners understand where the core muscles are located,
they learn to understand how their body is supported by these
muscles and how to use them in dance.

Activity 1: Flex and stretch your feet

• Follow the instructions and look at the photograph to help you
with the exercise.
• Ask learners to note in which part of the body they feel tension.
• Remind them that tension is not pain. So if they feel pain, then
something is wrong. Stop the exercise and check that learners are
doing it correctly.

Activity 2: Round and lengthen your spine

• Follow the instructions and look at the photograph to help you
with the exercise.
• Ask learners to note in which part of the body they feel tension.
• Remind them that tension is not pain. So if they feel pain, then
something is wrong. Stop the exercise and check that learners are
doing it correctly.

Activity 3: Exercise your core muscles

• Follow the instructions and look at the photograph to help you
with the exercise.
• Ask learners to note in which part of the body they feel tension.
• Remind them that tension is not pain. So if they feel pain, then
something is wrong. Stop the exercise and check that learners are
doing it correctly.

Answers
Activities 1–3
Learners should practise the exercises, ensure that they are doing them
correctly and that the core muscles are targeted.

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 For information Informal assessment
on Informal
assessment, refer Activities 1—3: The learners should be able to do and complete
to the generic the exercises. They should be able to identify and work their core
assessment tools muscles. They should also be able to breathe into the movements so
for observation, that their muscles are well oxygenated. This will prevent injury and
practical work, cramping.
performance,
correspondence
and peer assessment
Consolidation
in Section 4:
Resources on pages Learners could be assisted by other learners to master at least two of
344–347 of this the three exercises.
Teacher’s Guide.
Extension
Learners could add on more exercises that target the core muscles.
These exercises should be an extension of ones that they had covered.
Here again, breathing into the movements is important.

UnitUnit
Joint
1 mobility
5 Learner’s Book pages 12—14 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Curriculum and Assessment Policy Statement

Term and week/s
Term 1, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 12–14; space
to work; some Preparation
soft, slow music;
exercise books
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
New words already know about the topics, what skills they already have and
and concepts any areas of difficulty that you think they might encounter.
extend; rotate; • You should practise the three joint mobility exercises so that you
mobility; joint are able to explain to the learners what they should experience
mobility; turnout; when they do the exercises.
recover
• Also master the turn-out and positions of dance as you will
need to demonstrate these to the learners as well as adjust their
positions when they do them.

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 Teaching the unit
Lesson 1 (Week 5)
• A good starting point is for learners to identify their joints and
move them to the full range of movement so that they are aware
of what their limitations are. (Note that this will change with
exercise as the range of movement will be extended over time).
• Explain clearly that mobilising the joints is important as it allows
for smooth, flowing movement in dance without causing strain
or injury.
• Since the joints are used very differently in dance as opposed
to everyday activities, the joints need to be prepared for these
activities first.

Activity 1: Warm up your joints

• Follow the instructions and look at the photographs for help with
the exercise.
• Ask learners to note in which part of the body they feel tension.
• Remind them that tension is not pain so if they feel pain, then
something is wrong. Stop the exercise and check that learners are
doing it correctly.

Activity 2: Knee bends and rises on two legs

• Follow the instructions and look at the photographs for help with
the exercise.
• Ask learners to note in which part of the body they feel tension.
• Remind them that if they feel pain, then something is wrong,
Stop the exercise and check that they are doing it correctly.

Answers
Activity 1
Learners should practise the exercise. Ensure that they are doing it
correctly and that they are moving their joints to their full, natural
range of movement.

Activity 2
Learners should practise the exercise. Ensure that they are doing it
correctly. They should target their hip, knee, ankle and arm joints.
For information
on Informal
assessment, refer
Informal assessment
to the generic Activity 2: Learners should be able to master both first and
assessment tools second positions of the feet in dance. They need to show turn-out
for observation, from the hip. They need to show a smooth transition from turn-out
practical work,
to parallel position.
performance,
correspondence
and peer assessment
in Section 4: Consolidation
Resources on pages Learners who have mastered turn-out and parallel position should
344–347 of this assist those who are finding it difficult. This cannot be compromised
Teacher’s Guide. as it is one of the basic building blocks in dance.

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 Extension
Learners may continue to practise exercises in parallel and turn-out so as
to further strengthen the joints and allow a greater range of movement.

Unit Transference of weight from side

to side
6 Learner’s Book pages 15—16 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 15–16;
space to work; soft
Preparation
shoes; house music;
exercise books • Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
New words already know about the topics, what skills they already have and
and concepts any areas of difficulty that you think they might encounter.
weight transfer; • Try to learn the movements of the dance and identify where and
choreography how weight is transferred in the movements.

Teaching the unit

Lesson 1 (Week 6)
• Discuss weight transfer and why it is important to moving as a
dancer. Dance is essentially about transferring weight.
• Ask learners to demonstrate simple ways to transfer their weight
to create a movement.
• Once they understand what weight transfer is, they can move
onto the activity.

Activity 1: Perform the steps in pantsula

• This involves a small sequence of the pantsula dance.
• Read the instructions and ask learners who know some pantsula to
help teach the movements.
• Follow the instructions and do the movements slowly. Once the
sequence is mastered the pace can be increased.

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 Answers
Activity 1
Learners need to focus on weight transfer and show that they are able
to use weight transfer to engage in a dance sequence.

For information Informal assessment

on Informal
assessment, refer Activity 1: Watch the learners’ use of weight transfer and an
to the generic ability to show rhythm in movement. The sequence does not have to
assessment tools be mastered but they need to show skill in transferring weight.
for observation,
practical work,
Consolidation
performance,
correspondence Use another sequence to show weight transfer, even if created by the
and peer assessment learner.
in Section 4:
Resources on pages Extension
344–347 of this Learners who have mastered the pantsula steps can add on to this
Teacher’s Guide. sequence, by adding more movements and showing the transference
of weight.

Unit Safe landing from movements of

elevation
7 Learner’s Book page 17 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 17; space
to work; music;
Preparation
exercise book
• Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may
and concepts already know about the topics, what skills they already have and
aerial/elevation any areas of difficulty that you think they might encounter.
movement; balls of • Ensure that you understand the different locomotor movements
the feet described, as the difference between them are at times subtle.
• Also practise the safe landings so that you can demonstrate them.

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 Teaching the unit
Lesson 1 (Week 7)
Activity 1: Land safely
• Guide the learners through the safe landing process.
• This is another crucial element of dance and although it involves
conscious learning, with time it should be internalised and come
naturally to all dancers.
• Read out the instructions on how to land and then ask learners
to do them slowly. Instead of using an elevated movement, have
them stand on their toes and slowly transfer the weight from toes
to balls of feet to heel and finally to bend their knees and absorb
the impact.
• Once they understand this sequence of motion they can practise it
using elevated movements.
• Ensure that they are able to swiftly and smoothly transfer their
weight in the landing movement.

Answers
Activity 1
Learners should be able to transfer their weight appropriately when
they land.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe that the learners are able to land safely from
to the generic elevated movements. They need to accurately follow the procedure
assessment tools to land given in the Learner’s Book.
for observation,
practical work,
performance, Consolidation
correspondence Learners who have mastered the safe landing can assist those who are
and peer assessment struggling. Do not compromise as safe landing is crucial to dance and
in Section 4:
required for safe dance practice.
Resources on pages
344–347 of this
Teacher’s Guide. Extension
Learners could create short sequences with elevated movements and
practise their landings. This will allow them to internalise the safe
landings and to use it appropriately in the motion of dance.

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 Unit Simple locomotor movement
combinations across space
8 Learner’s Book page 18 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 18; space
to work; music; Preparation
exercise book
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
New words
and concepts already know about the topics, what skills they already have and
locomotor any areas of difficulty that you think they might encounter.
movement; balls • Ensure that you understand the different locomotor movements
of the feet described, as the difference between them are at times subtle.
• Also practise the safe landings so that you can demonstrate them.

Teaching the unit

Lesson 1 (Week 7)
• Explain and demonstrate the concept of locomotor movements.
• Explain why it is important to land safely from elevated
movements. Explain the injuries and why the impact on the ankle
and knees should be reduced.
• Note that this does not come easily and will need much practice.

Activity 1: Move across space

• Work on the locomotor movements given. Read each movement
out to the class and ask them do it.
• You will need to go slowly so that learners are able to process what
the movements entail. Some may come naturally but others get
complicated, as learners are thinking about the movements and
then trying to do them.

Answers
Activity 1
• Ensure that learners understand what locomotor movements are.
• They should be able to execute your instructions and understand
the differences in the locomotor movements you describe to them.
• Check that they exercise control and balance when engaging in
these movements.

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 UnitUnit
Cool-down
1
9 Learner’s Book page 19 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 19; space to
work; slow, relaxing Preparation
music; exercise
Read through the unit and familiarise yourself with the content
book
that you will need to teach. Think about what learners may already
New words know about the topics, what skills they already have and any areas of
and concepts difficulty that you think they might encounter.
cooling down
Teaching the unit
Lesson 1 (Week 8)
• Clearly explain to the learners why cooling down is important.
• Explain how it prevents injury, how it relaxes the muscles and how
it decreases the body functions to normal so that they are able to
operate as usual.
• Explain clearly what stretching is, how it is important to stretch
slowly and hold stretching positions.
• Make sure the music is suitable for relaxation.

Activity 1: Create a cool-down routine

• Learners select about five exercises from their warm-up routine and
slow down the pace to perform them at. For example, if running is
your warm-up then walking slowly will be your cool-down.
• Learners need to create a cool-down sequence with these few exercises.
• They should note that their breathing slows down during this
process and eventually returns to normal.
• Then they need to add some stretching exercises to have a
complete cool-down routine.

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 Answers
Activity 1
Learners need to show that they are able to create a simple but effective
cool-down routine. They need to show that they understand what this
process entails and that they can adequately stretch their muscles.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe the learners to ensure that they are able to
to the generic create a cool-down sequence using appropriate exercises and some
assessment tools effective stretching. Their cool-down needs to show that they are
for observation, relaxed and their movements should be slow and smooth.
practical work,
performance,
correspondence Consolidation
and peer assessment Learners can practise two simple exercises to use to cool-down. This
in Section 4:
could be, for example walking briskly and then gradually decreasing
Resources on pages
344–347 of this the pace until they reach a slow walk.
Teacher’s Guide.
Extension
• Learners practise and perfect their cool-down routine.
• They may add more stretching exercises and work toward
effectively bringing the functions of the body back to normal.

UnitUnit
The
1 elements of dance
10 Learner’s Book pages 20—24 Duration: 1 hour

Topics: 1. Dance performance (45 mins/lesson); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated with Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 20–24; space
to work; variety of
music – different Preparation
rhythms and beats; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• There is a lot to absorb in this unit and lots of terminology to
explain, so learners may find this difficult. You may need to
simplify the terms so that it is easier for the learners to grasp.

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 Teaching the unit
Lesson 1 (Week 9)
• This lesson involves a lot of dance terminology but try to translate
the terms into movement. Learners must be able to eventually use
these terms.
• Improvisation is an exploration of creative movement with limited
structure, but elements and choreographic rules are added to this
to create dance.

Activity 1: Move freely to music

• Learners explore improvisation.
• Use at least two different forms of music so that learners can
explore different ways to move.
• After their improvisation draw out the elements that learners
unknowingly used. For example, music with a fast beat will
inspire big movements where lots of space will be used. It will also
usually inspire a high level of performance.

Activity 2: Explore space and time

• This activity is similar to Activity 1 except here the learners
explore the element of space in dance as well as direction,
pathways, shapes and levels.
• While they are moving you need to give them instructions that
will enable them to use the different elements, such as faster,
slower, low movements, etc. Get them to explore the variety of
movements that they are able to do with their bodies.
• Finally, they need to discuss how they used the elements and write
down their experiences.

Activity 3: Create a dance

• This is the first dance choreography that the learners create. They
create a short dance of about two minutes, about their experiences
on the playground at lunch.
• This activity is to show their understanding of the elements of
dance and their ability to use these in movement.

Answers
Activity 1
Learners need to discuss how the music made them feel and how they
translated their feelings into movement. Using their experiences, draw
out the elements of dance.

Activity 2
Learners explore their creativity while incorporating the elements of
dance. They need to be able to adequately document their experiences
of how they used the elements.

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 Activity 3
Learners need to use as many of the elements of dance as possible. Their
work needs to show a clear storyline with a beginning, middle and
ending. It also needs to show creativity in movement and originality.

For information Informal assessment

on Informal
assessment, refer Activity 2: Learners present a written submission of their
to the generic experiences in exploring the elements of dance. You will need to
assessment tools mark this submission.
for observation,
practical work,
performance, Consolidation
correspondence
Learners focus on three basic dance elements, with space and levels
and peer assessment
in Section 4:
being the main two and one other of their choice.
Resources on pages
344–347 of this Extension
Teacher’s Guide. Learners practise innovative ways to combine the elements in their
choreography. They rehearse and master the movements and practise
their presentation.

UnitUnit
Formal
1 assessment: Practical
11 Learner’s Book page 25 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 25

Formal assessment
For guidance on how to assess learner’s dance performance, please
see pages 278—279 in this Teacher’s Guide.

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 DRAMA

UnitUnit
Discover
Vocal
1 andyour
physical
strengths
development
1 Learner’s Book pages 27—30
xx—xx Duration:
Duration:
15 mins/week
2 hours

Topic: 1. Dramatic skills development

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Weeks 1–2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 27–30; drum
or tambourine; Preparation
open space in
classroom, school • Read through the unit and familiarise yourself with the content
hall or outside that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Arrange an open area where learners can stretch and move without
vocal; warm- bumping into each other or any furniture.
up; resonance;
articulation;
Teaching the unit
posture; alignment;
physical; energise;
Lesson 1 (Week 1)
synchronise • Introduce the lesson by explaining that learners will learn about
the importance of warming up and how to do a basic warm-up
routine that can be used at the beginning of every drama class.
• Ask: Why is it important to warm up your body and voice well
before performing? Prompt comments on how warm-ups develop
and enhance vocal and physical ability and make sure learners
realise how important they are for preventing injuries.
• Go through the information under: What is vocal devlopment?
Explain resonance and articulation by referring to
the glossary.

Activity 1: Do relaxation exercises

• Demonstrate Reach for the stars.
• Let learners practice it individually following your instructions.

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 Instructions for Reach for the stars
The first warm-up exercise is called Reach for the stars. This will
stretch your spine and improve your posture.
a) Stand with your legs hip-width apart. Think about how your
body feels. Do you have tension anywhere? Do you feel stressed
at all? Take a deep breath in and out.
b) Now breathe in and reach straight up, stand on tiptoes and use
all your strength to stretch further upwards. Try to touch the
ceiling! Try to touch the sky! Touch the stars!
c) Then drop your feet flat on the floor and bring your arms down
to your sides.
d) Stand up straight and breathe in and out deeply, three times.

• Demonstrate Rag-doll.
• Let learners practise it following your instructions.

Instructions for Rag-doll

Now you are going to do the Rag-doll. A rag-doll is a floppy doll
made out of material with soft stuffing.
a) Start by standing up straight with your feet hip-width apart.
Keep your knees soft, don’t lock them.
b) Now let your body sag forward, bending at the waist. Let your
arms hang loosely down in front of you. Relax your head, neck
and shoulders. You don’t need to touch the floor, just hang
downwards like a floppy rag-doll.
c) Gently flop around until you feel all the tension leaving your
body. Remember to keep breathing in and out. Gently shake
your arms and hands to remove all tension.
d) Now come up slowly to a standing position again. Roll up slowly
and gently until you are standing up straight again. Breathe in
and out a few times.

• Ask learners to do the exercises twice, alternating smoothly from

one to the other, i.e. Reach for the stars – Ragdoll – Reach for the
stars – Rag-doll. Repeat the instructions as they do it.
• Explain how correct posture and alignment improves vocal and
physical performance and helps open up the chest to breathe
properly. A good posture immediately gives performers a better
stage presence. Refer to pages 6–7 of the Learner’s Book for more
information on the importance of posture and alignment.

Activity 2: Practise relaxation and breathing exercises

• Explain the standing posture as described on page 28 in the
Learner’s Book.
• Ask learners to get into the standing posture. Walk around
and adjust learners so everyone is properly aligned. Check that
everyone’s shoulders and heads are straight and their chins are
not jutting out.

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 • Use the instructions on page 28 in the Learner’s Book to explain
and demonstrate how to do Air in the ball.
• Ask learners to follow your instructions as they do Air in the ball
five times.

Activity 3: Do resonance exercises

• Remind learners what resonance refers to. Explain that when
we hum, the sound is made in the air spaces in our heads and
vocal passages.
• Let the learners walk around the room and hum for about two
minutes so they can feel the sounds resounding in their head
and throat.
• Ask learners to try to hum the specific sounds: ah, eh, ee, oh and
ooh. They should feel the resonance in different parts of their
mouth and throat. Remind learners to keep their mouths closed
when they hum.

Activity 4: Do articulation exercises

• Say the word ‘ar-ti-cu-la-tion’ very clearly so learners understand
that it means to pronounce words crisply and clearly.
• Let learners make the sounds in the exercise to warm up your lips.
• Write this sentence on the board: The teeth, the lips, the tip of the
tongue … Ask learners to find their centre of balance and repeat it
five times.
• Go through the information under: What is physical development?
Releasing tension, relaxing and loosening the body may sound
contrary to energising it. Explain how a body that is relaxed,
flexible and stress-free has more energy and is ready to jump into
action and perform.
• Now go onto Unit 2 and begin the section: What is improvisation
in drama? (Teacher’s Guide page 88).

Lesson 2 (Week 2)
Activity 5: Practise march/stroll
• The march/stroll is fairly difficult to do properly. There is a lot
to think about and it requires physical co-ordination. Learners
will need to focus and concentrate carefully to master the four
different movements, mood, timing and breathing. Introduce one
aspect at a time.
• First practice the four physical movements – march, halt at
attention, stroll and stand casually. Call out instructions as
learners do the movements.
• Practise adding expression and attitude to create different moods.
For example, march with determination, halt at attention with a
completely neutral expression, stroll casually without a care in the
world, stand in a casual position as if at a party or just chatting.
• Now add the timing. Clap or beat on a drum or tambourine to
keep a slow, steady rhythm of four beats. Let learners practice
each movement, with attitude, to the time of four beats. You can

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 also count to guide them, e.g. ‘March, two, three, four, halt, two,
three, four, stroll, two, three, four, stand, two, three, four’. Go
slightly faster as they improve.
• Once learners have perfected this and are moving easily, add
the breathing. They should breathe in when they march, hold
their breath when they halt, breathe out when they stroll and
not breathe when they stand casually. They should try to fill and
empty their lungs more each time.

Activity 6: Lead and follow in pairs, groups and as a class

• Explain that lead and follow activities improve focus and
concentration. They also improve the communication between
performers.
• Learners first do the March/stroll in pairs. The learner following
must try to copy the leader’s movements and attitude as closely as
possible and synchronise the movements.
• Learners do the March/stroll in a small group of about four. They
should face the leader and do the movements on the spot to keep
the diamond shape. They should copy the leader’s movements and
attitude exactly and synchronise the routine.
• Finally, learners do the March/stroll as a class lead and follow.
Make sure learners have enough space for this routine and do
the march and halt with military precision. This will prevent it
becoming too chaotic.
• Tell learners that they now know the seven exercises that make up
the basic vocal and physical warm-up routine that will be done
at the beginning of each class. Explain that other exercises will be
added to this routine.
• If there is time, go through the basic vocal and physical warm-up
routine.

For information Informal assessment

on Informal
assessment, refer Activities 1–6: Observe the learners to identify those who need
to the generic extra help with a particular exercise. Assign learners to assist or
assessment tools assist them yourself.
for observation, Identify any learners who are not participating and encourage
practical work, them to try the exercises. If any learners are still reluctant, arrange
performance,
to meet with them at the end of the lesson. Find out the reasons
correspondence
and peer assessment why they are not participating and deal with these as best as you
in Section 4: can. Stress how important it is to take part in all drama activities.
Resources on pages
344–347 of this
Teacher’s Guide. Consolidation
These warm-up exercises are repeated throughout the year so it is
important for learners to understand all the movements they are aiming
for even if they cannot achieve them all yet. Assist learners as much as
necessary during the warm-up exercises through demonstration, further
instructions or adjustments or slowing down the pace.

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 Extension
• Select learners who can do the March/stroll well to lead in the pair,
group and class in Activity 6.
• Ask all learners to practise the warm-up activities in their own
time. They can follow the instructions in their Learner’s Book to
do this.

UnitUnit
Improvised
1 drama
2 Learner’s Book pages 31—33 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Weeks 1–2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 31–33
Preparation
New words
Read through the unit and familiarise yourself with the content
and concepts
facial expressions; that you will need to teach. Think about what learners may already
improvisation; know about the topics, what skills they already have and any areas of
react; structure; difficulty that you think they might encounter.
characters; climax
Teaching the unit
Lesson 1 (Week 1)
• Introduce this section of the lesson by explaining how drama is all
about telling stories and that improvisation is about making up
stories as you go along.
• You will have done the warm-up exercises in Unit 1, so now
go straight onto the information under the heading: What is
improvisation in drama? Talk about the importance of the story
structure and what typically happens in each section.
• Ask learners to give you examples from stories to check whether
they have grasped the concept of story structure.

Activity 1: Do your basic warm-up

• Make sure everyone has done the seven exercises in the basic
warm-up routine from Reach for the stars, Rag-doll (Learner’s Book
page 27); Standing posture, Air in the ball, Hum, Warm up your lips
(Learner’s Book page 28); and March/stroll (Learner’s Book page 29).
• Demonstrate the ten steps in the face warm-up on pages 31–32.
Let learners copy each step as you demonstrate.
• Then go through the ten steps again as a flowing routine.

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 Activity 2: Explore themes that are important to you
• Divide the class into small groups. Four is the ideal group size.
• Let the groups do steps 1–3 of the activity.
• Go through the box with ‘Tips for improvisation’.
• Let the group do Step 4.
Go through the information under the heading: Why is it important to
ask the questions: who, what and when?

Lesson 2 (Week 2)
Begin this lesson by completing the activites in Unit 1.

Activity 3: Discuss who, where, what and when

• Let the group complete the activity. Walk around and assist
the groups.
• Groups should act out their improved stories after the discussion.
For information Informal assessment
on Informal
assessment, refer Activity 1: Check that learners who did not participate well in the
to the generic Unit 1 warm-ups are now participating. If not, speak to them again to
assessment tools find out why they are not participating and encourage them to do so
for observation, in the next lesson.
practical work,
performance, Activities 2 and 3: Learners will be in the same improvisation
correspondence group for the whole term. So check the groups are off to a good
and peer assessment start and are working well. If you identify any problems, speak to
in Section 4: the group and explain that they will be assessed on group dynamics
Resources on pages this term and they need to learn to work together as a team. If there
344–347 of this
already seem to be insurmountable problems or clashes, you could
Teacher’s Guide.
consider moving learners to another group.

Consolidation
• Demonstrate any warm-up exercises that learners are not doing
correctly. Look out for correct posture and alignment and correct
breathing in the March/stroll.
• At home, ask learners to think about two stories they know well
and to work out how they are structured in terms of a beginning,
middle and end.

Extension
• Select learners who do the March/stroll well to lead others in
Activity 2.
• If there is time, ask some groups to volunteer to do their
improvisation for the class.
• Groups should arrange a time to continue working on and
rehearsing their improvisation between lessons.

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 Unit Listen and concentrate, act
and react
3 Learner’s Book pages 34—35 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 34–35
Preparation
New words
Read through the unit and familiarise yourself with the content
and concepts
mirror work; that you will need to teach. Think about what learners may already
observation; know about the topics, what skills they already have and any areas of
concentration; difficulty that you think they might encounter.
action; reaction;
non-verbal; gesture Teaching the unit
Lesson 1 (Week 3)
• Explain how communicating well with other actors is always
important but is essential in improvisation. Explain that mirror
work is a good way to practise this.
• Go through the section with the heading: What is mirror work?
Explain that one person leads and the other person is the ‘mirror’
and that the aim is to do it so perfectly that no one can tell who is
leading and who is mirroring.
• Ask everyone to find a partner and to decide who will lead first.
Select one pair and ask the leader to read from the box, ‘Tips for
the leader’. Then let the other learner read from the box, ‘Tips for
the ‘mirror’.’
• Discuss Figures 1.3.1A and 1.3.1B. Make sure everyone is aware
of how actions are reversed in the mirror.

Activity 1: Warm up with mirror work

• Let learners face their partners, about 1–2 m away. Slowly give the
instructions for the first half of the basic warm-up routine from
Reach for the stars, Rag-doll (Learner’s Book page 27), and Standing
posture, Air in the ball (Learner’s Book page 28)
• Let learners swap roles so the leaders become mirrors. Continue with
the rest of the basic warm-up routine from Hum, Warm up your lips
(Learner’s Book page 28) and March/stroll (Learner’s Book page 29).
• Give learners three minutes to reflect on the activity.

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 Activity 2: Improvise with mirror work
• Learners should work with the same partner as before.
• They should each have about one minute to lead. Advise learners
to only use smooth arm and head movements at this stage and to
maintain eye-contact throughout. The aim is to work together as a
unit and so they must not try to trick or confuse their partner.
• The leader should use similar smooth movements when they work
in a group of four.

Go through the information under the heading: How can you build
a drama in a team? on page 35 in the Learner’s Book. Ask learners to
share ideas they learnt from the mirror work exercises, for example, keep
eye-contact, show change of direction with slight head nod or blink.

Activity 3: Build a machine

• Explain the activity by discussing Figure 1.3.2. Stress that
there is to be no talking. Learners may only use non-verbal
communication or gestures.
• Divide the class into groups of about eight to ten learners. Make
sure each group has enough open space to work in.
• Let the groups begin making the machine. When everyone is
involved, tell them to speed up the machine and later tell them to
slow it down and begin stopping the machine one learner at a time.
• Give the group about five minutes to discuss their performance
and answer the questions.
• Then let them build the same machine again; speed it up, slow it
down and stop it bit by bit.
• Let each group perform for the class.

For information Informal assessment

on Informal
assessment, refer Activity 3: Observe the groups and see how they manage to
to the generic solve problems of communication and work together. The second
assessment tools time they build the machine should be more successful, if not, assist
for observation, the group by discussing how they can do it better for the class
practical work, performance.
performance,
correspondence
and peer assessment
in Section 4: Consolidation
Resources on pages • If a learner battles to grasp the concept of mirror work, work with
344–347 of this the learner individually. Begin by mirroring the learner. Then
Teacher’s Guide. swap over and talk them through each movement you make.
• Suggest that learners practise mirror work during break or with
friends after school.

Extension
Ask groups with very simple or uninteresting machines to add more
complex movements or sound effects. They could also change the
rhythm or speed of the machine to make it more interesting.

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 Unit Theme and message, setting
and plot
4 Learner’s Book pages 36—38 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 36–38;
exercise books or Preparation
blank paper
• Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may
and concepts already know about the topics, what skills they already have and
imagery; setting; any areas of difficulty that you think they might encounter.
plot; climax; • Practise reading the story of a seed growing into a tree so you can
characters; events; read it with expression.
elements of drama
Teaching the unit
Lesson 1 (Week 4)
• Explain how the elements of drama are like the ingredients used
to make a drama, just as we use different ingredients to make
a cake.
• The first activity uses imagery to warm up the imagination. All
actors need to use their imaginations to act out the various roles
they play. They need to learn to become less self-conscious in
order to express their feelings through movement.

Activity 1: Imagine a seed growing into a tree

• Ask learners to sit quietly with their eyes closed. They should relax
and focus on their breathing as the class settles down.
• Once all the learners are in position, explain that they are
to imagine that they are the seed in the story. Read the story
out loud.

A seed growing into a big tree

I have been in the dark for a long, long time. Lying completely still for months and months.
Then out of the nothingness, I become aware of a strange sound above me: a tapping and
pattering, and then silence again. I feel something wet sliding over me, making me damp
and soggy.

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 Later on it starts to get warm again and I feel quite strange – I have an urge to move,
there is energy inside of me wanting to get out. I wriggle a bit and feel my cover splitting and
slipping off.
I feel a bit nervous as I tentatively start to uncurl. My limbs start to move, my arms reach
for the light and my legs dig deeper into the earth on a quest to find some water.
Suddenly my head bursts out into the blinding light. I am surprised to see there is a whole
world full of life above the darkness. I reach up further, shyly at first but then with more
confidence.
The wind starts to blow and I wave from side to side as I don’t feel very sturdy. I continue
to grow and become stronger and stronger. One day two little birds come to live on my elbow. I
watch them flying backwards and forwards, bringing sticks and mud to build their nest.
One day a woodpecker flies onto my chest and begins pecking like crazy under my arm. It is
very, very ticklish. I try my best to keep still and not laugh out loud and frighten it away.
The years pass and I have become really tall and strong. I stand firmly in all weather and
only my fingers blow in the wind. I look around slowly and smile at the other tall trees around
me. We have all been through the same experience and this has brought us closer together.
We stand solidly to form a canopy that protects everything in the forest below.

• Let learners have some time to think about how they can express
the seed’s transformation through body shapes, actions and
movements at different levels from the floor and facial expressions.
• Read the story again as learners act it out.

• Take learners through the section: What are the elements of drama?
on page 36 in the Learner’s Book.
• Explain how a story map can be used to answer the questions,
where, when, who, what and how.

Activity 2: Map a story

• Let learners work individually to develop their own story maps by
answering the questions and creating a story map like the one in
Figure 1.4.2.
• Use Figure 1.4.3 to demonstrate how learners should share their
story maps.
• Let learners share their story maps with a partner. Encourage
learners to ask their partner questions and to give constructive
feedback on the story map.

• Take learners through the section: How can you develop the
structure, setting, plot and climax? on page 38 in the Learner’s
Book.
• Explain how a story map can be used to answer the questions,
where, when, who, what and how.

Activity 3: Map your improvised word story

• Learners must work in their improvisation groups for this activity.
• Observe the groups as they work. Monitor the discussion and
check that the story maps are completed well.

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 For information Informal assessment
on Informal
assessment, refer Activity 2: Check that learners have completed a story map with
to the generic the information shown in Figure 1.4.2.
assessment tools
Activity 3: Observe the groups to see that everyone is
for observation,
practical work, participating in developing the story map. Check that the completed
performance, story maps are clear and make sense.
correspondence
and peer assessment
in Section 4: Consolidation
Resources on pages If learners struggle understanding spoken English you can either read
344–347 of this the story again before learners begin acting or replace the difficult
Teacher’s Guide. words in the story with easier alternatives, e.g. aware of – notice,
limbs – arms and legs, urge – need, tentatively – shyly, quest – search,
sturdy – solid/strong, canopy – cover/shelter.

Extension
If any groups finish Activity 3 early, ask them to mime their story
using only non-verbal communication such as gestures and facial
expressions.

UnitUnit
Characters
1
5 Learner’s Book pages 39—40 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 39–40; small
book for character
journal
Preparation
• Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may
and concepts already know about the topics, what skills they already have and
build/develop any areas of difficulty that you think they might encounter.
a character; • Write the eight main questions from the box: Questions for
in character; building a character on the board (Learner’s Book page 40).
personality;
appearance; • Think of a character that learners know to use as an example for
character journal character building questions. It can be anyone from Modjadji the
Rain Queen to Garfield.

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 Teaching the unit
Lesson 1 (Week 5)
• Begin by leading learners through the warm-up routine. Do
the March/stroll as mirror work in pairs and then as a lead and
follow in groups of four. End with the imagery warm-up of a seed
growing into a tree from the last lesson.
• Hold a class discussion on the importance of characters to the
success of a performance. Compare the photos of Charlize Theron
and ask learners if they know other actors who have changed their
appearance or learnt new skills for a role.
• Then go on to the section: How do you develop a character? Ask for
suggestions on how actors can see the world through the eyes of
their character.

Activity 1: Develop a character for an improvisation

• Describe the situation and the variety of characters that could
be buying tickets for a music concert. Make the situation more
real by asking learners to suggest musicians they would like to see
in concert and describe a ticket outlet in a setting that everyone
knows or can imagine.
• Use the questions from the box: Questions for building a character
to describe the familiar character you have prepared.
• Learners must first work alone to conceptualise their character.
• Then they work in pairs to practise acting in character.
• Learners do not have to work in their improvisation group this
time. Randomly select groups of about eight or more learners.
• Give the learners five minutes to wait in the queue before it starts
to move forward.
• After the improvisation, give the groups ten minutes to reflect on
their performance and how it could have been improved.

Activity 2: Develop your character in the improvised

word story
• Let learners work on Activity 2 in their improvisation groups
for the rest of the lesson. Assist the groups to build their
characters by asking the eight questions from the box: Questions
For information for building a character.
on Informal • At the end of the lesson, remind learners to start their character
assessment, refer journal and to write about their ticket queue character and their
to the generic improvisation character.
assessment tools
for observation,
practical work, Informal assessment
performance,
correspondence Activity 1: Observe learners during the ticket queue
and peer assessment improvisations and notice whether they are able to stay in character
in Section 4: throughout the improvisation.
Resources on pages
344–347 of this Activity 2: Observe how the groups are working together. Check
Teacher’s Guide. that everyone is participating fully.

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 Consolidation
Assist learners who are struggling to build a character. Demonstrate
how they could move or use their voice and suggest particular
mannerisms that would make their character an individual.

Extension
Advise advanced or enthusiastic learners to use their character journal
to write about and develop other characters.

Unit Physical relationships in space

and shaping scenes
6 Learner’s Book pages 41—43 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 6
(CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book
‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 41–43;
an end-on stage
(if available); Preparation
performance • Read through the unit and familiarise yourself with the content
space for each that you will need to teach. Think about what learners may
improvisation already know about the topics, what skills they already have and
group; string or any areas of difficulty that you think they might encounter.
chalk to mark
the positions on • Use string or chalk to mark the different positions on a stage.
stage; furniture of
If you do not have an end-on stage at your school, mark up a
different heights to performance space and let learners imagine that it is a real stage.
demonstrate levels • Arrange a performance space for each improvisation group. You
could use the school hall or an area outside if there is not enough
New words space in your classroom.
and concepts • Arrange furniture of different heights so learners can experiment
positions on with acting on different levels, for example, cushions, low stool,
stage; upstage;
chair, high stool, table, etc.
centre; downstage;
wing; apron; • Plan ways to include learners with disabilities that restrict their
audience; blocking; mobility or movement.
proximity; level
(height of the Teaching the unit
actor); point of Lesson 1 (Week 6)
focus/focal point
• Go through the introduction text with learners and discuss
Figure 1.6.1. Then show learners the positions on stage that you
have marked up. Ask some learners to move to different positions
on stage until everyone is familiar with the various areas.

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 • Lead learners through the basic warm-up routine. You can include
some stage directions in the warm-up if you like.
• Explain that this lesson is about three important aspects of using
physical space and shaping scenes: positions on stage, using
different levels and developing scenes using tableaux. They will only
learn about each one in the lesson and the groups will complete
the activities in their own rehearsal time. Groups should appoint a
director to be responsible for these aspects of their performance.

Activity 1: Explore the positions on a stage

• Learners work in their improvisation groups. They should
use string or chalk to mark up the positions on their stage or
performance area.
• Give the groups only ten minutes to start the activity now and five
minutes to reflect on their decisions.
• Once you are sure all the groups know what to do, you should
move on to the next part of the lesson. They must continue
working on their blocking in their own rehearsal time.
• Ask learners to look at Figure 1.6.2 on page 42 in the Learner’s
Book. Discuss the use of levels and how this adds interest and
meaning to the performance.
• Ask some learners to put themselves on different levels using the
furniture you have set up. Include learners with disabilities that
restrict their mobility so they can also begin to experiment with
using levels. Ask: How do you feel when you are sitting on the
floor bending forward? What do you think this position will tell
the audience about your character?

Activity 2: Explore different levels

• Let learners experiment for a short while with using different
levels in their improvisation and reflecting on the effect it has.
• Once everyone understands the activity, tell them to continue
working on levels in their own rehearsal time.
• Go through the information under the heading: How are scenes
shaped and developed?
• Explain the concept and use of tableau (singular)/tableaux (plural)
in drama. Use the information in the interest box on page 43 of
the Learner’s Book to do this.
• Check that all learners are clear about what it means to improvise.
Refer back to page 32 of the Learner’s Book to revise this if necessary.

Activity 3: Shape and develop the scene

• Learners can do this activity in their improvisation groups.
• After learners have completed question 1, discuss the answers as
a class.
• Explain what tableaux are frozen pictures or displays and then
let the groups continue the activity. Walk around and assist the
groups to get into the correct positions and to freeze the action.

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 Activity 4: Use tableaux
• Improvisation groups should then create tableaux of the most
important moment in their own improvisation. Do not let them
spend too long on deciding which moment to freeze.
• Explain that the groups should experiment with tableaux during their
rehearsals. They should make sure that all the important moments in
their story make an interesting picture with a clear focal point.

Answers
Activity 3
1. a. There is no right or wrong answer. Learners answers will differ
but could include:
The story is set in a [place: school/playground/sports field] in
about [when: anytime in the 21st century]. The picture shows
people surrounding a central figure/girl and offering her fruit/
apples. The characters are girls and boys.
b. The main character is in the centre of the circle; three
characters are close to her in the circle; three are surrounding
them and have their hands joined; and two others are outside
the circle but looking at the main character.
c. The spaces between the actors tell us about their relationship
to each other. We can assume that the three characters nearest
the main characters are closest to her; and the ones outside the
circle are the least close to her.
d. It appears that all the actors are on the same level, except for
those outside the circle, but there is a distinct feeling that the
most important character is the one in the middle of the circle.
e. The point of focus is the main character in the centre of
the circle.

For information Informal assessment

on Informal
assessment, refer Activities 1—4: Observe the learners to notice whether they all seem
to the generic to understand the concepts of using the following: positions on stage,
assessment tools different levels and spaces between actors, tableaux and focal points.
for observation,
practical work,
performance, Consolidation
correspondence
and peer assessment
• For learners who battle with left-right orientation, point out that
the positions on stage are marked from the actors’ point of view
in Section 4:
Resources on pages when they are facing the audience and not from the audience
344–347 of this point of view. It may help for them to view Figure 1.6.1 holding
Teacher’s Guide. their books upside down.
• If the concept of a focal point is not clear, bring in more pictures
to show learners how the lines or spaces draw the eye to a
particular point.

Extension
Encourage learners to use the names for positions on stage during
their rehearsals and during other class activities from now on.

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 UnitUnit
Spatial
1 arrangements
7 Learner’s Book pages 44—46 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week); 2. Drama

elements in playmaking (45 mins/week)

Curriculum and Assessment Policy Statement

Term and week/s
Term 1, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 44–46;
performance spaces Preparation
for each group;
string or chalk
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
to mark out the
positions on stage already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
New words • Arrange performance spaces and string or chalk for each group to
and concepts mark out their spaces.
proscenium (end-
on) stage; thrust Teaching the unit
stage; area stage
Lesson 1 (Week 7)
(theatre-in-the-
round); flexible • Begin the lesson with the basic warm-up routine.
stage; promenade • Then go through the different stage layouts in the section: What
stage; wings; props; spaces are used for a performance? Just read through the text and let
sets; apron; house; learners look at Figures 1.7.1–1.7.5 as you read.
light and sound
booth Activity 1: Set up and perform on different stages
• Divide the class into six new groups for this activity. They will not
work in their improvisation groups for this lesson.
• Give the groups time to discuss each type of stage. Check if there
are any questions before you go onto Step 2.
• Allocate one type of stage to each group and let them set up or
select the space for the stage and prepare a short improvisation on
any theme of interest.
• The class should move from stage to stage to view the
performances. Do not let any groups perform for more than three
minutes. After each performance, let the stage manager speak
about the advantages and disadvantages of the stage. You can add
additional points if necessary. Then let the director talk about the
blocking used. Let everyone give feedback before moving onto the
next performance.
To end the lesson, ask the improvisation groups to decide on the best
stage for their improvisation and to arrange time to rehearse their
blocking on this type of stage. They have only three more weeks to
rehearse before their final performance.

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 Answers
Activity 1
4. Some advantages and disadvantages that stage managers can
mention after each performance:

Proscenium (end-on stage)

Advantages
• Can take a large or a small cast but it is very good for productions
with a big cast.
• Many props and different scenery can be used.
• Curtains hide the stage when props are moved and sets changed.
• Backdrops, lighting and special effects can be used without being
visible to the audience.
• The actors only have to play to an audience in one direction.
• Entrances and exits are easy through the wings.
• It is easy to surprise the audience using the curtain and wings.
Disadvantages
• It can be an expensive space to hire for a small production.
• The stage may look bare unless there are big sets and lots of props.
These can be expensive to make or buy.
• The actors may seem lost on the big stage.
• The audience is quite far away from the action.
Thrust stage
Advantages
• The stage can take a large or a small cast.
• There is more intimacy between the performers and the audience
as the performers are closer to the audience.
• Less scenery is needed.
Disadvantages
• Actors have to play to an audience on three sides, so the blocking
has to be carefully thought out so that the audience can see all
the action.
• Entrances and exits may be more difficult.
• Props and sets must not block the audience’s view.
Combination proscenium-thrust stage
Some of the advantages and disadvantages mentioned above.

Arena stage (theatre-in-the-round)

Advantages
• It is good for productions with a small cast.
• Smaller theatres can fit a bigger audience into the space.
• It feels similar to watching a real life situation.
• The audience is quite close to the action and so feel more involved.
• The actors can easily interact with the audience.
• The audience can see each other and react to each other during
the performance.

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 • It is good for high energy productions as actors can run on and off
in different directions.
• Less money is needed for sets and props and fewer stage hands
and storage rooms are needed.
Disadvantages
• Actors always have their backs to some of the audience. So
they must not face one direction or a long time or some of the
audience will feel left out.
• Actors need to speak more clearly so that those behind them can
also hear.
• Backdrops and curtains cannot be used.
• Sets or props may block the audience’s view and must therefore
be limited or selected carefully. For example, a high-backed chair
could easily block the view.
• The audience can see the sets being set up or taken down unless
this is done before the performance or during interval.
• Lighting is more difficult as actors need to be lit on all sides but
the lights must not blind the audience.
• Making surprise entrances is very difficult.
Flexible stage
Advantages
• A flexible stage can take any form to suit the performance.
• The audience and performers can remain separate or be
intermingled.
• The configuration of the stage can change during the course of
the performance.
• Plus other points from an arena stage.
Disadvantages
• Building a stage for just one production is expensive.
• Audience may not be expecting an unconventional stage.
• Plus other points from an arena stage.
Promenade stage
Advantages
• Any existing building or environment can be used as a
performance area.
• The element of surprise can be high.
• The audience can be involved in the performance.
Disadvantages
• The unconventional nature of the ‘stage’ can bewilder the public
who are in the space.
• Some members of the audience may not wish to become involved.
• The performance may be different (good or bad) each time it
is given.
• It is more challenging to distinguish actors from members of the
public/audience.

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 For information Informal assessment
on Informal
assessment, refer Activity 1: Listen carefully to the stage managers to see if they
to the generic have grasped the advantages and disadvantages of each type of
assessment tools stage and to the directors to see if they considered the stage and
for observation, the audience’s view when they planned the blocking.
practical work,
performance,
correspondence Consolidation
and peer assessment Ask learners to observe the types of stages that are used when they
in Section 4: next watch television programmes with a live audience.
Resources on pages
344–347 of this Extension
Teacher’s Guide.
If there is time, let the groups do their improvisations on a different
type of stage to see the adjustments they need to make in terms of
entrances, blocking and exits.

UnitUnit
Performing
1 careers
8 Learner’s Book pages 47—49 Duration: 1 hour

Topic: 5. Careers

Curriculum and Assessment Policy Statement

(CAPS) content
Term and week/s
Term 1, Week 8 See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
‘Introduction’ of this Teacher’s Guide for the topics in this unit.
Resources
Learner’s Book
pages 47–49; Preparation
copies of the • Read through the unit and familiarise yourself with the content
performing careers that you will need to teach. Think about what learners may
worksheet on already know about the topics, what skills they already have and
page 322 of this any areas of difficulty that you think they might encounter.
Teacher’s Guide
• Think of examples of performers that interest your learners: actors,
singers, dancers or musicians. Find out about their careers so you
can discuss them with learners during the lesson.
• Unless you are able to record and show a TV programme in
class you need to get the name, channel and screening times of
an appropriate TV programme for learners to watch before the
next lesson. They will need to have seen a programme to do the
activities in Unit 9.
• Make photocopies of the performing careers worksheet on
page 322 of this Teacher’s Guide.

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 New words Teaching the unit
and concepts Lesson 1 (Week 8)
career; acting; • Explain that this term you are going to look at performers in
performing; main/ different areas of the performing arts. In the next terms you will
lead/starring/ look at other careers in the performing arts and in fields related to
principal actor;
the performing arts.
co-star; supporting
actor; understudy/ • Tell learners that there are both acting and other performance careers.
stand-in; bit player; • Go through the section: Acting careers. Discuss each career and
walk-on actor; make sure learners understand the role of each type of actor.
background artist/
extra; voice actor/ Activity 1: Explore acting careers
artist; commercial
actor; educational
• Hand out a copy of the worksheet from page 322 of this Teacher’s
Guide to each learner.
actor; mime actor;
photo double; stunt • Once learners have completed their discussion and compiled a
actor/double; body list of the skills needed, let each group give a short report back to
double; versatile; the class.
contemporary; • Let learners complete the matching activity with a partner and
dancer; singer; then discuss the acting careers that interest them most.
musician; comedian/
clown; rewards
• Check their answers and ask a few learners to share their interests.
• Go through the section: Other performing careers. Discuss the
information on being a dancer, singer, musician or comedian/clown.
In each case, explain how having these additional skills can make
actors more versatile and so open up the range of roles they can play.
• Ask learners if any of them are interested in these careers and
whether they will do them exclusively or as well as acting.

Activity 2: Explore performing careers

• Learners should select the performing career that interests
them most of all. They should form groups with others who are
interested in this career to do the activity.
• If you have access to a DVD player and TV at school you can
record and play a short TV show for learners in the next lesson. If
not, you need to ask learners to watch a particular show on TV at
home. If possible select one that is shown more than once between
now and the next lesson. Also make sure it is on a channel that
all your learners have at home. This way, learners won’t have an
excuse to miss it. Stress that it is vital that they watch the show or
they will not be able to participate in the next lesson. Take them
through Steps 1 and 2 of Activity 1 on page 50 in the Learner’s
Book so they know what to do when they watch it.
• Remind learners that they have only two weeks left to rehearse
their improvisation. They must arrange times outside of class to
rehearse. Advise them to check the assessment criteria in the
table on page 52 to make sure that they are on track for their
final performance.

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 Answers
Activity 1
(Worksheet on page 322 of this Teacher’s Guide)
1= j; 2 = d; 3 = c; 4 = l; 5 = g; 6 = e; 7 = b; 8 = n; 9 = f; 10 = h; 11 = k;
12 = m; 13 = a; 14 = i

For information Informal assessment

on Informal
assessment, refer Activity 2: Check that each group has completed a list of skills
to the generic required for each performing career. Provide feedback on each list.
assessment tools You can suggest additional points if necessary.
for observation,
practical work,
performance, Consolidation
correspondence If learners have struggled with the matching exercise, you should
and peer assessment consolidate the new terms in the next lesson. You can do this by:
in Section 4: • giving each learner a card with a kind of actor written on it, e.g.
Resources on pages stunt actor, photo double. They then ask each other questions to
344–347 of this find out what type of actor each learner has on their card.
Teacher’s Guide.
• making a word search or cross-word puzzle (e.g. www.puzzle-
maker.com)
• holding a pop quiz in the next lesson.
Extension
Enthusiastic learners can be encouraged to do further research into the
performing career they are interested in.

Unit Critically reflect on a

professional performance
9 Learner’s Book pages 50—51 Duration: 1 hour

Topic 2: Drama elements in playmaking

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 50–51;
DVD/video player
Preparation
and TV (if showing
the programme • Read through the unit and familiarise yourself with the content
in class) that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

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 New words • Watch the TV programme you will be showing in class or the
and concepts programme you asked your learners to watch. Check that you
professional; have the information you need for the ‘Critical reflection on a
critically professional performance’ form on page 51 of the Learner’s Book.
reflect; spatial
arrangements;
theme and message;
Teaching the unit
plot; setting; set; Lesson 1 (Week 9)
props; characters; • Explain that you will be taking learners to see a live professional
roles; physical performance during the year and that the lesson today will prepare
relationships in them to critically reflect on a professional performance.
space; costumes; • Show the TV programme or check that everyone has managed to
hair; make-up; watch it at home.
lighting; sound;
special effects;
action Activity 1: Watch a television programme
• If you are showing the programme in class, make sure learners
know what to do while they are watching. If they have already
seen the programme at home they should have done the activity
or at least Steps 1 and 2.
• Complete Activity 1 in class. Make sure all learners have answered
the questions on the form on page 51 on their own before they
join a group to pool their ideas.

Activity 2: Critically reflect on a television programme

• Let learners work in fairly small groups of three or four to reflect
on the programme and combine the information they have to
complete the form on page 51 and make a detailed sketch of the
set or sets.
• Once all the groups have completed Steps 1 and 2, give each
group a chance to present their work.
• Make sure everyone is aware that the final performance of their
improvisation for assessment will take place in the next lesson.
Make sure all groups have arranged enough time for rehearsals.
Ask learners to read through Units 1–7 in the Learner’s Book to
make sure they have taken everything into consideration.
• Go through Activity 1 in Unit 10 (Learner’s Book page 52) and
ask learners to shape and develop their drama during the final
rehearsals. They need to be completely ready to perform in the
next lesson.

Answers
Activity 2
Ensure that the groups critically reflect on both the positive and
negative aspects of the performance. Some may find it hard to
find fault with professional actors while others may find it easier
to be completely negative about everything. Learners need to find
a reasonable, balanced approach to evaluating drama productions.
Encourage them to give constructive suggestions on how things could
have been done better.

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 For information Informal assessment
on Informal
assessment, refer Activity 1: You should check that learners have managed to
to the generic answer most of the questions on page 51 on their own. They should
assessment tools have given reasons for their answers. Ask open ended questions to
for observation, encourage learners to give more detailed responses and learn to be
practical work, more confident about forming and expressing their opinion.
performance,
correspondence Activity 2: Observe the groups to check that everyone is
and peer assessment participating and sharing their ideas.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide.
• Divide learners into mixed ability groups for Activity 2.
• Ask learners who struggled to be critical to watch and reflect on
other programmes on TV. They could also practise answering the
questions on the ‘Critical reflection on a professional performance’
form on page 51.

Extension
If any groups complete Activity 2 early, they can quietly walk around
and observe the other groups. They may not participate at all though,
just watch, listen and learn.

UnitUnit
Formal
1 assessment: Practical
10 Learner’s Book page 52 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 10 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the Introduction of
Learner’s Book this Teacher’s Guide for the topics for this unit.
page 52

New words Formal assessment

and concepts For guidance on how to assess learner’s performance, please see
shape; tableaux; pages 287—288 in this Teacher’s Guide.
assessment
criteria; group
dynamics; spatial
arrangements;
physical
relationships; plot;
climax; characters

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 MUSIC

UnitUnit
Music
1 literacy
1 Learner’s Book pages 54—59 Duration: 15 mins/week

Topic: 1. Musical literacy (15 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Weeks 1–5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 54–59; CD
player and music, Preparation
or any instruments
to demonstrate/ • Read through the unit and familiarise yourself with the content
play pieces for the that you will need to teach. Think about what learners may
learners to listen already know about the topics, what skills they already have and
to; have different any areas of difficulty that you think they might encounter.
music scores to • Gather all the resources prior to the lesson and make sure that
show the learners they are intact and working (e.g. CD player) and that you are
what a score familiar with using the equipment.
looks like – choir
music, piano • When listening to music the learners must be quiet. Encourage
music; percussion learners to actively listen to the music.
instruments (e.g. • Be prepared to demonstrate music through voice or an instrument.
cymbals, bells,
triangles, shakers) Teaching the unit
Divide the unit into five 15 minute lessons as follows:
New words
Lesson Week Pages Activities
and concepts
pulse; rhythm; 1 1 54–55 1
note, stave; bar; 2 2 56–57 2
music score; 3 3 57–58 3
notation; duration; 4 4 59 4–5
note value; pitch;
5 5 59 6
semitone; clef;
treble clef; tonic Lesson 1 (Week 1)
solfa; ‘by ear’ This lesson focuses on pulse in music and rhythms. Read through the
text on pages 54 and 55 with the learners. Make sure they understand
the concept of pulse (being the regular beat in the music), and rhythm
(the way we put beats together).

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 Activity 1: Listen and clap to different rhythms
• Find contrasting pieces to play, either on CD or if you can play an
instrument, play pieces of music on the instrument of your choice.
• Let the learners listen and then find the pulse of the music
by clapping.

Lesson 2 (Week 2)
• This lesson focuses on musical notation, duration and writing
down rhythms, pitch and treble clef.
• Read through the text under the heading, What is musical
notation? with learners.
• Write the notes on the board, on a stave.
• Read through the text under the heading, Duration and writing
down rhythms with learners.
• Make sure learners understand the concept of duration and note
value, and the rules for writing different rhythms.

Activity 2: Clap or drum short rhythmic phrases

• If learners cannot remember the names of each note, they can
refer back to page 56 in the Learner’s Book.
• Repeat the exercise a few times until the learners can name the
notes without having to refer back to the previous page.
• Hand out instruments, demonstrate playing the rhythms and
let learners copy you. If there are not enough or no instruments
available, use other methods or equipment to execute rhythms on
(tables or desks, rulers, etc.).
• Repeat numerous times so that learners can play the rhythms
with confidence.

Lesson 3 (Week 3)
Go through the notes under the heading, What are the letter names or
notes on the treble clef ? with learners; and What is the treble clef ?

Activity 3: Name the letter names of notes

• Do this activity only after the learners are familiar with the note
names on page 57 in the Learner’s Book.
• Let every learner fill in their own activity with pencil.
• Redo it again if necessary, this time in pen.
Lesson 4 (Week 4)
• In this unit, learners sight sing melodic phrases from known and
unknown songs using tonic solfa. Good time management is essential
to ensure there is enough time for practise and performance.
• Explain tonic solfa, giving examples.
Activity 4: Practise ‘doh’, ‘so’, ‘me’
• Follow the steps set out in the activity to teach tonic solfa.
• If you are uncertain how to pitch the doh, so or me, make use of
a melodic instrument (recorder, piano, guitar) to regulate or find
the right pitch.

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 Explanation of tonic solfa
• Use 7 note names sof a scale (do, re, mi, fa, so, la, ti) with a
hand sign for each pitch.
• This means learners do not need to know how to read words or
music to be able to learn songs in solfa.
• By learning solfa and practising patterns (‘drills’) learners can
learn to sing ‘in tune’.
• In South Africa, we use a movable doh/do. This means the do
can start on any pitch. Do can be C or G.
• To indicate a lower pitch (octave lower), you use subscript: d1 or d2.
• To indicate a higher pitch (octave higher) you use the
superscript: d1 or d2.

Activity 5: Sing the pattern

• Help learners find the right pitch for the doh, so and me, making
use of a melodic instrument (recorder, piano, guitar).
• This activity can be done in groups or in pairs.
• Give learners enough time to come up with new patterns of
tonic solfa.
• Give learners the opportunity to perform their new patterns to
the rest of the class.

Lesson 5 (Week 5)
Activity 6: Identify the pitches
• Be very familiar and confidant with playing and singing to
the class.
• If unsure, rather construct and write out the patterns before
presenting them to the learners.

Answers
Activity 2
1. a. crotchet, crotchet, minim
b. minim, minim, semibreve
c. crotchet, crotchet, 4 x quavers
d. 4 x quavers, crotchet, crotchet
e. minim, 4 x quavers

Activity 3
1. G F C E F D A E G B D Middle C A
2. Draw the notes on the stave using pencil the first time.
Discuss and then rub out. Then redo in pen.

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 For information Informal assessment
on Informal
assessment, refer Activity 1: This is a practical assessment, either individually or in
to the generic groups.
assessment tools
Activity 2: This is a practical assessment, either individually or in
for observation,
practical work, groups. Each learner can also write the answers in their books to be
performance, handed to you. Allocate an individual mark to each learner.
correspondence Activity 3: This activity can be marked by learners swapping
and peer assessment
their books.
in Section 4:
Resources on pages Activity 5: This activity can be assessed in pairs by learners
344–347 of this themselves, or you can assess the learners individually.
Teacher’s Guide.

Consolidation
• Compile similar exercises to those in the three activities to make
sure that learners internalise the note names and values.
• Let the stronger learners pair up with the struggling learners and
then do more of the same activities in pairs.
• Do the activities in smaller groups or pairs to enable weaker
learners to be assisted by the other learners.
• Repeat the activities, using different dohs.
Extension
• When learners are listening to the music in Activity 1, they can
also demonstrate the pulse by making sounds other than just
clapping. They can beat on the desks, tap with their feet or make
sounds with their voices.
• Learners can bring their own examples of music to listen to and
find the pulse.
• Each learner can make their own flashcards with individual notes
on them and then let the rest of the class name the notes as they
are being flashed.
• The same can be done with Activities 2 and 3.
• More advanced learners or learners taking extra-mural music,
can be given the opportunity to present their own version of
Activity 6.
• Activity 6 can also be done in pairs, pairing stronger learners with
weaker learners.

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 Unit Body percussion and playing
musical instruments
2 Learner’s Book pages 60—62 Duration: 45 mins/week

Topics: 1. Musical literacy (15 mins/week); 3. Performing and

creating music (30 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Weeks 6–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 60–62; a
spacious venue Preparation
or outside where
you can make a • Read through the unit and familiarise yourself with the content
noise and have that you will need to teach. Think about what learners may
enough room already know about the topics, what skills they already have and
for movement; any areas of difficulty that you think they might encounter.
using mostly body • Look at the order that the content will be presented in.
percussion • There are many activities in this lesson so it is important to keep
good time management. Do not get stuck on any activity for too
New words
long. This lesson focuses on applying previously learnt concepts
and concepts
body percussion;
and new concepts.
metronome; solo • Prepare the learners for the activities by sharing and teaching the
given content in the lesson, but also if need be, by recapping on
content from previous lessons.
• Guide the learners from a distance, but do not limit their creativity.
• Do not interrupt with talking and instructions – try and keep the
beat going and the activities flowing.

Teaching the unit

In this unit, learners use their bodies to make sounds. They play music
from graphic scores and create instrumental music in a group and
solo context. Good time management is essential to ensure that there
is enough time for the creative process, for practise and performance.
You can substitute the body percussion with percussion instruments
(shakes, djembe drums and Orff instruments or any self-made or
found instruments).

Lesson 1 (Weeks 6—7)

Activity 1: Practise three body percussion sounds
Introduce the learners to the three body percussion movements by
going through and demonstrating the text on page 60 of the Learner’s
Book. Then work through the three steps in Activity 1 with learners.
End this activity by going through Table 1.2.1.

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 Lesson 2 (Week 8)
Activity 2: Create rhythmic repetition through clapping
or drumming
• Repeat the six patterns in this activity several times.
• Work in pairs, groups and then as a whole class.
Lesson 3 (Week 9)
Activity 3: Create rhythmic question and answer through
clapping and drumming
• Learners work in two groups to practise the body percussion techniques
to perform the beats in Activity 2. Follow Step 1 in Activity 3.
• Learners then work in pairs to practise Step 1.

For information Informal assessment

on Informal
assessment, refer Activity 3: Assess the performance of the learners. Look at their
to the generic presentation and execution of the rhythms through body percussion.
assessment tools
for observation,
practical work, Consolidation
performance, Ask learners to work in pairs to read the text on Keith Terry. They can
correspondence
try to copy the body percussion movements in the photographs.
and peer assessment
in Section 4:
Resources on pages Extension
344–347 of this • Do the different body percussion activities standing or sitting in
Teacher’s Guide. different formations, e.g. making two lines facing each other or
standing in a circle.
• Add movement by walking or jumping while doing the body
percussion techniques; and/or add levels to the movements (high, low).
• Together with the learners think of more ways of using body
percussion.

UnitUnit
Music
1 listening
3 Learner’s Book pages 63—65 Duration: 15 mins/week

Topic: 2. Music listening

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Weeks 1–9 (CAPS) content
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
‘Introduction’ of this Teacher’s Guide in the topics in this unit.

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 Resources Preparation
Learner’s Book • Read through the unit and familiarise yourself with the content
pages 63–65; CD that you will need to teach. Think about what learners may
player; examples already know about the topics, what skills they already have and
of music pieces in any areas of difficulty that you think they might encounter.
different tempos
or an instrument • Gather all the resources prior to the lesson and make sure that
to play pieces in they are intact and working (e.g. CD player) and that you are
different tempos; familiar with using the equipment.
examples of • When listening to music the learners must be quiet. Encourage
performed music; active listening.
music score of one • Choose the appropriate music examples to demonstrate the
music piece difference in tempo, mood and meter.
New words • Choose appropriate music to demonstrate the different
and concepts instruments, ryhthms, meters, tempos, mood and stories.
tempo; mood;
metronome Teaching the unit
markings; meter; Divide the unit into nine 15 minutes lessons as follows:
duple time;
triple time; Lesson Week Pages Activities
quadruple time; 1 1 63 1
instrumentation; 2 2 63 2
strings; woodwinds; 3 3 64 3
brass; percussion;
4 4 65 3
keyboard; quartet
5 5 65 4
6 6 65 4
7 7 65 5
8 8 65 5
9 9 65 5

Time management throughout the lesson is important – allow enough

time for each activity without getting stuck on any one activity or step.

Lesson 1 (Week 1)
Activity 1: Identify the meter
• Play your examples a few times and ecourage learners to actively listen.
• Play each example and ask learners to clap each piece, and say
what the meter the music is in, each time.

Lesson 2 (Week 2)
This lesson focuses on tempo, mood and meter. Go through the text
under the heading:What story is the music telling?

Activity 2: Identify the tempo

• Explain the two ways to show and measure music.
• Then play your examples a few times.
• Identify tempo in each example as a group.
• Go through the text on page 63–64 in the Learner’s Book with
learners about showing and measuring tempo in written music.

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 Lesson 3 (Weeks 3–4)
Activity 3: Identify the story the music is telling
• Play your examples a few times so that struggling learners have
enough time to find the answers.
• Discuss the answers as a group.
• Now with the correct answers in mind, ask learners to listen to the
music again.
• Repeat this lesson in Week 4 using different music.
• Go through the text under the heading: What is meter ? with learners.
• Demonstrate the different meters (​ __ ​ 3 ​; __
2 ​; __ ​ 4 ​) either by clapping or
4 4 4
on a instrument. Encourage learners to copy the meter each time.

Lessons 5–6 (Weeks 5–6)

• These lessons focus on instrumentation, and reinforces rhythm,
meter, tempo, mood and story.
• Time management throughout the lesson is important – allow
enough time for each activity.

Activity 4: Categorise the instruments

• Discuss the different categories of musical instruments using the
illustrations of musical instruments provided in the Learner’s Book.
• Help learners to list as many musical instruments and then to
group them into one of the six categories under the headings
listed in the Learner’s Book.
• Repeat this lesson in Week 6 using different music.
Lessons 7–9 (Weeks 7–9)
Activity 5: Identify the instruments used in a
performance
• Play the music pieces and hand out the music score of at least one
of the pieces for the learners to follow while they listen.
• Read through the questions in the Learner’s Book and play the
music again.
• Learners answer these questions first on their own.
• Learners discuss their answers with the class. Play the music again.
• Repeat this lesson in Weeks 8 and 9 using different music.
Answers
Activity 4
The learners will no doubt mention many instruments, but here are
some possible answers:

Strings Woodwinds Brass Percussion Keyboard

guitar flute trombone cymbals piano
sitar clarinet trumpet drums, e.g. djembe, organ
snare, bass, etc.
mandolin recorder tuba triangle electric
keyboard

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 Strings Woodwinds Brass Percussion Keyboard
violin penny whistle bugle castinets/shakers harpsichord
harp oboe French horn marimba accordion
double bass, etc. saxophone kalimba, etc. synthesizer, etc.

For information
Informal assessment
on Informal
assessment, refer Activity 3: Observe and assess how learners clap each piece and
to the generic identify what the meter is in.
assessment tools
for observation, Activities 4 and 5: Observe and check that learners are able to
practical work, categorise the different instruments. Ensure that they actively listen
performance, to the music in Activity 5 and can clap the rhythms, identify the
correspondence meter, instrumentation, tempo and mood.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this • Listening to as many possible music examples and repetition of
Teacher’s Guide. Activities 1–3 will ensure that all learners will get the ‘feel’ of the
tempo, mood and meter of the music.
• Repeat Activity 5 with a different music piece.
Extension
• Learners can sing songs that they know as examples to identify
different tempo, mood and meters.
• One learner sings a song and the other learners identify the meter.
• Repeat Activity 5 with more complicated music pieces.

UnitUnit
Performing
1 and creating music
4 Learner’s Book pages 66—69 Duration: 30 mins/week

Topic 3: Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Weeks 1–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 66–69;
songbooks; musical
Preparation
scores; tuned and
untuned musical • Familiarise yourself with the material in this unit by reading
instruments; CD/ through the information and the activities in the Learner’s Book.
DVDs • Practise the warm-up exercises and other material in preparation
for the lesson.
• Choose a variety of songs for Activity 4.

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 New words Teaching the unit
and concepts • There are many practical activities in this unit that involve sound,
posture; tone/ rhythm and/or movement. Allow learners freedom to express
timbre; resonance; themselves, but monitor the group so that it does not get out-
intonation; of-hand.
enunciation; lyrics;
graphic score • Make sure that the learner’s know the music/melody well before
trying to perform it.
• Time management throughout the lesson is important – allow
enough time for each activity without getting stuck on any one
activity or step.
• Guide the learners from a distance, so as not to limit their creativity.
• Divide this unit into nine 30 minute lessons as follows:
Lesson Week Pages Activities
1 1 66 1
2 2 67 2
3 3 67 3
4 4 68 4
5 5 68 4
6 6 69 5
7 7 69 5
8 8 69 6
9 9 69 6

Method for teaching a song

• Break up the song into smaller parts (two bars at a time).
• Sing the smaller part to the learners.
• Learners respond by echoing the part.
• Sing every smaller part a few times before moving on.
• Do not talk in between phrases — just keep on repeating
and singing.
• Once the whole song has been done in this way, thread it
together by singing it as a whole.

Lesson 1 (Week 1)
• Always start singing lessons with some vocal training by doing the
vocal and technical exercises.
• If time permits, follow this with a song from previous lessons to
implement the singing technique acquired through the exercises.
• Go through: Why is posture important? on page 66 of the Learner’s
Book. Show learners how to stand with good posture and body
alignment. Explain how this imporves singing.

Activity 1: Practise the standing position

• Follow the Learner’s Book instructions.
• Make sure that all the learners are doing the activities correctly.
• These activities lay the basis for all singing activities to come.

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 Lesson 2 (Week 2)
Go through: Why is good breathing important? with learners, and
explain the concepts of tone and timbre.

Activity 2: Practise correct breathing

• Follow the Learner’s Book instructions.
• Make sure that all the learners are doing the activities correctly.
• These activities lay the basis for all singing activities to come.
Lesson 3 (Week 3)
Go through:Why is it important to warm up? with learners.

Activity 3: Warm-up your singing muscle

• Follow the Learner’s Book instructions from 1 to 7.
• Make sure that all the learners are doing the activities correctly.
• These activities lay the basis for all singing activities to come.
Lessons 4–5 (Weeks 4–5)
• Always start the singing lessons with some vocal training by doing
the vocal and technical exercises.
• If time permits, follow this with a song from previous lessons to
implement the singing techniques acquired through the exercises.
• Go through: How can you master in-tune singing? with learners.
Make sure they understand the concepts of intonation and
enunciation.

Activity 4: Sing a variety of songs

• Follow the Learner’s Book instructions.
• Play some poplular music to learners and give them the musical
score and lyrics to follow.
• Make sure they sing with good posture, breathing, tone, intonation
and enunciation.
• Go through:What is a graphic score? and the example of symbols
in Figure 1.4.1.

Lessons 6–7 (Weeks 6–7)

Activity 5: Sing from a graphic score
• Follow the Learner’s Book instructions.
• Make sure that the learners are doing the activity correctly.
Lessons 8–9 (Weeks 8–9)
Activity 6: Invent your own graphic score
• Follow the Learner’s Book instructions.
• Encourage the learners to be creative.
• Remind learners to read through Units 1–4 in preparation for the
Formal Assessment Task in Unit 5.
• Go through Unit 5 with them so that they know what will be
expected of them.

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 For information
on Informal
Informal assessment
assessment, refer Activities 1–3: Observe whether the learners can apply the
to the generic techniques correctly.
assessment tools
for observation, Activities 4–6: Observe learners singing techniques when they
practical work, perform the activities.
performance,
correspondence
and peer assessment Consolidation
in Section 4: • Repeat and revisit the content and activities more than once.
Resources on pages
344–347 of this
• Let stronger learners pair up with struggling learners and repeat
the activities together again.
Teacher’s Guide.

Extension
Adapt the content and activities from Unit 2 pages 6–7 of the
Dance section of the Learner’s Book.

UnitUnit
Formal
1 assessment: Practical
5 Learner’s Book page 70 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 70

Formal assessment
For guidance on how to assess learner’s performance, please see
pages 297—298 in this Teacher’s Guide.

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 VISUAL ARTS

Unit Create in 2D: Observational

drawings
1 Learner’s Book pages 72—79 Duration: 2 hours

Topic: 1. Create in 2D

Curriculum and Assessment Policy Statement

Term and week/s
Term 1, (CAPS) content
Weeks 1–2
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Resources ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
Learner’s Book
pages 72–79; New words and concepts
a variety of cut art elements; line; tone; texture; shape; two-dimensional; form; three-
plants, try to make
dimensional; space; tint; tone; hue; intensity; value; design principles;
sure that there are
leaves of different balance; symmetrical; asymmetrical; radial; contrast; emphasis; focal
size and shapes; a point; proportion; foreground; background; middle ground; pattern;
variety of shells; rhythm; unity; variety; mark-making
photographs of
shells, you can find Preparation
these in books or
on the Internet
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Make sure that you have examples of plants and shells, or source
photographs of both from books and from the Internet.
• Prepare the classroom for the lesson, making sure that you have
enough equipment for all of your learners. If you need to order
or buy equipment, do this the week before your lesson. Cut the
paper/card to the correct size before your lesson begins. The better
organised you are, the better your lesson will be.
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

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 Teaching the unit
• Use this unit to refer to when teaching art elements and principles
of design.
• Tell learners that they should refer to it when creating artwork
pieces, to ensure that they are using the art elements and design
principles.
• Give plenty of examples of each art element and design principle.

Divide the unit into two one hour lessons as follows:

Lesson Week Pages Activities
1 1 76—77 1
2 2 78—79 2

Lesson 1 (Week 1)
Activity 1: Create an observational drawing of plants
• Hand out paper, pencil and charcoal. You may wish to predraw
the circle onto the paper before you hand it out. This will save
you some time and will give the learners a little longer to work on
their drawing.
• Make sure that there are enough plants on each table, so that
learners can see them easily.
• Spend a bit of time introducing the lesson, looking at the plants,
their size, shape and placement of leaves.
• Learners should begin their drawing by selecting one plant to
draw. Remind them to draw it in as much detail as possible,
observing the details as closely as possible.
• You may wish to give your learners a spare piece of paper, so that
they can experiment with mark making, tone and texture before
they begin.
• Discuss how the pencil can make different kinds of marks to
the charcoal.
• Encourage your learners to experiment with as many different
kinds of mark making as possible, emphasising that mark making
can create tone and texture.

Lesson 2 (Week 2)
Activity 2: Create an observational drawing of shells
• Make sure that you have your shells or photographs of shells ready
before you begin the lesson.
• Cut enough paper and have it ready for your class.
• Make sure that you have enough wax crayons and have set out
the ink. If you do not have ink, you can use food colouring as
a cheaper option. You may wish to use a patty pan for the ink
colours. One patty pan in the centre of a table is enough for
a group of four learners. Each group should also have a water
bottle. Each learner should have a small brush. If you do not have
brushes, you could use an ear bud to add the colour.
• Spend some time looking at and discussing the shells. Focus on
shape and patterns.

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 • Ask learners to begin their drawing by focusing on one shell.
Remind them not to draw it too small. If the first drawing is a
little small, encourage them to draw the next one a little larger.
You will need to move around the room to give learners feedback
on what they are doing.
• When the page is full of shell drawings, the composition is
complete. Encourage your learners to touch all four sides of their
page with their design.
• Remind learners to use more than one colour per shell and to try
to create a balance of colour.
• The background can be left white.

Informal assessment this activity, try to find something positive

about their work, that they will be able to
Activity 1: Assessment is not necessary build on in the next activity.
for this activity, although you may wish
to display learners work once the work is Activity 2: Pin the learner’s shell drawing
complete. Ask your learners to choose a next to their plant drawing.
piece of work that they like and to give a Ask the learners to decide which of their
reason for what they like about it. You can drawings they like the best. Ask them to
also ask them to look at their own work give a reason. Ask your learners what they
and choose something that they like and would do differently and what they would do
something that they would change/do better the same if they had to repeat the exercise.
in the future. The aim with these activities Remind them that everything takes practise
is to build confidence in their art making and time to learn. Learning how to draw well
abilities so feedback should be positive and can take as much practise as learning how to
supportive. If a learner has struggled with play a musical instrument.

Consolidation
For information
on Informal • Suggest that learners have a visual diary which they can take home
assessment, refer and continue to create observational drawings. These drawings
to the generic could be of any objects found in and around their home and
assessment tools could be created with pencil, pencil crayon, ballpoint, charcoal,
for observation, fineliner or koki. The aim here is to encourage learners to draw as
practical work, much as possible and to learn how to observe.
performance,
correspondence • This would help learners who struggle as well and act as an
and peer assessment extension for learners who wish to develop their drawing skills.
in Section 4:
Resources on pages Extension
344–347 of this Learners who draw quickly and with confidence and who may finish
Teacher’s Guide. their drawing before others in the class, could add lettering/words
around the circle. These words could describe plants, for example,
stem, leaves, roots. Ask learners to create double letters, i.e. the letter
has a space inside it which could be decorated. These letters could
then be decorated with tone and texture. They could also add a border
to their picture by choosing two shell designs that they like and, using
a pencil create a pattern by repeating the shell shapes. They can add
tone and texture if they have time.

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 Unit Visual literacy: Describe and
interpret artworks
2 Learner’s Book pages 80—81 Duration: 1 hour

Topic: 3. Visual literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 80–81; any
other pictures or Preparation
photographs of
African masks from • Read through the unit and familiarise yourself with the content
books or that you will need to teach. Think about what learners may
the Internet already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
New words • Make sure that you have your photographs and pictures of
and concepts the African masks ready before your lesson begins. Try to find a
ceremonies; rituals; variety of examples, including different mediums and decorative
ancestors; symbolic;
techniques.
heritage

Teaching the unit

Lesson 1 (Week 3)
• Discuss why people from different cultures across the world create
and use masks.
• Go through the introduction to the unit (pages 80–81) with
learners.

Activity 1: Describe African masks

• Pin up the pictures/photographs of masks so that all of your learners
can see them. If you have a very big class, you may wish to give each
group a selection of pictures, instead of pinning them up.
• Ask your learners to look at the pictures, read through the
questions in Activity 1 and answer the questions as group. Each
group should nominate someone to write down their answers.
Remind them to write in full sentences with capital letters and
full stops.

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 Answers
Activity 1
1. a. Yes, people across the world still make masks for rituals and
ceremonies, although this now usually happens in rural areas
and not so much in urban areas.
b. This will depend on the group members.
c. Modern masks are still made for rituals and ceremonies and
are also made to sell to tourists as a way of generating income.
d. Masks were used in ceremonies and rituals as symbols, so that
the wearer took on the energy or form of what he/she was
asking for/celebrating. They are used as a way of connecting
with the spirits or ancestors, with the mask wearer often going
into a trance and dancing to traditional music.
e. The mask maker was an expert in the use of symbols on the
mask he was making. The symbols and decorations would
allow the wearer/dancer/performer to go into a trance and
take on the qualities of the mask, for that particular ceremony.
The designs and symbols of the mask were/are often passed
down from father to son. Most mask makers are male, and an
very important part of the village.
f. Answer depends on what the group chooses.
g. Answer depends on the group but may include things like
wirework, ceramics, wood carving and papier-mâché.
2. Learners should be able to give a reason for their answer.
3. As above.
4. This is a reflect and feedback activity after the group work.
Encourage your learners to be honest and to acknowledge if there
is something that they need to improve on for next time.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners while they work in their groups.
to the generic Ensure that everyone participates.
assessment tools
for observation,
practical work,
performance, Consolidation
correspondence Ask each learner to choose one mask. They should write one
and peer assessment paragraph describing the mask, using examples of art elements and
in Section 4: design principles.
Resources on pages
344–347 of this Extension
Teacher’s Guide. Ask learners to turn to read about the dance work, ‘Tranceformations’
in the Dance module in the Learner’s Book.

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 Unit Create in 3D: An African mask
3 Learner’s Book pages 82—83 Duration: 3 hours

Topic: 2. Create in 3D

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Weeks 4–6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 82–83;
pictures of masks Preparation
New words • Read through the unit and familiarise yourself with the content
and concepts that you will need to teach. Think about what learners may
facial features; already know about the topics, what skills they already have and
exaggerate; any areas of difficulty that you think they might encounter.
recyclable materials • Make sure that you have enough materials and equipment for
your class (see page 82 of the Learner’s Book).
• Make sure that you have everything set out and organised before
your lesson begins.

Teaching the unit

Lesson 1 (Weeks 4–6)
• Go through the introductory paragraph and the section:
How do you create a mask (page 82) with learners.
• Make sure that learners understand the techniques of
craftmanship.

Activity 1: Create your own African mask

• If possible, arrange your learners in groups of four or six, this will
make the sharing of materials easier.
• Make sure that there are enough materials on each table for the
learners to use.
• Before you begin, tell your learners what materials they will be
working with. This allows them to start getting an idea in their
minds of what they will do, as you are talking.
• Hand out cardboard and black wax crayons. Demonstrate to your
learners that if they draw softly with the wax crayon, they can
draw over it if they make a mistake. Try not to hand out endless
pieces of cardboard, rather encourage your learners to work with
their mistakes, adapting them into ‘happy accidents’.
• Introduce the concept of symmetry, i.e. what happens on one
side, happens on the other.

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 • Ask your learners to create a simple oval shape for the face. It
should fill most of the page, perhaps leaving a little space to add
decorations around the face, e.g. ears, horns, beards, hair, patterns.
Once complete, the mask should touch all sides of the page.
• Ask your learners to create simple shapes for the eyes, nose,
mouth. Once they have completed this, they can add other
elements such as eyebrows, eyelashes and patterns.
• Encourage your learners to use geometric shapes as patterns. Geometric
shapes are shapes that are found in maths, e.g. circles, squares and
triangles. Organic shapes are shapes that remind us of nature.
• Once the design is complete, learners can use the black wax
crayons to make some of the shapes black. They can also work
with the white wax crayons to pattern some areas. They will not
be able to see the white patterns at this point, but once they add
ink to their design, the white will stand out.
• Hand out black ink and brushes. You may also wish to add a
couple of drops of black ink to some water to create a grey wash.
Learners may now choose certain areas on their design to paint in
black and grey.
• Once the ink is complete, learners can add bits of newspaper and
brown paper to their design to create further decorations.
• Hair and extra decorations can be added with wool, cardboard
or paper.
• Rolling a piece of paper from corner to corner, i.e. diagonally, will
create a strong paper stick to use for the mask.
• Encourage your learners to share the equipment and to help each
other if and when needed.

For information Informal assessment

on Informal
assessment, refer Activity 1: Ask learners to fill in the table on page 83 in the
to the generic Learner’s Book.
assessment tools
for observation,
Consolidation
practical work,
performance, Learners who are struggling with the pattern and design of the mask,
correspondence may wish to use a piece of scrap paper to brainstorm some ideas.
and peer assessment Make sure that they don’t spend too long on this as they may not
in Section 4: finish their mask. Keep encouraging learners who struggle by giving
Resources on pages them suggestions and ideas that they can choose from. Never work
344–347 of this directly on a learner’s work.
Teacher’s Guide.
Extension
• If a learner has completed the project before the others, additional
patterns can be added by scraping a design/pattern into the thick
areas/shapes in black wax crayon. Learners can use a sosati stick or
toothpicks to do this.
• Learners could create a drawing of their mask and write a
description of it, or plan a dance or series of movements in order
to perform with their mask.

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 Unit Visual literacy: Communicate your
thoughts and opinions
4 Learner’s Book pages 84—85 Duration: 1 hour

Topic: 3. Visual literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 84–85
Preparation
New words
and concepts • Read through the unit and familiarise yourself with the content
portrait; social
that you will need to teach. Think about what learners may
historian already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• You may wish to do some more research on George Pemba in
books or on the Internet. It would be interesting for learners to
see other work by this artist. Go to: www.georgepemba.co.za for
more information on the artist.

Teaching the unit

Lesson 1 (Week 7)
• Ask learners if they have ever heard of the artist, George Pemba –
who was he, what kind of artist?
• Read through the information on George Pemba with the learners.
Activity 1: Write about the visual world
Ask learners to answer the questions on page 85 individually. Once
they are complete, they can compare answers with a partner.

Answers
Activity 1
1. Uhuru – Celebration of Independence; and Three Musicians
2. Uhuru – Celebration of Independence 1992; Three Musicians 1970
3. oil on board
4. Learners will choose different aspects to illustrate the art elements
in Unit 1. They can refer to the art elements (pages 72–76) for
help. Make sure that they are able to say why a particular part of
the painting illustrates an art element for example, tone.
5. As above.
6. Learners should show an understanding of what happened during
the Apartheid era and how artists used their artwork as a means of
expressing how they felt about what was happening.

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 7. Learners should be able to express a personal opinion and back it
up with examples from the artwork.
8. Personal opinion with reasons.

For information Informal assessment

on Informal
assessment, refer Activity 1: Learners discuss their answers in pairs and give
to the generic feedback to each other.
assessment tools
for observation,
practical work, Consolidation
performance,
correspondence
• Encourage those learners who are struggling to voice their own
opinion, to write their opinion with a reason. Answers should be
and peer assessment
in Section 4: in full sentences with capital letters and full stops.
Resources on pages • Move around the classroom while learners are answering the
344–347 of this questions so that you can assist by asking questions to guide them
Teacher’s Guide. towards discovering the answer for themselves.

Extension
Learners who have enjoyed this part of the process could do more
research on Pemba and look at some of his other work, giving their
opinion about what they have discovered.

UnitUnit
Create
1 in 3D: Earthenware figures
5 Learner’s Book pages 86—87 Duration: 2 hours

Topic: 2. Create in 3D

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, (CAPS) content
Weeks 8–9
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Resources ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
Learner’s Book
pages 86–87, any Preparation
other pictures
of musicians • Read through the unit and familiarise yourself with the content
and musical that you will need to teach. Think about what learners may
instruments from already know about the topics, what skills they already have and
books, magazines any areas of difficulty that you think they might encounter.
or the Internet • Make sure that you have enough clay for each learner to have a
grapefruit-sized ball for each musician.
New words
and concepts
• Organise your classroom with newspaper to cover the tables
before you begin the lesson.
slip; kiln; fired

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 • Make sure that the clay is divided into balls before you begin, so
that your learners do not have to wait while you divide it up.
• Make sure you have enough scratching and decorating tools for
your learners.
• Mix the slip before you begin the lesson. Divide a ball of clay into
small pieces. Place these pieces into a container and add a fair
amount of water. Adding a tablespoon of vinegar will cause the
clay to dissolve more easily. Stir the clay and water together until
it looks like peanut butter.
• Have your pictures ready before you begin the lesson.

Teaching the unit

Lesson 1 (Weeks 8–9)
• Go through pages 86–87 with learners.
• Show your learners pictures of musicians playing various musical
instruments. Look at the body and how the musician holds the
instrument.
• Demonstrate the joining technique to your learners so that they
make sure that every piece that is joined to their model is secure.
• Look at body proportions, i.e. how long the legs and arms are.
Activity 1: Create a group of musicians
• Divide your clay into grapefruit-sized balls. Each learner should
get two balls, one for each musician.
• Tell learners that these 3D earthenware figures will be used for
formal assessment this term. Go through page 88 in the Learner’s
Book with them.
• It may be easier for your learners to make seated figures. If they
make standing figures, they need to ensure that the legs are sturdy
so that the figure can stand.
• Once the figures have been created, give the learners an extra piece
of clay to model the instrument.
• Remind your learners as they are working, that they need to focus
on the art elements of shape, form and texture and the design
principles of balance, proportion, emphasis and contrast. Refer
them to Unit 1 (pages 74–75) if necessary.
• Learners can add facial features, hair and clothing details by
adding bits of extra clay, or by scratching into the existing model.
• Make sure that models are well wrapped in plastic between
lessons, so that they do not dry out.
• When the learners have completed the first model, they can begin
on the second. Ask them to think about how the two figures will
work together. Ask your learners to try to find a way to join the
two figures together. This will make them more stable and will
make it easier when they are fired.
• Let the models dry in a safe place for a couple of days before they
are fired. If you do not have access to a kiln, you can create a
simple sawdust kiln and fire them yourself. Look on the Internet
for instructions on how to create a sawdust kiln.

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 • If you do not have access to an ordinary kiln and cannot create a
sawdust kiln, a layer of varnish over the models once they are dry,
will make them a little bit more durable.

Formal assessment
For the assessment criteria, see page 88 in the Learner’s Book.

Consolidation
• If learners’ models become too flat, i.e. they are pressing down too
hard onto the table, encourage them to work with their model in
their hands instead of on the table.
• If the model starts to dry out or crack, the learners can wet one
hand and add a little water to the model. Try to avoid them
adding too much water and making it slimy.

Extension
Learners who complete their model quickly and easily could add extra
details for clothing, e.g. patterning, with extra clay. They could also
make a drawing of their model and write about it.

UnitUnit
Formal
1 assessment: Practical
6 Learner’s Book page 88 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 88

New words
and concepts Formal assessment
consolidation of For guidance on how to assess learner’s 3D earthenware figures,
terms used please see pages 303—304 in this Teacher’s Guide.
during units

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 DANCE

UnitUnit
Discover
What
1 have your
youstrengths
learnt so far?
1 Learner’s Book page
pages91
xx—xx Duration:
Duration:2 1hours
hour

Topics: 1. Dance performance (45 mins/week); 3. Dance theory and

literacy (15 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 1 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 91; space to
work; variety of Preparation
music; CD player;
exercise books • Read through the units from the previous term as you will need to
recap the content of them with the learners.
New words • Think about what learners may already know about the topics,
and concepts what skills they already have and any areas of difficulty that you
dance conduct; think they might encounter.
personal hygiene;
dance conventions; Teaching the unit
safe classroom
Lesson 1 (Week 1)
environment
• Encourage the learners to read through the units from the
previous terms and identify the key concepts that they learnt.
• Also let them refer to their exercise books and read through some
of the notes they wrote.
• Gradually work through the concepts highlighted in Activity 1.
Activity 1: Consolidate work done in Term 1
• This is a revision activity of the work covered in the previous term.
• Learners need to practise their warm-up and cool-down routines,
as well as describe and demonstrate principles of dance that
they learnt.
• While learners do this they must identify the muscles and joints
that are being warmed up or cooled down.

Answers
Activity 1
Learners should show a clear understanding of the various concepts
and be able to demonstrate each one.
1. This will vary according to the group.

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 2. It is important to warm-up because it:
• prepares the muscles to work harder than normal
• improves your posture and alignment
• prevents injuries
• increases the heart rate
• makes the blood flow quickly to the muscles, providing them
with more oxygen for heavier or harder movement.
3. Posture: The way you carry your body.
Alignment: The even position of your body when you are standing.
Joint mobility: The ease with which you can move the point
where two bones meet.
4. Core muscles: These are the muscles in your abdomen, stomach,
lower back and pelvis. They help your core stability, keeping your
posture stable or balanced.
5. Weight transfer: This is when you shift your weight from one side
of the body to another.
6. Improvisation: Free movement that is not planned.
Symmetry: To create a balanced effect.
Asymmetry: To create an unbalanced effect.
7. Space in dance refers to the area you dance in.
8. Elements included in space are the direction, the pathway you
move in, the shapes you create, the dimensions of the dance and
the level you dance at.
9. Time in dance refers to how quickly you move.
10. The elements included in time are duration, tempo, accent and
phases or beats.
11. The meaning of the following terms are:
Stamina: Your ability to dance without tiring.
Fluency: How easily you can communicate through dance and
move from one step to another.
Energy: The force you use.
Turn-out: Move outwards across the floor.
Balance: When you can hold any movement without falling over.
Weight: Using the appearance of heaviness/lightness in dance.
Gravity: The pull of the earth on our bodies.
For information 13. Cooling down the body is important because it:
on Informal
assessment, refer • helps your heart rate and breathing return to normal.
to the generic • can prevent fainting and dizziness.
assessment tools • prepares your muscles for your next exercise session.
for observation, • removes waste products from your muscles.
practical work,
performance,
correspondence Informal assessment
and peer assessment Activity 1: Learners should be able to demonstrate knowledge of
in Section 4:
the concepts as well as adequately demonstrate them. They should
Resources on pages
be able to reflect on the rules and code of conduct for dance and be
344–347 of this
Teacher’s Guide. able to review these and adapt where necessary.

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 Consolidation
Learners could work with other learners who have mastered the
concepts. They could also work with the Learner’s Book to try to
acquire a working knowledge of the concepts.

Extension
Learners could explore other elements of dance and create a short
sequence in which all the concepts and terms in Activity 1 are
incorporated. Learners could also rework their warm-up and cool-
down routine.

UnitUnit
Warm-up
1
2 Learner’s Book pages 92—93 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 3. Dance theory and

literacy (15 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 92–93; space
to work; variety of Preparation
music; CD player;
Read through the unit and familiarise yourself with the content
exercise books;
magazines; scissors; that you will need to teach. Think about what learners may already
pen; crayons; glue know about the topics, what skills they already have and any areas of
difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Week 2)
• Remind the learners about the importance of good posture and
alignment.
• Also have the learners give their own reasons for why good posture
is necessary in dance.
• Review the need to warm-up the body and have the learners
explain the importance of this and what function it serves.

Activity 1: Do exercises to improve posture and alignment

• These are a series of exercises for the learners that will improve
posture and alignment.
• You will need to guide them through this process and demonstrate
when and where necessary.
• View pictures to guide you through the exercises.

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 Activity 2: Focus on your posture and alignment
• This is basically creating a new warm-up routine for the term.
• Some aspects that worked well in the previous term could be
incorporated here.
• Try to add new things and even incorporate the elements of dance
as well as exercises that improve posture and alignment.
• Get learners to identify the parts of the body that need to be
warmed-up and the exercises you could do to warm-up these body
parts. Direct them to the template of the table given on page 93 of
the Learner’s Book.
• Encourage them to use fast-paced music with a good beat. The
routine should be fun.
• Then learners need to document the warm-up routine in a picture
board.

Answers
Activity 1
Learners will need to do these exercises to improve posture and
alignment. Check to ensure that posture is maintained through this
series of exercises.

Activity 2
Learners need to show a fun and creative warm-up routine that targets
the major muscle groups of the body. Their table also needs to show
that they are aware of which parts of the body to target. Finally there
needs to be evidence of them documenting their routine using pictures.

For information Informal assessment

on Informal
assessment, refer Activity 1: Learners need to demonstrate a fun warm-up routine
to the generic that can be repeated at the start of each class. They also need to
assessment tools show documentation of this in pictures and you will need to mark this.
for observation,
practical work,
performance, Consolidation
correspondence Learners can create a simple warm-up routine using about five
and peer assessment
exercises that target the major muscles groups and repeat these until
in Section 4:
Resources on pages the body is warm.
344–347 of this
Teacher’s Guide. Extension
Learners can add more complex sequences to their warm-up routine
and create a combination of exercises that could target more than one
body part at a time.

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 UnitUnit
Floor-work
1
3 Learner’s Book pages 94—95 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 3. Dance theory and

literacy (15 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 94–95; space
to work; variety of
Preparation
music; CD player;
exercise book • Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Practise the exercises and ensure that you are aware of where
tension is felt and which muscles are targeted.
• Make sure you clearly identify and show learners where the core
muscles are.

Teaching the unit

Lesson 1 (Week 3)
• This lesson involves demonstrating the six exercises to the class.
• Ask the learners to explain the importance of the core muscles and
why strengthening them is important.
• Go through pages 94–95 with learners, demonstrating each exercise.
• Have the learners lie on their backs and identify the core muscles
of their abdomens. Then have them turn over and identify the core
muscles of their lower backs.
• It is important that they know exactly where to locate these, as they
will need to know which muscles the exercises are targeting and
where tension should be experienced.
• Explain to the learners that floor work is necessary as some muscles
cannot be warmed up adequately when we exercise standing up.
Sometimes we need to lie on our backs or sit down to work certain
muscle groups, like the core muscles, effectively.
• Also explain to the learners that dancing on the floor or at a low level
is common in dance, so it should not be surprising that floor work
can be used to warm up and cool down as well.
• Assist the learners with these exercises and adjust their posture and
alignment throughout the process. It is important that the learners
get into the habit of always remembering posture and alignment in
whatever dance-related activities they do.

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 Activity 1: Add floor-work to your warm-up
• Learners practise each exercise with your assistance/guidance.
• As a class they need to settle on names for these exercises and
make a note of these names.
• They will need to add these to their warm-up routine and
document the additions in their exercise books.
• In doing so, learners must ensure that exercises work together and
are not just randomly put in. They need to show flow from one
exercise to the next.

Answers
Activity 1
Learners must show that they understand the concept of core stability
and how to maintain good posture and alignment through the entire
warm-up process.

For information Informal assessment

on Informal
assessment, refer Activity 1: You will need to review learner’s books to see
to the generic the amendments made to the warm-up routine that they have
assessment tools documented. Also they will need to show that they target all the
for observation, major muscle groups in their warm-up and that they maintain good
practical work, posture and alignment through the warm-up process.
performance,
correspondence
and peer assessment Consolidation
in Section 4: Learners can work on a simple warm-up routine and add two of the
Resources on pages floor work exercises given.
344–347 of this
Teacher’s Guide.
Extension
Learners can add combinations of movement, they can add new and
different exercises to their warm-up and add new floor-work exercises.

Unit Body-part isolations and arm

movements
4 Learner’s Book pages 96—97 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 3. Dance theory and

Term and week/s literacy (15 mins/week)
Term 4, Week 4
Curriculum and Assessment Policy Statement
Resources
Learner’s Book
(CAPS) content
pages 96–97; space See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
to work; variety of ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
music; CD player;
exercise book

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 New words
Preparation
and concepts Read through the unit and familiarise yourself with the content
body-part isolations that you will need to teach. Think about what learners may already
know about the topics, what skills they already have and any areas of
difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Week 4)
• Show the learners how the different parts of their body can be
mobilised on their own. Explain that this is important because it
ensures that each part of the body gets equal attention in warm-up
and all the parts are well prepared for dance.
• This lesson is more practical than theoretical.
• It demonstrates the simple principle of body-part isolations which
is encapsulated in the activity and will be simple for the learners
to grasp.
• Explain that body parts isolations are important as they focus on
the warming up of specific body parts.

Activity 1: Do isolation exercises

• Read out the body-part isolation exercises to the learners.
• Once they learn each exercise, they can speed up and add the
sequence to their warm up.

Activity 2: Practise arm movements

• Demonstrate the arm movement exercises to the learners as they
may need assistance with these.
• Once they learn the exercises they can speed up and add the
sequence to their warm-up.

Answers
For information Activities 1 and 2
on Informal The body-part isolation exercises need to be added to the warm-up
assessment, refer routine and about two of the arm exercises. Learners need to maintain
to the generic good posture and alignment through these exercises.
assessment tools
for observation,
practical work,
performance,
Informal assessment
correspondence Activities 1 and 2: Check that the warm-up routine flows
and peer assessment from one exercise to the next and does not appear to be a series
in Section 4: of independent exercises just thrown together. Also ensure that
Resources on pages
posture and alignment are maintained throughout. Learners need
344–347 of this
Teacher’s Guide. to be constantly aware of these.

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 Consolidation
Learners should focus on the body-part isolation exercises and on
mastering the isolations of the different body parts.

Extension
Learners add other exercises that show the isolation of the different
body parts. They add these to their warm-up routines.

Unit Transference of weight: backward

and forward
5 Learner’s Book pages 98—99 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

Term and week/s improvisation and composition (15 mins/week); 3. Dance theory and
Term 2, Week 5 literacy (integrated into Topics 1 and 2)
Resources
Learner’s Book
Curriculum and Assessment Policy Statement
pages 98–99; space (CAPS) content
to work; variety of
music; CD player; See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
exercise book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.

Preparation
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Also try to learn how to moonwalk backward and forward.

Teaching the unit

Lesson 1 (Week 5)
• This lesson is about the transfer of weight first backward and
then forward.
• It is about carrying your weight using just the feet.
• Essentially this is done through the moonwalk that learners will
do as part of their activity.
• Explain and demonstrate weight transfer. Let the learners stand on
both feet, then on one. Explain to them that they have transferred
their weight from two feet to one.

Activity 1: Learn to backward moonwalk

• Pair up the learners and have one read out the instructions to the
moonwalk and have the other do it. They will swap later on.
• There may be some learners who already know how to do this so
they could assist other learners who don’t know it.

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 Activity 2: Learn to forward moonwalk
• Pair up the learners and have one read out the instructions to the
moonwalk and have the other do it. They will swap later on.
• There may be some learners who already know how to do this so
they could assist other learners who don’t know it.
• Although this is the same as the previous exercise, sometimes it is
found to be more difficult.

Answers
Activity 1
Learners need to show the smooth transfer of weight from one foot to
For information the other while moving backward. There needs to be a clear display of
on Informal weight transfer in the motion of dance.
assessment, refer
to the generic
Activity 2
assessment tools
for observation, Learners need to show the smooth transfer of weight from one foot to
practical work, the other while moving forward. There needs to be a clear display of
performance, weight tranfer in the motion of dance.
correspondence
and peer assessment
in Section 4: Informal assessment
Resources on pages Activity 1: Watch the learners for a smooth transfer of weight
344–347 of this
from one foot to the next in the motion of the backward moonwalk.
Teacher’s Guide.

Consolidation
Learners who cannot do the moonwalk should try to work with
learners who can do it. They only need to do the backward motion.
However, they should be able to show a smooth transfer of weight.

Extension
Learners could add the moonwalk to other sequences where weight is
transferred off the foot in backward or forward motions.

UnitUnit
Jump,
1 turn, spot
6 Learner’s Book pages 100—101 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 6 (CAPS) content
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
‘Introduction’ of this Teacher’s Guide for the topics in this unit.

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 Resources Preparation
Learner’s Book • Read through the unit and familiarise yourself with the content
pages 100–101; that you will need to teach. Think about what learners may
space to work; already know about the topics, what skills they already have and
variety of music;
any areas of difficulty that you think they might encounter.
CD player;
exercise book • Practise spotting as it is not the simplest motion to master, especially
as we are naturally inclined to move our heads first when turning.
New words • Try to source a video of dance where spotting is used to show
and concepts learners how it is done.
elevation; aerial;
spotting Teaching the unit
Lesson 1 (Week 6)
• Remind learners of the safe landing procedure they learnt in Term 1.
• Perhaps have them talk through it and practice it once or twice.
• Then have them practise their safe jumps and turns.
• Spotting will be a little more complex for them and they will need
to move their head only when they can no longer keep it fixed in
their position that they have.
• Learners should also review the elements of space and time as they
will need to use it when choreographing their short dance.
• Explain that spotting is important so that they don’t get dizzy while
doing full turns. It is also important to remind them that the control
of the head and neck shows the ability to control movement in dance.

Activity 1: Practise safe jumps and turns

Watch that the learners are able to do the small jumps in different
directions and that they are able to land safely from these jumps.

Activity 2: Turn and spot

Learners do turns with spotting here. They need to ensure that they
do not move their head until the very last moment when they can no
longer keep it fixed.

Activity 3: Learn a short movement sequence

• This is where learners get to work on their own creating a short dance
work using jumps, turns spotting and the elements of space and time.
• They will need to select some music that is appropriate and use it
for their short choreography.

Answers
Activity 1
Learners need to follow the safe landing process here from their
aerial movements.

Activity 2
Watch that the learners are focused on a spot and that they can turn
using spotting.

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 Activity 3
For information
on Informal The learners need to show an understanding of the concepts requested
assessment, refer and an ability to translate these into movement. There should be a
to the generic smooth flow from one movement to the next.
assessment tools
for observation,
practical work, Informal assessment
performance, Activity 3: Here you will watch for the following:
correspondence
and peer assessment • creativity in movement

in Section 4: • turns using spotting

Resources on pages • use of the elements of space and time
344–347 of this • small jumps with change of direction.
Teacher’s Guide.

Consolidation
Learners could practise spotting until they perfect it and work with
other learners to practise the safe landing from elevated movements.

Extension
Learners could work further on their choreography and experiment
with locomotor movements and swifter changes in direction.

UnitUnit
Cool-down
1
7 Learner’s Book page 102 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 3. Dance theory and

literacy (15 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 102; space to
work; variety of Preparation
music; CD player;
exercise book • Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• You may include other simple relaxation exercises that you have
instead of the one given.

Teaching the unit

Lesson 1 (Week 7)
• Ask the learners why cooling down is important.
• Ask them what it does for the body after they exercise.
• Ask them why stretching is important.

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 • The learners should be able to address these with the knowledge
they gained in the previous term.
• Discuss the focusing of the mind and the importance of slow and
deep breathing when cooling down.

Activity 1: Cool-down with stretching

This involves the simple task of identifying exercises from the warm
up that will enable the learner to stretch their legs, arms, spine and
core. If they choose about six of these they can slow down the pace
and use them to create a cool-down routine.

Activity 2: Cool-down with relaxation

This activity involves relaxation. The key factor here is for the learners
to focus their minds and come to a space of mental and physical rest
before they can engage in other activities. Follow the instructions for
the simple breathing exercise.

Answers
Activity 1
Check that all the muscle groups are exercised in the cool-down and
that they include some basic stretching of the arms, legs, spine and core.

Activity 2
Watch that the learners are focusing their minds on relaxation, that
they are breathing deeply and that they are not distracted by anything
in their surroundings.

For information Informal assessment

on Informal
assessment, refer Activity 1: Watch that the learners have managed to isolate a few
to the generic appropriate exercises from their warm-up routine that could be used
assessment tools for the cool-down.
for observation, They also need to have used stretching exercises focusing on the
practical work, arms, legs, spine and core.
performance,
correspondence
and peer assessment
Consolidation
in Section 4:
Resources on pages Learners should focus on the stretching of the body with cool down
344–347 of this and a few simple exercises to aid the cool down process. Even if it is as
Teacher’s Guide. simple as walking.

Extension
Learners could add on more stretching exercises or could explore other
relaxation exercises. They could also work on their cool down routine.

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 UnitUnit
The
1 dance elements
8 Learner’s Book pages 103—104 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 8
(CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book
‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 103–104;
space to work;
variety of music; Preparation
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts
energy; transition;
• Refresh your memory on what the elements of dance are and on
staccato;
what relationship and energy in dance is and how it could be used
constructive in performance.

Teaching the unit

Lesson 1 (Week 8)
• Demonstrate energy/force in dance and how it could be used.
• Also speak of relationship in dance which is also tied to time.
• In terms of relationship, emphasise to the learners that they need
to always be aware of their space when moving and the space of
other using the same area.
• Once they understand the matter of space they will understand
the relationship between bodies in space.
• Explain that it is important to be aware of the placement of bodies
in the space you share when dancing.

Activity 1: Match the flow of energy with the photo

In this simple activity the learners look at the two pictures given and
identify the use of energy in them.

Activity 2: Reflect on your relationship with other dancers

• These are some simple questions which the learners need to
address so that they can see if they are able to understand the
concept of relationship in dance as well as the manner in which
they relate to others in class.
• It is also a way of exploring how to give and receive constructive
criticism.

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 Answers
Activity 1
Learner’s answers will differ. They could mention that Picture A shows
lighter, weaker, and more restricted flow movements than Picture B,
which has very strong, heavy and free flow movements.

Activity 2
This is open to the opinions of the learners but you will need to
guide their responses so that they are aware that nothing should be
done in spite of jealousy. They need to be open to criticism and they
need to think carefully about how they give feedback as well. Even
professional dancers have a feedback session after their performances.
This is to help them to improve or to identify areas where they need to
put in more effort or movements that need to be corrected.

For information
Informal assessment
on Informal
assessment, refer Activity 2: Ensure that the learners understand the concept of
to the generic feedback in dance and why it is so important to give it in a good
assessment tools manner, and to take it to improve and not be upset by it.
for observation,
practical work,
performance, Consolidation
correspondence
Ask learners to read the section on force again and work with other
and peer assessment
in Section 4: students on demonstrating these.
Resources on pages
344–347 of this Extension
Teacher’s Guide. Learners who understand these concepts could role play giving
and receiving feedback in dance. They could also play around with
working with energy and relationship in choreography.

UnitUnit
Formal
1 assessment: Practical
9 Learner’s Book page 105 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 105; space to
work; variety of
Formal assessment
music; CD player;
For guidance on how to assess learner’s dance, please see
exercise book
pages 281—282 in this Teacher’s Guide.

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 UnitUnit
Formal
1 assessment: Written
10 Learner’s Book page 106 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on page 14–64 in the
Learner’s Book page ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
106; a big sheet
of cardboard; old Answers
magazines; glue; • Warm-up – prepares the muscles for hard work, helps you not
koki pens; scissors; hurt yourself, makes your heart rate go up, gives more oxygen to
pencil crayons
the body, improves your posture.
• Elements of dance – are tools used in the creation of dance. They
could be made up of time, space, level, energy/force, relationship.
They are used in dance to create variation in movements and to
add emotion and feeling to the work.
• Posture – refers to the position of the body. Good posture: will
improve your balance, will give you agility so that you are able
to move better in dance, will improve and maintain the health of
your bones and especially your spine, will make your dance look
beautiful when you move.
• Relationships – refers to the connection between the dance
elements, the dancer and the space, the music and other dancers
in the space.
• Core muscles – the muscles of your abdomen, back and pelvis.
These muscles keep the body stable.
• Cool down – helps your heart rate and breathing slowly return
to normal, helps avoid fainting or dizziness which can happen
when you just suddenly stop exercising, it prepares you and your
muscles for your next exercise session, it removes any wastes
product from your muscles that may have accumulated there
during the work out.
• Locomotor movement – refers to a movement that helps your
whole body travel across space.
• Spotting – is used when turning. It is the practice of keeping one’s
head locked in a position until it is completely necessary to turn
the head, at which point it should be done swiftly and the head
should focus on the point it was at prior to the turn.
• Safe landing – is important when using elevated movements in
dance. Landing safely will reduce the impact on knees and ankles
thereby protecting the body. When landing from an elevated
movement land on the toes, slowly transfer the weight to the
ball of the foot, then the heels and then bend the knees to absorb
the impact.

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 • Force – is a push. The harder you push, the more rapidly the
momentum changes. The longer you push, the greater the total
change in momentum. If you don’t push on something, its speed
and/or its direction of travel does not change. If you push on
something you can change its speed and/or direction of travel.

Ensure that the learner has a fair knowledge and understanding of the
terminology and is able to demonstrate this in picture form.
Also look for creativity and neatness of the work presented.
Ensure that all terms are addressed.

Formal assessment
For guidance on how to assess this activity, please see
pages 279—280 in this Teacher’s Guide.

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 DRAMA

UnitUnit
Discover
Vocal
1 andyour
physical
strengths
development
1 Learner’s Book pages 108—111
xx—xx Duration:
Duration:
15 mins/week
2 hours

Topic: 1. Dramatic skills development

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks 1–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 108–111;
space for all learners Preparation
to stretch and move
Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may already
and concepts know about the topics, what skills they already have and any areas of
spine; spinal difficulty that you think they might encounter.
curl; resonance;
articulation; Teaching the unit
scrunch; imagery; Lesson 1 (Weeks 1–4)
imaginary character
• Welcome learners to Term 2 and explain that this term they will
work in small groups to create and perform a folktale. They will
develop storytelling techniques and continue to develop their
vocal and physical skills.
• Go through the section: Why do you warm-up your voice and body?
Check what learners can remember about the importance of
warming-up from Term 1.
• Explain that you are going to teach learners two new warm-up
exercises in this lesson.

Activity 1: Practise relaxation and breathing exercises

• Explain and demonstrate how to do the spinal curl properly. Let
learners follow the pictures and instructions in their Learner’s Book.
• Let learners have some time to reflect and consider feedback after
each new exercise.
• Explain and demonstrate the next three exercises in the same way
(body swings, body shakes and the face warm-up). Let learners
follow the pictures and instructions in their Learner’s Book. The
face warm-up can look quite funny but ask learners to avoid
watching each other and to focus on doing the exercises correctly.

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 • Remind learners to use diaphragm breathing. Their stomachs
should expand as they breathe in and contract as they breathe out.

Activity 2: Practise articulation and resonance

• Lead learners through the articulation exercises. They should say
the names of the letters in Step 1c. and make the sounds of the
vowels in Step 1d.
• Emphasise that learners should practise the sentences and tongue
twisters on their own whenever they have a chance.
• Explain that humming is a good way to become aware of the
empty spaces in the head and vocal tract where sounds resonate.
• Then show learners how to do the wander hum. Let them do it
slowly and sadly at first and then change to do it more quickly
and cheerfully.

Lesson 2 (Weeks 5–8)

• Begin the lesson by going through Activity 1 and 2 that learners
learnt in the last lesson.
• Revise diaphragm breathing and make sure all learners understand
how it works.

Activity 3: Create a large group mirror

• Arrange learners in two straight rows facing each other for the
class mirror work exercise. Select a row of learners to lead and the
others should mirror.
• Demonstrate a slow, repetitive movement sequence that learners
are familiar with, e.g. washing dishes. Do not make it too
complicated. Stand in a place where only the leaders can see you,
e.g. on a raised area behind the mirrors. The leaders should copy
you and then continue on their own. The mirrors must copy the
learner opposite them.
• Then let learners swap roles and do a similar sequence, e.g.
washing clothes. Remind them not to trick the mirror at all. They
must try to get the movements perfectly synchronised as in a mirror.

Activity 4: Use imagery to warm up

• Let learners work in groups of four. Explain the activity to
learners.
• Each learner in a group should choose one character and think
about how they are going to move as this character.
• Learners should then stand in a diamond shape facing each other
and let the others mirror their movements for 30 seconds. You can
time the 30 seconds for the group.
• If there is time, let the learners do their movements twice each.
Activity 5: Lead and follow to make a rainstorm
• Arrange learners in a circle with you. Teach learners how to make
a rainstorm by demonstrating Steps 1a.–e. WARNING: This can
be a noisy activity and may disturb other classes nearby.

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 • Let learners work in groups of six to make their own rainstorms
as a lead and follow exercise. They should stand in a V-formation
behind the leader.
• If there is time, let other learners have a chance to lead their
For information groups or try to get the groups to work in time. It sounds fantastic
on Informal when everyone is in sync.
assessment, refer
to the generic Explain that this is the basic warm-up routine for this term. See the
assessment tools box at the bottom of page 111 in the Learner’s Book. Learners should
for observation, practise these warm-ups on their own during the week so they can do
practical work, them properly.
performance,
correspondence
and peer assessment Informal assessment
in Section 4: Activities 1—5: Observe to check that all learners are doing the
Resources on pages
warm-up exercises correctly. Explain or demonstrate the exercise
344–347 of this
Teacher’s Guide. again to the whole class, a group or a particular learner.

Consolidation
Work with the groups/individuals who need additional guidance from you.

Extension
Learners should practise these warm-ups on their own between
each lesson.

UnitUnit
Storytelling
1 techniques
2 Learner’s Book pages 112—115 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 112–115;
examples of a
Preparation
variety of folktales
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Collect examples of a variety of different folktales to bring to class.
• Practise reading the summary of the story in Activity 2 out loud
with good expression.

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 New words Teaching the unit
and concepts Lesson 1 (Week 1)
storytelling • Spend the first 15 minutes of this lesson on doing the warm-up
techniques; folktale; exercises in Activity 1 and 2 in the previous unit.
word-of-mouth;
moral; hero; villain;
• Then start Unit 2. Introduce the lesson by explaining that telling
stories is a universal human activity that has been going on for
mission; engaging
the audience; thousands of years. Folktales are the traditional stories that have
minds; hearts; been passed down from generation to generation by storytellers.
senses; mimed; Folktales include stories like fairy tales, ghost stories, religious
recorded; filmed; tales, animal fables, myths and legends from ancient cultures,
neutral traditional folklore and a range of more modern stories. Folktales
try to explain and understand the world we live in, an aspect of
human life or things that happen in nature. They show our lives
in a way that entertains and educates us. There are folktales from
all over the world and these often reflect the culture and values of
the community they come from. So folktales allow us to explore
the similarities and differences of people around the world. As the
themes often deal with universal, common human experiences
they can be enjoyed by anyone. In modern times, many folktales
have been preserved in books or captured in films.
• Go on to the section: What are the elements of a folktale? The details of
a folktale may be changed by each storyteller, but the core of the story
usually remains the same. Explain that although they are imagined
stories about things that never actually happened, folktales can be
found in the non-fiction section of the library. This is because the
stories have a moral lesson with some truth or wisdom and they give
us information about the cultures from which they come. As you go
along, let learners give you some examples of folktales they know.

Activity 1: Explore the elements of a folktale

• Create groups of between six to eight learners. Tell learners that
this is the folktale performance group they will work in this term
and in Term 4.
• Explain that ancient and modern folktales almost all have the same
elements and follow a similar pattern. They deal with universal
themes and by overcoming a problem the hero teaches the listeners
something important about life. Discuss Figure 2.2.1 with learners.
• Give the groups time to complete Activity 1. Assist the groups
as necessary.
• Read the summary of the story in Activity 2 out loud. Read with
expression so the learners become excited about the story. Explain
that this is how their folktale should start.

Activity 2: Ideas for your folktale

Let learners do Activity 2. They should read the story again and refer
to Figure 2.2.2 to brainstorm ideas for their folktale. They may need
to continue this activity in their own time.

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 Lesson 2 (Week 2)
• Spend the first 15 minutes of this lesson revising the warm-up
activities you taught last week and teaching the warm-up exercises
in Activities 3–5 of Unit 1.
• Go through the section: How is drama used to tell stories? Stress the
importance of engaging the audience.

Activity 3: Different ways of telling stories

Let the folktale groups do Activity 3. Assist the groups as necessary.

Activity 4: Map your folktale

• Remind learners how to do a story map (see Learner’s Book page 37).
• Then let the group work through Activity 4 together. They will
need to continue this activity in their own time.

Remind learners that they must arrange to meet for an hour each
week to prepare and rehearse their drama performance. This week they
must spend time completing all the activities in Unit 2. They must
have done this before the next lesson.

Answers
Activity 3
Suggested answers for Table 2.2.1.
Story Who tells it Drama elements
Memorised story storyteller: friend, performance area; props; actions; gestures;
family or community facial expressions; dialogue; different voices
member or accents; songs; questions to the audience;
lighting; special effects; sound effects
Picture book librarian, teacher, performance area; pictures; props; actions;
volunteer gestures; facial expressions; dialogue;
different voices or accents; songs; written
words (book); questions to the audience;
sound effects
Street mime mime artists performance area; props; costumes; make-up;
actions; gestures; facial expressions; special
effects; blocking
Radio-play voice artists dialogue; different voices or accents; songs;
written words (script); questions to the
audience; music; sound effects
Theatre performance actors stage; sets; props; costumes; make-up;
actions; gestures; facial expressions; dialogue;
different voices or accents; songs; written
words (script); questions to the audience
(sometimes); lighting; special effects; music;
sound effects; stage directions; blocking
Film actors sets; locations (or studio); props; costumes;
make-up; actions; gestures; facial expressions;
dialogue; different voices or accents; songs;
written words (script); questions to the
audience (rare); lighting; special effects; music;
sound effects; stage directions; blocking

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 For information Informal assessment
on Informal
assessment, refer Activity 4: Check that groups have produced a satisfactory story
to the generic map. It should be complete, make sense and clearly describe the
assessment tools elements of the folktale they have started creating. If necessary,
for observation, give groups suggestions on how to improve their story.
practical work,
performance,
correspondence
and peer assessment Consolidation
in Section 4: Assist groups who are struggling with any of the activities. Make
Resources on pages sure that all the groups know how to complete the activities in their
344–347 of this own time.
Teacher’s Guide.

Extension
• Groups must spend time completing the activities before the next
lesson.
• Encourage learners to read some folktales during the week. They
should identify the elements in each one and get more ideas for
their own folktales.

UnitUnit
Narrative
1 and dialogue
3 Learner’s Book pages 116—120 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 116–120;
blank paper; Prestik Preparation
New words • Read through the unit and familiarise yourself with the content
and concepts that you will need to teach. Think about what learners may
oral; narrator; already know about the topics, what skills they already have and
narrative; dialogue; any areas of difficulty that you think they might encounter.
script; Middle- • Practise reading the first paragraph of Aladdin’s wonderful lamp on
Eastern; postpone; page 117 in the Learner’s Book.
monologue; scenes;
scene sheets; stage
set; storyboard;
speech bubbles

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 Teaching the unit
Lesson 1 (Week 3)
• Lead learners in the warm-up routine from page 111 in the
Learner’s Book. Spend 15 minutes of the lesson on this.
• Check that all the groups met and have completed the activities
from Unit 2.
• First go through the information in the section: What are narrative
and dialogue?
• Only read the first paragraph of the Narrator in Aladdin’s
wonderful lamp. Then explain Activity 1.

Activity 1: Explore narrative and dialogue

• Create groups of four so each learner has a role in Aladdin’s
wonderful lamp.
• Explain the whole activity and let learners do it on their own.
Tell them to call you if they get stuck at all.
• Once learners are working on Activity 1, you can check the story
maps from each folktale group.
• Go through the answers with the group. Let each group have a
turn to give an answer and then add to this yourself using the
answers below.

Explain that the groups will not have enough time in class to complete
Activities 2 and 3. You will explain the activities and learners must
make sure they know what they need to do to complete them together
in their own time before the next lesson.
Go through the section: How do you divide your folktale into scenes?
Use Figure 2.3.2 to explain the scene sheets you would like the groups
to create.

Activity 2: Divide your folktale into scenes

• Learners must work in their folktale groups for the next
two activities.
• Explain Activity 2 and let learners being working on this for a while.
• You can go around and check how they are doing. You can also
give the groups some feedback on their story maps at this time.
• Stop the groups once you can see they are all on the right track.
Go through the section: Create a storyboard.

Activity 3: Create a storyboard of your folktale

• Explain the activity and let learners begin working on their
storyboard.
• Go around and check that all the groups know what to do.
• Stop the groups just before the end of the lesson.
Check that all the groups know that they must complete Activities 2
and 3 before the next lesson. They can also work on improving their
story maps in line with the feedback you have given them.

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 Answers
Activity 1
1. Advantages: don’t have to act out the whole story, have another
point of view, can give opinions on the story
Disadvantages: can interrupt and make the story stop and start if
not done properly, can take the focus away from the actors and
the action, may disrupt the dramatic tension
6. a. The narrator introduces the story and tells us what happened
before the first scene and then goes on to tell us what happens
after the scene.
b. She is an observer with her own opinions on the character’s
personalities, e.g. Aladdin is lazy and selfish, and the magician
is evil.
c. The dialogue shows Aladdin’s personality and how
manipulative and deceitful the magician can be. It also helps
to direct the action in the story, e.g. ‘Hey you, boy, come
here!’ and ‘Run home and tell your mother …’
d. It is a monologue as Rashid has already run off stage and
Aladdin is not singing for or to the magician.
e. The words of the song show that Aladdin does not see the
value of work or of obeying one’s parents and belittles those
who do.
f. The narrator tells us that Aladdin is lazy, selfish and unhelpful
and refuses to do what his mother asks him to do, i.e. work.
g. The dialogue with Rashid tells us that Aladdin does not
respect his mother or think it is good for others to obey their
parents either. He tries to persuade, or bully, Rashid to get
him to stay and hang out with him. He then belittles Rashid’s
attitude in the song he sings, calling him a mommy’s boy and
a jerk who can’t say no. In his dialogue with the magician,
we see that he obeys and reacts quite politely to a strong
command from a strange man. He seems less brave in front of
the magician and is then quite gullible as he is very impressed
by wealth.

For information Informal assessment

on Informal
assessment, refer Activity 1: Ask each group how they have done once you have
to the generic gone through the answers with them.
assessment tools
for observation,
practical work, Consolidation
performance, Assist any groups that are battling to do the scene sheets and
correspondence storyboards.
and peer assessment
in Section 4:
Resources on pages
Extension
344–347 of this Ask learners to read some play scripts during the week to see how the
Teacher’s Guide. narrative and dialogue helps to tell the story.

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 UnitUnit
Create
1 a narrative and dialogue
4 Learner’s Book page 121 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 121;
blank paper
Preparation
New words • Read through the unit and familiarise yourself with the content
and concepts that you will need to teach.
dialogue; • Think about what learners may already know about the topics,
personality; point what skills they already have and any areas of difficulty that you
of view; feelings; think they might encounter.
humour; conflict;
tension; purpose; Teaching the unit
lively; contractions;
Lesson 1 (Week 4)
conversation;
monologue; aside • Lead learners in the warm-up routine from page 111 in the
Learner’s Book.
• Check that all groups managed to complete Activities 2 and 3 from
Unit 3. You can check their work when they are doing the activity.
• Go through the section: What is the purpose of the dialogue?
Let different learners read out each bullet point to make it more
interesting.

Activity 1: Write a narrative and dialogue

• Learners should work in their folktale groups to do this activity.
• After Step 1, they should break into pairs to work on the scenes
they have been allocated.
• Finally the group should run through all the narrative and
dialogue to see how it flows. They must continue to write and
improve the script in rehearsal time after class. The script must be
completely written by the next lesson.

Make sure that all the groups have arranged times to meet before the
next lesson. They need to spend at least an hour preparing and rehearsing
together each week. They also need to spend time on their own
learning their lines, doing written assignments and revising for tests.
If there is time now, groups can draw up a schedule with rehearsal
dates and times for the rest of the term. If not, they must draw up
their schedule by the next lesson.

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 For information Informal assessment
on Informal
assessment, refer Activity 1: Observe learners as they work in pairs to write the
to the generic script for different scenes. Check that they are following the ‘Tips
assessment tools for writing a good dialogue’ on page 121.
for observation,
practical work,
performance, Consolidation
correspondence Assist individuals and pairs to make the dialogue sound natural and
and peer assessment real. Encourage them to read it out loud to see how it sounds.
in Section 4:
Resources on pages Extension
344–347 of this Encourage learners to read more play scripts so they can see different
Teacher’s Guide.
ways of writing narrative and dialogue.

Unit Vocal modulation, expression

and characterisation
5 Learner’s Book pages 122—125 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 122–125;
colour pens for Preparation
marking up scripts;
board and chalk/ • Read through the unit and familiarise yourself with the content
markers that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Practise saying the examples provided to illustrate the different
vocal/voice vocal techniques.
modulation; vocal
expression; vocal
• Write some lines of a script on the board that you can use to
explain how to mark-up a script in Activity 3.
characterisation;
modulation;
modulation Teaching the unit
technique; pitch; Lesson 1 (Week 5)
tone; inflection; • Lead learners in the warm-up routine from page 111 of the
pace; pause; Learner’s Book.
volume; emphasis;
tone-colour; robot;
• Check that all groups managed to complete writing their script and
have completed all the activities from previous units. Check their
suspense
scripts while the groups are doing Activities 2 and 3 in this lesson.

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 • Go through the section: What is voice modulation?
• Go through Table 2.5.1 and read the examples using the technique
being illustrated. Let learners copy how you say the examples.
Check that everyone understands the different techniques.
• Look at the pictures in Figure 2.5.2 and let learners say the words
in the speech bubbles.
• Explain that learners are now going to practise using voice
modulation and expression.

Activity 1: Practise voice modulation and expression

Arrange learners in pairs and let them do the activity.

Go through the section: What is vocal characterisation?

Activity 2: Develop vocal characterisation

• Learners should work in their folktale groups for the next
two activities.
• Let the groups do the activity while you walk around and check
how they are managing. Make suggestions where appropriate and
use this opportunity to check the scripts.

Read through the section: How do you mark-up voice modulation and
expression in a script? Use the board to show learners how they can use
the different marks.

Activity 3: Mark-up the script

• Let learners work in their folktale groups to mark-up their scripts.
• Check that they are managing to do it properly. You can continue
to check the quality of their scripts during this activity.

Learners should develop, practise and rehearse their voice modulation,

expression and characterisation this week. Everyone must have
marked-up all their lines by the next lesson.

For information Informal assessment

on Informal
assessment, refer Activity 1: Listen to check all learners understand and can use
to the generic the voice modulation techniques listed.
assessment tools
Activity 2: Listen to check that the groups are developing
for observation,
practical work, appropriate, unique and interesting voices for each character.
performance, Activity 3: Check that learners are using the mark-up
correspondence symbols correctly.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this
Teacher’s Guide.
• Learners who are struggling to mark-up their scripts should ask
others in their group to help them with this.
• The group should help those with major parts to develop their
vocal modulation, expression and characterisation.

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 Extension
• The groups need to develop vocal characterisation for all their
folktale characters.
• Learners must mark-up all their lines to indicate the voice
modulation and expression they will use.

Unit Movement and physical

characterisation
6 Learner’s Book pages 126—127 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 126–127
Preparation
New words
and concepts
Read through the unit and familiarise yourself with the content
movement; physical that you will need to teach. Think about what learners may already
characterisation; know about the topics, what skills they already have and any areas of
tool; challenge; difficulty that you think they might encounter.
eye contact; body
language; gestures; Teaching the unit
stage directions; Lesson 1 (Week 6)
brackets or italics
• Plan your timing for this lesson carefully, e.g. Warm-up:
10 minutes, Activity 1: 30 minutes, Activity 2: 10 minutes,
Activity 3: 10 minutes. Learners can complete Activities 2 and 3
in their own rehearsal time.
• Lead learners in the warm-up routine from page 111 of the
Learner’s Book.
• Check that all learners managed to complete the vocal
modulation, expression and characterisation for their folktale
character and have marked-up all their lines. Check their mark-
ups while the groups are doing Activities 2 and 3 in this lesson.
• Go through the section: How can you use movement to tell a story?
Activity 1: Use movement to tell a story
• Learners should work in fairly big groups of eight or more
learners. Create an even number of groups so they can watch each
other perform. This will save time swapping the groups later on.

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 • Explain the activity and the maximum time allowed:
Prepare 10 minutes
Group A perform for Group B 5 minutes
Feedback to Group A 5 minutes
Group B perform for Group A 5 minutes
Feedback to Group B 5 minutes

• Refer to Figure 2.6.1 for groups to select a situation for their story.
They must mainly focus on showing the answers to the questions
in Step 2.

• Remind the groups that they are not allowed to use words or
sounds, just movements.

Go through the section: How can you develop physical characterisation?

Activity 2: Develop the physical characterisation of your

characters
• Learners should work in their folktale groups for the next
two activities.
• Explain the whole activity.
• Let the learners do Step 1 and begin Step 2 in class. They should
complete the activity in their own rehearsal time.

Activity 3: Develop stage directions

• Explain the whole activity.
• Let the groups do Steps 1 and 2 in class. They should complete
the activity and develop the other scenes of their folktale during
rehearsal time.

Check that learners have set a time for rehearsals this week and know
what to do to complete Activities 2 and 3.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe the groups to make sure they are reflecting
to the generic on the performances and are giving constructive feedback on what
assessment tools they have seen.
for observation,
practical work, Activity 3: In the next lesson, you can check that groups have
performance, completed the activity in their rehearsal time by checking that there
correspondence are now stage directions in the scripts.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this If learners struggle to give constructive feedback ask them to list
Teacher’s Guide. two things that they liked and two things that they think could be
improved and how they could be improved. They can then use these
lists to help them to give feedback.

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 Extension
Encourage advanced learners to move out of their comfort zone when
they are developing physical characterisation. For example, they could
try to move in different ways, create new facial expressions or a more
complicated set of mannerisms for their characters.

UnitUnit
Vocal
1 sound effects
7 Learner’s Book page 128 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic forms
(45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 128

New words
Preparation
and concepts • Read through the unit and familiarise yourself with the content
vocal sound effects; that you will need to teach. Think about what learners may
instrument (voice); already know about the topics, what skills they already have and
plosives; fricatives any areas of difficulty that you think they might encounter.
• Practise making the plosive and fricative sounds as well as a range
of interesting sound effects with your voice.

Teaching the unit

Lesson 1 (Week 7)
• Check that all learners managed to complete the activities from
last week on developing physical characterisation and stage
directions for their folktale. Briefly check that all groups have
included stage directions in their scripts.
• Lead learners in the warm-up routine from page 111 of the
Learner’s Book.
• Go through the introduction to Unit 7 and the section: How can
you add to your vocal warm-up?

Activity 1: Make plosives and fricatives

• Do this activity together with your learners. Demonstrate the
different sounds and ask learners to copy you.
• In Step 3, slide smoothly from one sound to the other.
• Help learners to identify sounds that they found difficult to
produce. For example, the sounds p, b, t, d, k, g are all plosives in
English. There may be differences in learner’s home languages that
create the difficulty, e.g. in isiZulu ‘b’ is implosive as air is drawn

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 into the mouth (ubaba – father, ukubala – to count) while ‘bh’ is
explosive (ukubhala – to write). In this case, you could tell learners
that they should feel a little puff of air coming out of their mouth
when they produce these sounds in English.
• Help the class, groups or individual learners to produce all the
sounds clearly.

Activity 2: Make sound effects

• Let learners work in groups of four.
• They should do the activity and have fun creating weird and
wonderful vocal sound effects.
• Once they have improved and played around with these sound
effects let each group do the three best sounds for the class.

If there is still time let learners work in the folktale groups to produce
vocal sound effects for their performance. They can continue with this
during their rehearsals this week.
Also tell learners that they will be writing a test on the elements of
drama in two weeks’ time. They can start revising the work they have
covered in Drama this year. You will give them more details on exactly
what to revise next week.

For information Informal assessment

on Informal
assessment, refer Activity 1: Listen carefully to individual learners and make sure
to the generic that everyone is able to make these sounds by the end of the lesson.
assessment tools
for observation,
practical work,
Consolidation
performance,
correspondence Assist learners who are struggling to form the plosive and fricative
and peer assessment sounds.
in Section 4:
Resources on pages Extension
344–347 of this • Ask learners to work on producing more vocal sound effects in
Teacher’s Guide. their own time.
• Challenge learners to learn how to make various clicking sounds
and whistles (e.g. click to get a horse moving, whistle with their
fingers, make bird calls with their hands and so on)

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 UnitUnit
Careers
1 in the creative team
8 Learner’s Book page 129 Duration: 1 hour

Topic: 5. Careers

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 129; copies of
job advertisement Preparation
for a producer on
page 320 of this • Read through the unit and familiarise yourself with the content
Teacher’s Guide that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Find sources of information on the different careers in the
creative team; creative team.
producer; director;
writer/playwright;
• Read through the requirements for the Part 1 and Part 2 of the
test on page 130 of the Learner’s Book.
composer; set
designer; sound
designer; projection Teaching the unit
designer; costume Lesson 1 (Week 8)
designer; lighting • This lesson has three main aims:
designer 1. To introduce the creative team and explore the different
careers in this team.
2. To explain Part 1 of the test: Write an advertisement.
3. To give guidance on what to revise for Part 2 of the test:
Drama elements.
• Begin the lesson by leading a short vocal warm-up based on the
sounds learnt in Unit 7.
• Check that the folktale groups managed to include vocal sound
effects in their performance.
• See if any learners have developed new sound effects they would
like to demonstrate to the class.
• Go through the section: Who is part of the creative team? Discuss
the careers in Figure 2.8.1.
• Hand out copies of the advert for a Producer (Teacher’s Guide
page 314) and go through it with your learners. Explain that for
Part 1 of the test, they need to write a job advertisement for one
of the other careers in the creative team (not the producer!)

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 UnitUnit
Formal
1 assessment: Written
9 Learner’s Book page 130 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 130
Careers and basic drama elements
Test (Part 1): Write an advert
Refer learners to Unit 9, on page 130. Explain that this advertisement
counts 5% towards their year mark. Explain the assignment and tell
them that they have to:
• write a draft of the advertisement by the next lesson
• work with a partner in the next lesson to give and get feedback on
the draft advertisements
• improve and write the final advertisement out neatly
• hand in the final advertisement for you to mark by (set a date).
Explain that learners will also write Part 2 of the test in the next lesson.

Prepare for the test (Part 2)

• Refer learners to Unit 9, on page 130. Explain that Part 2
of the test, the written test, will be conducted in class in the next
lesson. It also counts 5% towards their year mark. Explain the
drama elements they need to focus on in their revision this week.
• Check that learners are aware that they need to do the following
this week:
– rehearse with their folktale group
– produce a draft of their advertisement on a creative career
– revise for the written test on drama elements.

Consolidation
Make sure everyone understands what it means to be a designer. Some
of the creative team only designs aspects of the production, i.e. they
plan and create the ideas for the production. They may not actually
be involved in a hands-on way in making their ideas a reality on stage.
So for example, there is a costume designer and a costume master/
mistress, a lighting designer and lighting technicians, a composer and
musicians, and so on. Learners will find out more about the technical
and support teams next term.

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 Extension
Encourage learners to do more research on the careers they are
interested in.

Formal assessment
For guidance on how to assess the final advertisement, please see
page 320 in this Teacher’s Guide.
For guidance on how to assess the written tests, please see
pages 289—291 in this Teacher’s Guide.

UnitUnit
Formal
1 assessment: Practical
10 Learner’s Book page 131 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 131

New words Formal assessment

and concepts For guidance on how to assess the folktale performances, please
group dynamics; see pages 291—292 in this Teacher’s Guide.
spatial
arrangements;
physical
relationships;
narrative;
dialogue; vocal
characterisation;
vocal sound effects;
observation

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 MUSIC

Topic
UnitUnit
Discover
Music
1 literacy
your strengths
1 Learner’s Book pages 133—136
xx—xx Duration:
Duration
15 mins/week
2 hours

Topic: 1. Music literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Weeks 1–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 133–136;
metronome;
clock; percussion
Preparation
instruments; • Read through the unit and familiarise yourself with the content
exercise books; that you will need to teach. Think about what learners may
instrument to play already know about the topics, what skills they already have and
solfa on; board any areas of difficulty that you think they might encounter.
to write on/white • Practise the rhythm patterns in Activity 2 before teaching them.
board or paper to
put solfa up onto
Teaching the unit
the wall; Prestik to
put paper up on There are many practical activities in this unit that involve sound and
the wall movement. Allow the learners some freedom to express themselves
freely, but monitor the groups so that the lessons do not become
New words chaotic.
and concepts
dotted note; new Lesson 1 (Week 1)
solfa names: doh,
This lesson focuses on dotted notes.
me, so, ray; sight
singing
Divide the unit into eight 15 minute lessons as follows:
Lesson Week Pages Activities
1 1 133 1
2 2 134 2
3 3 134 2
4 4 135 3
5 5 135 4
6 6 135 4
7 7 136 5
8 8 136 5

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 Activity 1: Identify the duration
• Work in pairs. Let stronger learners pair off with struggling
learners.
• Work together to find answers.
• Check the answers with the rest of the class.
Lessons 2–3 (Weeks 2–3)
This lesson focuses on clapping or drumming short rhythmic phrases.

Activity 2: Clap or drum short rhythmic phrases

• This activity will take some time for every learner to understand
and grasp it, so be patient and spend enough time on it.
• Read each of the rhythmic phrases with the learners. Help them
to identify the letter names of the notes on the treble clef.
• Clap or drum each rhythmic phrase. Then ask learners to clap or
drum with you.
• Ask learners to divide into six groups and to play the six phrases
on percussion instruments or by using body percussion.
• Do no. 1–3 in Week 2 and no. 4 in Week 3.
Lesson 4 (Week 4)
• In this unit, learners focus on how to add to their tonic
solfa range.
• There are many practical activities in the unit that involve sound
and movement. Allow the learners freedom to express themselves.
• Ensure that you understand the new concepts before teaching
them to the learners.

Activity 3: Find ‘me’ and ‘so’

Guide the learners towards the answer through this listening activity.

Lessons 5–6 (Weeks 5–6)

• Write ‘doh’, ‘me’, ‘so’ and ‘doh1’ on the board and sing the notes.
• Let learners sing these notes as you point to them.
• Sing the first pattern for learners and let them then do the rest.
• Do no. 3 in Week 6.
• Make sure learners can hear the new note ‘ray’.
Activity 4: Sing the patterns
Guide the learners in performing the solfa pattern accurately.

Lessons 7–8 (Weeks 7–8)

Activity 5: Sing melodic phrases using tonic solfa
• Guide the learners in performing the solfa pattern accurately.
• Write D, R, M, S, D1 on the board. Let learners sing the notes as
you point to them.
• Let learners sing the patterns in the Learner’s Book.
• In Week 8 learners sing a melody using tonic solfa. Let the
learners first read the notes and then sing the melody.

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 Answers
Activity 1
1. a. 3; b. 1; c. 3; d. 6; e. 6; f. 2
3. G G G F E D A D D F E

Activity 2
1. a. F F C F F C F F C F F C
b. F C F F F C repeat
c. F F C F F C repeat
d. C F C
e. F F C A C repeat
f. F CC F C F CC AC

For information Informal assessment

on Informal
assessment, refer Activity 1: Assess learners on the written answers in their
to the generic exercise books.
assessment tools
Activity 2: Assess learners’ performances.
for observation,
practical work, Activity 3: Observe the learners during the group work. Assess
performance, whether any of the groups require your assistance with completing
correspondence the activity.
and peer assessment
in Section 4: Activities 4 and 5: Listen to the learners singing patterns and
Resources on pages melodic phrases using tonic solfa. Provide additional assistance to
344–347 of this learners who require it.
Teacher’s Guide.

Consolidation
• Use the copy cat method to help struggling learners: pair fast
learners with struggling learners. Let the strong learner do the
phrase and the struggling learner can then copy it.
• If learners are struggling with the tonic solfa refer them back to
Term 1, Unit 1 on pages 58–59 in the Learner’s Book.

Extension
• Add flavour to Activity 2 by performing the rhythmic phrases at
different tempos.
• Find new ways of body percussion to perform the phrases.
• Encourage learners to create their own dotted note phrases.
• Encourage learners to create their own solfa patterns.
• Find other simple melodies and work out the solfa names.

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 UnitUnit
Music
1 listening
2 Learner’s Book pages 137—138 Duration: 15 mins/week

Topic: 2. Music listening

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks 1–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 137–138;
CD player; choose Preparation
several appropriate
pieces of music • Refer back to other units for information about mood, meter,
to demonstrate tempo and rhythm.
different dynamics; • Read through the unit and familiarise yourself with the content
have a score of the that you will need to teach. Think about what learners may
music pieces for already know about the topics, what skills they already have and
each learner any areas of difficulty that you think they might encounter.
New words
• Look at the order that the unit is presented in.
and concepts • There are many activities in this lesson so it is important to look
musical elements: at good time management. Do not get stuck on any activity too
rhythm, meter, long. This lesson is focused on applying previously learnt concepts
tempo, mood, and new concepts.
dynamics • Prepare the learners for the activities by sharing and teaching the
given content in the lesson, but also recapping on content from
previous lessons if necessary.

Teaching the unit

• In this unit, learners focus on musical elements such as rhythm,
meter, tempo and dynamics.
• Introduce learners to listening skills. Explain the following to them:
‒ At all times be respectful towards the listeners around you,
even if you do not like the music that is being played.
‒ When listening to music it should be absolutely quiet – no
talking, no movement.
‒ To cut the listening short you will not abruptly switch the
music off. You will fade out the music gently by turning down
the volume.
• Learners can close their eyes while listening or lie with their heads
on their crossed arms.

Lesson 1 (Week 1)
Activity 1: Experiment with mood
In this activity learners can be very creative. Let them
experiment freely.

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 Lesson 2 (Week 2)
Activity 2: Analyse dynamics
Choose a variety of contrasting pieces that clearly demonstrate all the
concepts in the unit.

Lessons 3–4 (Weeks 3–4)

Activity 3: Listen to a variety of music
• Choose a variety of contrasting pieces that clearly demonstrate all
the concepts in the unit.
• Repeat this activity with different musical scores over two weeks.
Lessons 5–8 (Weeks 5–8)
Activity 4: Compose and perform music that uses
graphic scores
• In this activity, learners can be very creative. Give them the
opportunity to experiment freely.
• Learners do this activity over four weeks: Week 5 (no. 1 and 2);
Week 6 (no. 3 and 4); Week 7 (no. 5 and 6) and Week 8 (no. 7).
• Take them through each step in the Learner’s Book so that they
can successfully perform each piece for the class.

For information Informal assessment

on Informal
assessment, refer Activity 1: Carefully observe the learners in this activity because
to the generic they need to experiment with mood by applying the skills
assessment tools of articulation and different rhythms, instrumentation, dynamics
for observation, and tempo.
practical work,
performance, Activities 2 and 3: Use these activities to assess whether the
correspondence learners understand dynamics.
and peer assessment Observe the learners during the activities and assess whether
in Section 4: they are doing the exercises in the correct ways.
Resources on pages Observe whether the learners have selected movements
344–347 of this
that reflect the dynamics used. These activities also provide an
Teacher’s Guide.
opportunity to assess the learners’ knowledge of the C major scale.

Activity 4: Assess how successful the creation and performance

is in demonstrating the concepts of this unit.

Extension
• Let learners bring some of their favourite music along and give
them an opportunity to listen to each others music.
• Discuss respectfully the different taste that learners have for music.

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 UnitUnit
Performing
1 and creating music
3 Learner’s Book pages 139—141 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks 1–6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 139–141;
found and self- Preparation
made instruments,
traditional or Orff • Read through the unit and familiarise yourself with the content
instruments; venue that you will need to teach. Think about what learners may
with enough space already know about the topics, what skills they already have and
for lying down any areas of difficulty that you think they might encounter.
and standing • Prepare the song Thula baba, thula sana well in advance, making
comfortably; sure that all four parts can be sung with confidence so that
song, Thula baba, learners can be led and guided while learning their parts.
thula sana

New words
Teaching the unit
and concepts
good posture; Method for teaching a song
breathing; part • Break up the song in smaller part (two bars at a time).
singing; descant; • Sing the smaller part to the learners.
round/canon;
Orff instruments
• Learners respond by echoing the part.
• Do every smaller part a few times before moving on.
• Do not talk in between phrases — just keep on repeating
and singing.
• Once the whole song has been done in this way, thread it
together by doing it as a whole.

Divide the unit into four 30 minute lessons as follows:

Lesson Week Pages Activities
1 1–2 137 1
2 3 138 2
3 4 138 3
4 5 138 4

Lesson 1 (Weeks 1–2)

This lesson focuses on how to increase your deep breathing, part
singing and a round or canon.

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 Activity 1: Do new breathing exercises
• Give a practical demonstration of the breathing exercises to the
learners rather than explaining them in words.
• Take them through the steps.
• Repeat the exercises several times.
• When repeating, walk amongst the learners, helping and
correcting posture.

Lesson 2 (Week 3)
Activity 2: Practise part singing
• First explain the concepts of part singing and descant.
• Divide the learners into four groups.
• Take them through the steps of the activity.
Lesson 3 (Week 4)
Activity 3: Practise singing a round
• Follow the steps in the activity.
• Repeat several times, starting on different doh’s.
Lessons 4 (Weeks 5–6)
This lesson focuses on singing a folksong as a round.

Activity 4: Sing Thula baba, thula sana

• The best way of teaching new parts is through imitation.
• The teacher sings smaller parts of the melody and the learners
imitate these directly afterwards.
• Repeat each part a few times, before moving on to the next part.
• This method is similar to a call and response method, except that
it is the same part being repeated.
• In Week 6 you can add some instruments (Orff and self-
made instruments) as accompaniment to the song, creating a
performance piece.

For information Informal assessment

on Informal
assessment, refer Activities 1 and 2: Measure each learner’s progress in breathing
to the generic by counting how the length of breath increases and expands.
assessment tools This is a good exercise to do on a weekly basis and noting down
for observation, the learners improvement.
practical work,
performance, Activity 4: The end product can be presented as a performance
correspondence of the song to an audience, e.g. for another class or even at a weekly
and peer assessment gathering of the whole school.
in Section 4: It can be used at a school concert where learners and parents
Resources on pages are present.
344–347 of this
Teacher’s Guide.

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 Consolidation
Place weaker learners amongst stronger learners so that they can assist
each other.

Extension
Activity 2 uses many different doh’s to practise the part singing.
Add in dynamics like loud (forte) and soft (piano) or gradually going
louder (crescendo) and gradually going softer (decrescendo), to make
the activity more fun and interesting.

UnitUnit
African
1 drumming
4 Learner’s Book pages 142—145 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, (CAPS) content
Weeks 7–8
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Resources ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
Learner’s Book
pages 142–145; Preparation
any African drums,
self-made drums
• There are many practical activities in this unit that involve sound
and movement. Allow the learners freedom to express themselves,
or other objects to
make drum-sets
but monitor the groups so that the lesson does not become chaotic.
with, like desks, • Time management throughout the lesson is important – allow
rulers or pencils enough time for each activity without getting stuck on any one
activity or step.
New words • Guide the learners from a distance, but do not limit their
and concepts creativity.
djembe; bass; tone;
slap; improvisation;
chord; solo
Teaching the unit
• It is important to keep discipline when drumming.
• Do not allow in-between drumming.
• Set up the classroom by having the chairs in a circle.
• Have a drumming sign/sound to indicate when learners need to
stop playing.
• Familiarise and practise the three basic sounds on a drum.

Divide the unit into two 30 minute lessons as follows:

Lesson Week Pages Activities
1 7 142—144 1—2
2 8 145 3—4

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 Lesson 1 (Week 7)
This lesson focuses on how to play the African djembe drums and the
sounds you can make on these drums.

Activity 1: Say and play the patterns (melodic repetition)

• Make sure that the learners know which speaking sound goes with
which sound on the drum.
• Now proceed to practise each rhythm pattern from a–f until all
the learners know it well.

Activity 2: Drum melodic/rhythmic question and answer

• Follow the instructions.
• Start off by doing easy question and answer patterns.
Lesson 2 (Week 8)
This lesson focuses on improvisation.
4
Activity 3: Improvise in ​ __ 4 ​ time on African drums
• Follow the instructions in this activity.
• Create a safe environment for learners to experiment in with their
solo playing.
• No learner is to belittle any improvisation of another learner.
Activity 4: Play the same rhythm
• Follow the instructions in this activity.
• Create a safe environment for learners to experiment in with their
solo playing.

For information Informal assessment

on Informal
assessment, refer Activities 1—3: Learners can be assessed on their:
to the generic • skill of mastering the three drum techniques
assessment tools • creativity of their question and answer rhythms
for observation, • solos that they play.
practical work,
performance,
correspondence Consolidation
and peer assessment Some learners take longer to master the drumming techniques. Let
in Section 4:
a stronger learner take them aside and practise with them, either at
Resources on pages
344–347 of this another time or in another venue.
Teacher’s Guide.
Extension
• When learners know the basic drum techniques and rhythm
patterns, progress to more complicated rhythms.
• Let learners also experiment with playing along with different
styles of music on CD and backtracks.

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 UnitUnit
Formal
1 assessment: Written
5 Learner’s Book page 146 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 146

New words Formal assessment

and concepts For guidance on how to assess learner’s music literacy knowledge,
Go through all please see page 298 in this Teacher’s Guide.
the information in
Term 2

UnitUnit
Formal
1 assessment: Practical
6 Learner’s Book page 147 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book page ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
147; all instruments
that are available:
drums, piano, self- Formal assessment
made and found For guidance on how to assess learner’s music performance, please
instruments see page 299 in this Teacher’s Guide.

New words
and concepts
Go through all
the information in
Term 2

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 VISUAL ARTS

UnitUnit
Discover
Create
1 in 2D:
yourAstrengths
scraperboard design
1 Learner’s Book pages 149—150
xx—xx Duration: 2
3 hours

Topic: 1. Create in 2D

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks 1–3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 149–150; any
pictures of musical Preparation
instruments
• Read through the unit and familiarise yourself with the content
New words that you will need to teach. Think about what learners may
and concepts already know about the topics, what skills they already have and
etching; any areas of difficulty that you think they might encounter.
scraperboard; • You can use the pictures of musical instruments that you collected
negative spaces; for the clay musician lesson. Divide them amongst the learners so
collage that they can see them easily. You may wish to make photocopies
of some of your pictures so that there are enough to go around. It
is important that the learners are able to see the pictures clearly so
that they can easily make their observational drawings.

Teaching the unit

Lesson 1 (Weeks 1–3)
Activity 1: Prepare a scraperboard
• Make sure that there is enough cardboard and paint for your class.
Cut the card to size and mix the paint mixture before you begin
the lesson. You can help your learners to create the mixture. If you
would like them to have a little longer to work on their design,
you can make the mixture yourself.
• The mixture goes quite far. For a class of 40 learners, use two cups
of tempera paint. Add the black drawing ink to the paint until the
mixture is smooth and creamy – there should be no lumps. When
this is complete, add about half a cup (a really good squeeze) of the
dishwashing liquid). The mixture should be thin enough so that it
spreads easily but not so thin that the wax crayon shows through it.
• Hand out the card and wax crayons. Make sure that your learners
create a thick layer with the white wax crayon. The crayon should
cover the card entirely, from edge to edge.

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 • Once the wax is complete, learners can cover it with a smooth
layer of the black paint mixture.
• This process should take just under half an hour or a little less.
While the boards are drying, you can introduce the lesson by
looking at the pictures of the musical instruments and discussing
the art elements and design principles that your learners will be
using. The boards will dry fairly quickly and should be ready to
use by the time you have finished explaining the lesson. If any
part of the board is shiny, the paint is not quite dry.
• Hand out the kebab sticks and scratching implements. Ask your
learners to choose one instrument and to create an observational
line drawing of the instrument, focusing on details and
proportions. Once the first drawing is complete, they can go onto
the second drawing.

Activity 2: Create a musical instrument scraperboard

design
• Hand out the kebab sticks and scratching implements. Ask your
learners to choose one instrument and to create an observational
line drawing of the instrument, focusing on details and
proportions. Remind them to look at the shape and form of the
musical instruments.
• Once the first drawing is complete, ask learners to choose another
instrument to draw. Show learners how their design can contain
white lines as well as white shapes (they create the white shapes by
drawing the shape and then scratching the black out of the middle
of the shape).
• The second instrument should touch the first, so that a strong
collage-like design is created.
• Once the designs are created, find a space where you can display
the work. Put all of the work up, not just the ones your think are
good. Encourage your learners to find something positive about
each piece of work, to say what they like about their work and
what they would improve on the next time. Always encourage
your learners to give positive constructive feedback.

Consolidation
• If learners are struggling to draw the instruments, help them break
the instrument down into simple shapes and draw it one section
at a time.
• If learners start by drawing a very small instrument, encourage
them to make the second drawing a bit larger. The instruments do
not have to be in proportion to each other.

Extension
Learners can add lettering into the negative spaces created between the
instruments. These words could describe the instruments.

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 UnitUnit
Visual
1 literacy: Still life
2 Learner’s Book pages 151—152 Duration: 1 hour

Topic: 3. Visual literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Week 4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 151–152;
examples of still life Preparation
artwork from books
or the Internet • Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
New words already know about the topics, what skills they already have and
and concepts any areas of difficulty that you think they might encounter.
still life; symbolic • Make sure that you have all of your examples and pictures ready
language before the lesson begins.

Teaching the unit

Lesson 1 (Week 4)
Activity 1: Discuss and write about still life paintings
• Use the pictures in the text book as well as pictures that you may
have found of various still life artwork.
• Divide your learners into groups of four or five, making sure they
have paper/visual diaries and pencil/pen. Remind them that each
person must get a chance to talk. Each learners should write down
the answers in his/her visual diary.

Answers
Activity 1
Answers will vary depending on which still life the group has chosen.
For information The answers to identifying the art elements and design principles
on Informal should reflect learners’ understanding of the elements and principles,
assessment, refer i.e. this artwork includes the design principle of balance because the
to the generic artist creates a feeling of symmetry in his vase of flowers.
assessment tools
for observation,
practical work, Informal assessment
performance,
correspondence Activity 1: Ask the learners to give feedback on their answers to
and peer assessment the class.
in Section 4:
Resources on pages
344–347 of this
Teacher’s Guide.

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 Consolidation
If learners are struggling to identify the art elements and design
principles, let them use the examples on pages 72–75 of the Learner’s
Book to help them identify the elements and principles. You may wish
to help them by using a separate still life painting to demonstrate how
they would go about identifying them.

UnitUnit
Create
1 in 2D: A still life painting
3 Learner’s Book pages 153—154 Duration: 4 hours

Topic: 1. Create in 2D

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Weeks 5–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 153–154;
objects for still life Preparation
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Collect the objects for the still life before your lesson begins.
These could include a pot plant, piece of fabric, fruit, musical
instruments, kitchen implements, or any interesting containers.
• Display the still life so that all of your learners can see it easily. You
may need to rearrange your classroom so that the still life is in the
middle of the room with the desks arranged around it. Alternatively,
if you have a large class, you may wish to create a number of small
still lives so that learners can be grouped around them.
• Make sure you have enough equipment for all of your learners.
Cut your paper to size and put out mixing trays, brushes and
water bottles.

Teaching the unit

Lesson 1 (Weeks 5–8)
Activity 1: Create your own still life
• Hand out paper and crayons. Make sure that your learners have
enough space to work in.
• Ask your learners to look at the still life and visualise how they are
going to fill the page with their drawing. The design should touch all
four sides of the page and should not float in the middle of the page.

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 • Ask your learners to create a line drawing of what they see by
carefully observing the objects in front of them. Remind them
to look at different sizes and shapes of objects, overlapping and
proportion.
• The drawing does not have to be a photographic representation of
the still life but should resemble it. Learners will probably spend
about an hour on the drawing part of this activity.
• Keep reminding your learners about the elements and principles
while they are working. You may wish to use learners work as an
example by holding it up to show the rest of the class. Try not to
use the same learner all the time.
• Once the design is complete, hand out the paint. Each learner
should have his/her own mixing tray. You can use polystyrene
trays for this. They are easy to collect and can be discarded at the
end of the activity.
• Introduce complementary colours. Make sure that your learners
understand what they are before they begin.
• Demonstrate how to mix the tempera paint with a little water so
that it is thick enough – it should be as thick as yoghurt. Remind
learners to dry their brush between mixing colours so that the
paint does not become too watery. If the paper can be seen
through the paint, the paint is too watery.
• Ask your learners to choose a set of complementary colours.
They will be using these two colours for their whole painting.
Complementary colours will always have one primary colour and
one secondary colour. The primary colour can be used as is, as
well as adding white to it to create tints, i.e. blue and a variety of
paler blues. When using the secondary colour (in this case orange)
encourage your learners to mix a variety of oranges from yellow
orange through to red orange. Learners can also add white to any
of these variations. Limiting colours pushes learners into having to
come up with creative solutions and solve problems.
• Encourage your learners to paint as neatly as possible and to fill
the entire design with their chosen colours.

For information Informal assessment

on Informal
assessment, refer Activity 1: Display the learners work up on the wall. Make sure
to the generic you put everyone’s work up.
assessment tools Ask learners to find something that they like in someone else’s
for observation, picture.
practical work, Ask learners to find something that they like about their own
performance,
work as well as something that they would change if they had to do
correspondence
and peer assessment this activity again.
in Section 4:
Resources on pages
344–347 of this
Teacher’s Guide.

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 Consolidation
• Demonstrate paint technique and brush technique on a separate
piece of paper if learners are struggling with this. Never paint
directly onto a learner’s work.
• You may suggest that learners draw lightly with their wax crayons
to begin with so that they can make changes by drawing over any
mistake that they may have made. Try to avoid replacing pieces of
paper, rather encourage happy mistakes or accidents.

Extension
For learners who demonstrate a strong ability to paint, you can
focus on paint and brush technique by showing them paintings with
different/interesting techniques. Encourage greater observation and
use of form, shape and the creation of tone in the painting. Decorative
techniques can also be used in parts of the painting to add pattern
and design to certain selected areas. Make sure it does not become too
busy or detailed.

Unit Formal assessment: Practical and

written
4 Learner’s Book pages 155—156 Duration: 2 hours

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, (CAPS) content
Weeks 9–10
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Resources ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
Learner’s Book
pages 155–156
Formal assessment
New words For guidance on how to assess learner’s research skills, please see
and concepts pages 304—306 in this Teacher’s Guide.
crafter

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 DANCE

UnitUnit
Discover
Dance
1 forms
your strengths
1 Learner’s Book pages 159—160
xx—xx Duration:
Duration:2 1hours
hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Week 1 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 159–160;
space to work; Preparation
variety of music;
CD player; DVDs • Read through the unit and familiarise yourself with the content
of different dance that you will need to teach. Think about what learners may
forms; DVD player already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• You will need to recap the work covered in the previous two terms
and possibly also review some of the activities covered.

Teaching the unit

Lesson 1 (Week 1)
• Perhaps you could begin by asking the learners what were some of
the key concepts they learnt in the previous two terms.
• Discuss the concepts on the list in Activity 1.
• Ask learners to demonstrate different exercises and dance moves
they have learnt.

Activity 1: Refresh your memory

• In this activity the learners review some of the key concepts they
covered in Terms 1 and 2.
• They will first demonstrate warm-up stretches that improve
posture and alignment and focus on the neck, shoulder and arms.
• They also need to demonstrate exercises that show body part
isolations, the Bouncy ball activity may be an example of this.
• They demonstrate the moonwalk and a bit of the Pantsula dance
they learnt, with safe landings and spotting when turning.
• Finally they show cool-down activities with stretches and
breathing exercises for relaxation.

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 Activity 2: Compare three dance forms
• In this activity learners familiarise themselves with different dance
forms. This will be done through watching DVDs or live dance
performances.
• Once this had been done learners copy the table provided and
evaluate the dance they watched against the criteria given.

Answers
Activity 1
• In this activity the learners need to show a comprehensive
overview of the learning that they engaged with over the past
two terms.
• They need to show that they are able to demonstrate exercises
learnt as well as the basic principles of weight transfer in the
dance moves.
• They also need to show safe landings from jumps and spotting
with turns. It is also important for them to understand the
requirements of a good warm-up and cool-down. This is
essentially a reinforcement of knowledge.

Activity 2
• Learners should be able to show understanding of the different
dance forms in terms of the elements of dance, differing
movements, themes and story lines, and the type of music used.
• This can be done through DVD’s or live performances by
community members or talented learners.

For information Informal assessment

on Informal
assessment, refer Activity 1: You will need to mark the learners’ review/evaluation
to the generic of different dance forms. Learners should be able to show an
assessment tools understanding of the prescribed criteria in dance and be able to use
for observation, those to assess other dance forms.
practical work,
performance,
correspondence
and peer assessment Consolidation
in Section 4: Learners could compare two dance forms and discuss these with other
Resources on pages learners who have a better grasp on the subject matter.
344–347 of this
Teacher’s Guide. Extension
Learners could further explore other dance forms and evaluate them
against the criteria provided in the table.

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 UnitUnit
Floor-work
1
2 Learner’s Book pages 161—164 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 2–3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 161–164;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Practice the exercise so that you are able to demonstrate to
yoga; supple; foot the class and explain where they are experiencing tension, if
articulation; en necessary.
pointe
• Review why core stability, flexibility and strength are important
to dancers.

Teaching the unit

Lesson 1 (Week 2)
• Explain why it is important in dance to mobilise the joints.
• Then introduce the learners to the series of exercises given by
reading the instructions and then demonstrating them.
• Work slowly, reminding the learners that no two bodies are the
same so what may seem simple to one learner, may not be so
simple to another. Not everyone has the same range of movement.
Therefore to over-extend one’s joints and to copy others may
cause injury.
• The implication of core stability is to ensure that your movements
are grounded when you dance by ensuring good alignment of
the body.

Activity 1: Do exercises for core stability, strength

and flexibility
• Read the instructions to the exercises and demonstrate them to
the class.
• Explain which muscles are targeted and how the exercises will
benefit the body.

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 Activity 2: Replace warm-up activities
• Learners discuss which body parts were worked for each of the
exercises.
• They should also discuss the warm-up from Term 2 and see which
of the exercises from their warm-up routine they could replace.
• Finally they need to note down these exercises and state which
body parts they work.

Lesson 1 (Week 3)
• Explain to the learners the necessity for foot articulations.
• Explain why strengthening the feet is important.
• Read the instructions for doing the exercises and then
demonstrate them.
• It is important to do exercises to strengthen the feet as the feet
supply balance in movement and absorbs impact in dance.
• Floor work is used in dance as well as in exercise – it is an
exploration of walking a low level dancing.

Activity 3: Practise foot articulation and joint mobility

• Learners should do all the exercises.
• They should be able to practice these until they get them right.
Activity 4: Replace warm-up activities
• Learners need to identify which body parts the exercises target.
They also need to use the exercises in their warm-up and eliminate
some to replace them with these. They should document the new
warm-up routine in their exercise books.
• Learners then demonstrate their new warm-up routine.
Answers
Activity 1
Learners need to show an ability to complete the prescribed exercises
and should be able to identify which parts of the body the exercise
is targeting.

Activity 2
Learners need to show that they have incorporated these exercises into
their warm-up routine and should be able to identify which parts of
the body the exercises target.

Activity 3
Check that the learners are able to complete the exercises with some
degree of accuracy. They should be able to identify where tension is
felt and which muscles have been worked with each exercise.

Activity 4
Learners should demonstrate their new warm-up routine and should
have incorporated all the new exercises from this unit.

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 For information Informal assessment
on Informal
assessment, refer Activity 2: Observe the revised warm-up sequence created by
to the generic the learners and note if they have adequately incorporated the
assessment tools new exercises. Also you will need to look at their exercise books
for observation, to see that they have also documented their new warm-up routine
practical work, together with the different body parts that the exercises work.
performance,
correspondence Activity 4: You will need to check that the learners have
and peer assessment documented their new warm-up routine in their exercise notebooks.
in Section 4: Also they should be able to demonstrate their new warm-up routine
Resources on pages with the new exercises.
344–347 of this
Teacher’s Guide.
Consolidation
• Learners focus on getting at least three of the exercises correct and
they work with other learners to do this.
• Learners should practise the new exercises. They should also work
on a simplified warm-up routine.

Extension
• Learners neaten up their warm-up sequence and ensure that all
the exercises flow smoothly from one to the other. They also
include other exercises that show body part isolation.
• Learners can add to their warm-up routine and add on other
exercises that show body part isolation. They can also ensure that
the exercises in their warm-up routine flows smoothly from one to
the next.

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 Unit Warming up — leg extensions
and brushes
3 Learner’s Book pages 165—166 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 165–166;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Practise the five ballet positions of the feet. Also work on the leg
leg extension; extensions, foot brushes and circular leg movements and kicks.
parallel position;
brush
• Being familiar with these will help when demonstrating to the
class especially with the five positions of the feet.

Teaching the unit

Lesson 1 (Week 4)
• Explain to the learners the why it is important to mobilise the
lower limbs.
• Have them practise the mobilisation exercises.
• Ensure that the placement of the feet is correct at all times.
• Use the pictures provided to ensure the positioning of the feet
is correct.

Activity 1: Practise leg movements

• In this exercise the learners practice the five positions of the feet,
foot brushes, leg extensions, circular leg movements and kicks.
• Once they have mastered these they will need to add them to
their warm-up routine and document the new leg movements
including the positions of the feet in their exercise books.

Answers
Activity 1
The learners should be able to place their feet in the correct way and
be able to do all the other leg mobilisation exercises prescribed. They
should be able to add these to their warm-up routine.

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 For information Informal assessment
on Informal
assessment, refer Activity 2: Observe the positions of the feet are well placed
to the generic as per Figure 3.3.2, ensure that turnout is from the hip and
assessment tools that brushes and extension are well executed with balance and
for observation, alignment. Also these should gel neatly into their warm-up routine.
practical work,
performance,
correspondence
and peer assessment Consolidation
in Section 4: Learners practise the positions of the feet until perfected and then
Resources on pages move on to other isolation of the legs.
344–347 of this
Teacher’s Guide.
Extension
Learners work on a short dance sequence and include the leg isolation
exercises and kicks both from the knee and hip.

Unit Body-part isolations: Hands,

arms and feet
4 Learner’s Book pages 167—168 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 167–168;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Practise the five positions of the arms in ballet.
• Being familiar with these will help when demonstrating to the
class especially when combined with the five positions of the feet.
• Prepare a short sequence when only arm movements are used
to dance.

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 Teaching the unit
Lesson 1 (Week 5)
• Explain to the learners the why it is important to mobilise the
upper limbs.
• Have them practise the arm mobilisation exercises.
• Ensure that their placement of the arm is correct.
• Use the pictures provided to ensure the positioning of the arms
is correct.
• Let learners learn the sequence with arms only to demonstrate
how an isolation of the arms and hands could work in dance.

Activity 1: Isolate hands and arms

• In this exercise the learners practise the five positions of the arms.
• Once they have mastered these they will need to do them in
conjunction with the positions of the feet that they learnt in the
previous unit.

Activity 2: Combine locomotor movements with

coordinating arm movements
Here learners will create a one minute dance sequence in which they
use locomotor movements and incorporate the five arm positions that
they learnt.

Answers
Activity 1
The learners should be able to place their arms in correct positions
and then to do them together with the five positions of the feet.

Activity 2
Learners should add the arms movements to the locomotor
movements in a synchronised manner and should show flowing and
graceful movements.

For information Informal assessment

on Informal
assessment, refer Activity 2: Observe that learners position their arms correctly
to the generic and that the movements of the arms flow with the movements of
assessment tools the rest of the body. It should be smooth, flowing and creative.
for observation,
practical work,
performance, Consolidation
correspondence Learners practise the positions of the arms until perfected and then
and peer assessment move on to adding the feet positions with the arms.
in Section 4:
Resources on pages
344–347 of this Extension
Teacher’s Guide. Learners continue to work on their dance sequence, adding in the
positions of the feet as well as leg brushes, extensions and kicks.

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 UnitUnit
Jumps
1 and turns
5 Learner’s Book pages 169—170 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 169–170;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Practise the different jumps and turns with spotting so that you
are able to adequately demonstrate these to the learners as well as
correct them when they do them.
• Create a short sequence of quarter turns, half turns and full turns
with jumps of one and two legs.

Teaching the unit

Lesson 1 (Week 6)
• Remind the learners of the procedure to land safely from an
elevated movement.
• Work together with the learners and practise the different forms of
jumps and turns.
• Make sure that the learners use spotting when doing full turns.
• Remind them of keeping correct posture and alignment
throughout this process.
• Demonstrate the sequence to the learners and let them copy you
using spotting and safe landing practice.

Activity 1: Jump and turn

• This activity involves a series of prescribed jumps and turns using
safe practice.
• Once learners have mastered these they need to create a short
movement sequence where they use a half turn, a full turn and
four different jumps.

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 Answers
Activity 1
Learners need to show that they are able to execute the jumps and
turns as prescribed while creatively using them in the dance sequence.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe the learners to ensure that they do exactly
to the generic what the sequence prescribes in terms of the turns and jumps. They
assessment tools will need to land safely from the jumps and use spotting for the
for observation, full turns. They need to show smooth transitions in the movement
practical work, sequence.
performance,
correspondence
and peer assessment Consolidation
in Section 4:
Learners need to focus on mastering the turns with spotting and the
Resources on pages
344–347 of this jumps with safe landing.
Teacher’s Guide.
Extension
Learners add some of the jumps and turns to their warm-up routine
and show smooth transitions in the use of these.

Unit Dance steps from a South

African dance
6 Learner’s Book pages 171–172 Duration: 2 hours

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Curriculum and Assessment Policy Statement

Term and week/s
Term 3, Weeks 7–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 171–172;
space to work; Preparation
variety of music;
CD player; exercise
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
book
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Research some South African dances that are popular and perhaps
stomp; hamstring; have someone teach you a few steps from gumboot, pantsula,
elevate indlamu, kwela or any other South African dance form.

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 • Also you should practice the dance before you teach the lesson.
• Practice the cool down and leg stretches exercises and note exactly
where the tension is felt so that you are able to explain this to the
learners when they do the exercises.
• Explain that it is important to isolate body parts. Therefore special
focus is given to that part in cool down, warm up or in dance in
general.
• Try to source a video clip that shows people dancing.

Teaching the unit

Lesson 1 (Week 7)
• Discuss the history of dance in South Africa and how dance was
developed.
• Ask the learners what South African dances they know and what
they know about those dances, e.g. the history of the dance, how
it originated or why it was performed.
• Discuss some of the dances you researched and give the history of
those dances.
• Have the learners demonstrate a few steps from a South African
dance that they know.

Activity 1: Learn the steps of a South African dance

• In this activity the learners get to learn a few steps from a South
African dance that one of the learners knows.
• You could also teach them a few simple steps from one of the
popular South African dances.
• Once they have mastered the movements, they can dance the
movements with rhythmic accompaniment.
• They should be able to reflect the feel of the dance in relation to
the dance’s original purpose, e.g. a war dance.

Lesson 2 (Week 8)
• This lesson comprises of a series of exercises that isolate certain
body parts.
• Ask the learners what body part isolations are.
• Let learners discuss the body part isolation exercises that they have
done so far.
• Discuss cool down and why it is important in dance.
Activity 2: Cool-down with stretches
• Read out the instructions for the exercises and demonstrate them
to the learners.
• Explain to them where they should feel tension.

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 Activity 3: Add to your cool-down
• Ask the learners which body parts were targeted in the exercises.
They should be able to pick out which parts were isolated.
• They will need to add these exercises to their cool down routine,
noting that some other movements may need to be eliminated if
these are to replace them.
• Finally they should engage in a relaxation exercise.
Answers
Activity 1
Learners should be able to put the steps of the dance into a rhythmic
flow of movement together with the appropriate expressions in terms of
why the dance is normally performed.

Activity 2
Ensure that they are able to do them and feel tension where it should
be felt.

Activity 3
• Learners need to show that they are able to identify the body parts
that were isolated in the exercise.
• They also need to be able to adequately incorporate these into
their cool down with relaxation.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners for a display of emotion and passion
to the generic while engaging in the dance. They should also show a rhythmic flow
assessment tools as they transfer their weight from one foot to the next.
for observation,
practical work, Activity 3: Observe that learners are now able to add new
performance, exercises and sequences to their cool–down and still maintain
correspondence a rhythmic flow of movement. They should always have some
and peer assessment relaxation at the end. Also note the type of music selected.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide. • Learners could work slowly on demonstrating one or two steps.
• Learners should work on the exercises and master them. They
could also try to document how these movements could be added
to their cool-down routine.
• Learners could also learn steps for another South African dance.
Extension
• Learners could discuss other creative ways that dance is used in
South Africa.
• How else can dance be used beside for performance and
entertainment?

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 • Learners could work on the sequence of their cool-down here and
add to it. They should make sure their movements flow into each
other smoothly by using interesting transitions and maintaining
good posture and body alignment.

Unit Dance improvisation and

composition
7 Learner’s Book pages 173—174 Duration: 1 hour

Topics: 1. Dance performance (45 mins/week); 2. Dance

improvisation and composition (15 mins/week); 3. Dance theory and
literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 8–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 173–174;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Select music, pictures or a story that you could use in class to
eye contact; stimulate movement from the learners.
non-verbal
• Think of ways that movement demonstrates meaning and use as
an example for the class.

Teaching the unit

Lesson 1 (Week 9)
• Explain to the learners the importance of eye contact in everyday
communication.
• Ask them how they feel when they are speaking to somebody who
is not paying attention to them. Then ask them how they feel
when somebody is looking at them and really listening to them.
• Explain to them that this is similar in dance, as dance is a form
of communication and eye contact is as important in dance as
it is in general communication. The dancers need to show their
relationship to each other through eye contact.
• They also need to show their relationship to the audience through
eye contact.
• Speak of dance as a form of communication.

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 Activity 1: Respond to different stimuli
• Use the picture, story or music you selected to inspire movement
in the learners.
• Have them look or listen to these and move freely to express
themselves.
• Then have them discuss why they moved in the way that they did
and how the music, story or picture inspired them.

Activity 2: Explore eye contact and eye focus

• This simple activity gets the learners to explore the idea of
acquiring and maintaining eye contact.
• They stand in a circle, capture the line of vision of another learner
and hold the eye contact until they swap places. This means at
some point they will be walking toward each other and then away
from each other so they will move backwards too.
• Thereafter they will need to discuss their experience during this
activity.

Answers
Activity 1
Learners should be able to express how the stimulus of the music,
picture or story inspired their movements. They need to show that
they understand that dance can tell a story and that they can express
themselves through this art form.

Activity 2
Learners need to maintain eye contact at all times. Then they need
to be able to articulate their experiences of maintaining eye contact
through the activity.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe that the learners are able to adequately use
to the generic the stimuli to tell a movement story. They should also be able to
assessment tools clearly articulate their story, emotions, etc. into movement.
for observation,
practical work,
performance, Consolidation
correspondence Learners should work more here on the acquiring and maintaining of
and peer assessment eye contact.
in Section 4:
Resources on pages
344–347 of this
Extension
Teacher’s Guide. The learners work with eye contact during movement. They could do
this using the stimulus exercise from Activity 1 and further develop
their movement sequence.

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 UnitUnit
Formal
1 assessment: Practical
8 Learner’s Book page 175 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 175; space to
work; variety of
music; CD player;
exercise book Formal assessment
For guidance on how to assess learner’s performance, please see
pages 283—284 in this Teacher’s Guide.

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 DRAMA

UnitUnit
Characterisation
1
1 Learner’s Book pages 177—178 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 1 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 177–178
Preparation
New words
Read through the unit and familiarise yourself with the content
and concepts
characterisation; that you will need to teach. Think about what learners may already
imitate; habits; know about the topics, what skills they already have and any areas of
character choices; difficulty that you think they might encounter.
hot-seat; villain;
powers; superhero; Teaching the unit
superpowers Lesson 1 (Week 1)
• Start with the introductory paragraph to outline what learners will
cover this term.
• Ask learners: How much do you remember about vocal and
physical warm-up exercises from Term 2? Go through the margin
box and Figures 3.1.1A–B to check that everyone remembers
these basic warm-ups.

Activity 1: Practise your vocal and physical warm-up

• Divide learners into groups of four for this activity.
• Explain that each learner must lead one of the warm-up exercises
in the margin box. The learners should stand in a diamond shape
facing the leader.
• Give the groups about 10 minutes to warm-up.
• Go through the section: What is characterisation?
• Give learners a few minutes to quietly think about how they
would play the role of one of the characters.
• Then introduce the concept of making character choices. Explain
the hot-seat method used to make choices for characters in the
next activity.

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 Activity 2: Improvise a short drama called, ‘Save the day’
• Discuss the superheroes and super villains in Figure 3.1.2 and
explain the activity. The aim of the activity is to create characters
and then transform them during the improvisation.
• Divide learners into groups of four. They should select their roles:
villain, victim, two superheroes and do the activity. Walk around
and assist the groups to complete the activity.

Groups should spend rehearsal time this week developing their

characters for the ‘Save the day’ performance.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners to check that they are doing the
to the generic warm-up exercises correctly.
assessment tools
Activity 2: Check that all learners are making clear character
for observation,
practical work, choices for their initial role and transformed roles in the ‘Save
performance, the day’ improvisation, i.e. friend – villain, friend – victim,
correspondence friends – superheroes. They must show both physical and vocal
and peer assessment characterisation.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide. Assist learners who are struggling with characterisation or
are not significantly transforming their initial character during
the improvisation.

Extension
Advanced learners/groups can show how they change back into
their original character (i.e. friend) at the end of the ‘Save the
day’ improvisation.

Unit The relationships between

characters
2 Learner’s Book pages 179—181 Duration: 1 hour

Term and week/s Topics: 1. Dramatic skills development (15 mins/week);

Term 3, Week 2 2. Drama elements in playmaking (45 mins/week)

Resources Curriculum and Assessment Policy Statement

Learner’s Book
pages 179–181;
(CAPS) content
scarves; belts or ties
See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
for blindfolds
‘Introduction’ of this Teacher’s Guide for the topics in this unit.

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 New words Preparation
and concepts • Read through the unit and familiarise yourself with the content
trust; obstacles; that you will need to teach. Think about what learners may
relationships; equal; already know about the topics, what skills they already have and
unequal; balance any areas of difficulty that you think they might encounter.
• Bring in scarves, belts or ties to be used as blindfolds.

Teaching the unit

Lesson 1 (Week 2)
• Explain that this lesson is about communication and trust
between performers and ways of showing how the relationships
between characters change.
• Begin with the basic vocal and physical warm-up. Then let
learners do Activity 1.

Activity 1: Do a trust exercise

• Learners work with a partner. One is blindfolded and does the
wander hum exercise. Their partner must keep them safe by
leading them or giving instructions so that they do not bump into
anyone or anything.
• Let them swap roles after three minutes.
• Allow five minutes for learners to reflect on the activity with
their partner.
• Then work with the whole class to discuss the activity and
take feedback.

Go through the section: How do characters relate to each other? Discuss

how the relationships between characters change during the ‘Save the
day’ improvisation.

Activity 2: Show relationships between characters

• Explain the activity and go through Table 3.2.1.
• Let learners work with their ‘Save the day’ group for 15 minutes.
• Monitor to check that they are all on the right track. They must
complete the activity in their rehearsal time.

Go through the section: How characters act and react to each other.
Discuss how this needs to be carefully planned in the ‘Save the
day’ improvisation.

Activity 3: Demonstrate action and reaction

• Explain Figure 3.2.2 and what the groups need to do.
• The ‘Save the day’ groups can work on this for the rest of the
lesson. Check that they all know what to do so they can complete
it in their own time.

Ask the learners to continue rehearsing their ‘Save the day’

improvisation this week and to make sure they have completed
Activities 2 and 3 by the next lesson.

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 For information Informal assessment
on Informal
assessment, refer Activity 2: Spend time with each group as they work on the
to the generic activity. Observe whether they are able to identify the points in the
assessment tools story when relationships change and are able to find ways to show
for observation, this in their performance. Also check their table of relationships is
practical work, completed satisfactorily.
performance,
correspondence Activity 3: Observe the groups to check that they are completing
and peer assessment Figure 3.2.2 correctly.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide.
• If any group is still struggling with characterisation, ask them to
observe what some other groups are doing. This will give them
practical ideas and may be more helpful than you trying to explain
characterisation again in words.
• Remind learners to make notes on new characters in their
character journal.

Extension
Encourage advanced learners to attempt more radical transformations
using their bodies and/or voices.

Unit Characters in different

environments
3 Learner’s Book pages 182—183 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 3 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 182–183; set
of mime cards from Preparation
Teacher’s Guide
pages 320–321; • Read through the unit and familiarise yourself with the content
character journals that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Makes copies of the mime cards on pages 320–321 of this
waves; echoes; Teacher’s Guide and cut them out for Activity 2.
mime; mime cards;
environments

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 Teaching the unit
Lesson 1 (Week 3)
• Explain that the lesson is about seeing how characters act and
react in different environments.
• Go through the section: How can you build your warm-up routine?
Activity 1: Create waves and echoes
• Let learners work in groups of four.
• You may wish to explain and let learners do the physical
warm-up first and only after this explain the vocal warm-up
and let them do it.
• Give learners about 5 minutes to discuss and reflect on
the activity.

Go through the section: Mirror work and explain the mimed mirror
work exercise.

Activity 2: Mirror a mime

• Divide learners into pairs and let them decide who will lead first.
Give each leader a mime card. Give them a couple of minutes to
read their card and think about how they can mime the situation
on their card.
• Then the leaders can do their mimes with their partners
mirroring them.
• Give learners two minutes to answer the basic questions about
the mime.
• Then give out new mime cards to the other learners. Repeat
the activity.

Read the section: How do characters react in different environments?

Discuss a particular character and how he/she would feel being
stranded on a desert island.

Activity 3: Take your character to different environments

• Explain that learners should think of one character they have
developed in drama this year. They can look through their
character journal to select a character.
• Divide learners into groups of five. Explain what they should do
and let them act out the desert island improvisation.
• Explain the new situation and let learners take the same character
into an improvisation outside the principal’s office.
• Give the groups at least ten minutes to reflect and give feedback
on this activity (Steps 3 and 4).

All the learners should rehearse their ‘Save the day’ performance
this week.

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 For information Informal assessment
on Informal
assessment, refer Activity 1: Observe learners doing their warm-ups. Let them repeat
to the generic the exercise until they are able to create wave-like and echo effects.
assessment tools
Activity 2: Check that learners are able to mime the situations
for observation,
practical work, on their cards.
performance, Activity 3: Observe learners to see that they are managing to
correspondence stay in character for the improvisations.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this
Teacher’s Guide.
• Remind learners to use slow, smooth movements for the mirror
work. It does not matter how slowly they do the mine, the main
thing is to get the mirror work right.
• Ask learners who do a good job of miming to demonstrate to the
whole class.

Extension
If there is time, ask learners to take a different character into other
environments, e.g. the ticket queue or hospital emergency room.

UnitUnit
Careers
1 in the support team
4 Learner’s Book pages 184—186 Duration: 1 hour

Topic 5: Careers

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 184–186;
additional Preparation
information on
careers in the • Read through the unit and familiarise yourself with the content
support team that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Collect information and sources of information on the careers in
the support team.

Teaching the unit

Lesson 1 (Week4)
• Introduce the lesson by reminding learners of the careers they
explored in Terms 1 and 2.
• Go through the information on: Who is part of the support team?

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 New words • Explain the front of house support team on page 184.
and concepts Give learners an opportunity to discuss each career briefly.
support team; cast; • Explain the back of house support team on page 185. Make sure
front of house; that learners are clear about the role of each person in this team.
foyer; auditorium;
usher; security;
Activity 1: Write about a front of house holiday job
merchandise;
programme; • Explain the essay that learners should write. They can begin
vendor; writing a draft of their essay in class and complete it at home.
refreshment; • You could give learners a chance to get feedback on their draft
bartender; back essay in the next lesson. They could finalise their essay at home
of house; stage and hand it in sometime after that. Alternatively, you could ask
manager; stage learners to complete the whole activity in their own time.
hand; crew;
dressing room;
costume master/ Activity 2: Make a career brochure
mistress; props • Let learners work in groups of three or four.
master/mistress; • Explain the activity and let learners begin planning the brochure
lighting; sound; in class.
technicians; z-fold • They should complete the research and the brochure in their own time.
brochure; starting
salary
• Learners must finalise their brochure by the next lesson so they
can share it with the rest of the class and get feedback.

Remind learners to complete the essay and brochure before the

next lesson.

For information Informal assessment

on Informal
assessment, refer Activity 1: Use the following criteria to mark the learner’s essays
to the generic on a front of house holiday job.
assessment tools
for observation, Quality of the answer Excellent Poor
Answer expected
practical work,
performance, 1. Names a front of house job and 5 4 3 2 1 0
correspondence gives valid reasons
and peer assessment 2. Identifies and names two relevant 5 4 3 2 1 0
in Section 4: skills needed for the job
Resources on pages 3. Correctly names the type of people 5 4 3 2 1 0
344–347 of this that could be met
Teacher’s Guide. 4. Names at least two things that 5 4 3 2 1 0
could be learnt about theatre
Total: 20 marks

Activity 2: Check that the groups have all the information

required on their brochures.

Consolidation
Learners who score poorly on their essays can be given additional
information on the front of house job they have selected and a chance
to rewrite the essay.
Extension
Advanced learners can research additional careers in the support team.

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 Unit Drama elements in cultural and
social events
5 Learner’s Book pages 187—189 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 187–189;
board and chalk Preparation
or markers; Forest
Scene story on • Read through the unit and familiarise yourself with the content
page 203 of this
that you will need to teach. Think about what learners may
Teacher’s Guide already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
New words • Practise reading the Forest Scene story (page 203 of this Teacher’s
and concepts Guide) for Activity 1.
imagery; cultural • Write these words on the board: forest; key; container; water; dog;
heritage; rites of hut; bridge.
passage; initiation;
Ramadan; Divali;
Easter; Heritage Teaching the unit
Day; Youth Day; Lesson 1 (Week 5)
Graduations; • Give learners a chance to get feedback from another learner on
Valentine’s Day; their draft essays on a front of house holiday job.
Arbour Day; • Let groups display their completed Z-fold brochures and receive
significance; some feedback.
rituals; practices;
cast; sidelines; • Introduce this lesson by telling learners that this is the first
processions; chants; lesson on cultural and social events. They will be exploring how
call and response; the elements in these events differ from the way they are used
choreography; in theatre. They will be selecting an event to perform for the
score; lyrics Formative Assessment at the end of this term.
• Go through the section: What imagery can you use in your warm-
up? Explain that learners will first listen to a story and imagine the
actions. Then they will work in pairs and have a chance to lead the
actions they imagined. After that they will work in groups of four
to demonstrate the best of their imagery stories.

Activity 1: Imagine a forest ...

• Ask learners to lie in a comfortable position on their backs.
• Once everyone is in position begin reading the tense and relax
exercise and then the forest scene story that follows.

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 Tense and relax exercise
Take a deep breath in and out and relax. Take a few more deep breaths. Your stomach should
fill with air and rise as you breathe in and relax and go down as you breathe out. Now just relax.
Feel your body making contact with the floor as you relax. Now tense your whole body … hold it
… and relax. Feel your body sinking further into the floor. Now point your feet like a ballet dancer,
tense every muscle … point more … and relax. Now tighten your calf muscles, point your toes
upwards and push your heels down as far as possible … tighten more … and relax. Squeeze your
knees and thighs together as tightly as you can … squeeze a bit more … and relax. Take a deep
breath in and out. Now, pull in your stomach and buttock muscles … tighten a bit more … and
relax. Shake out your legs and feet … and relax. The bottom half of your body should now feel
totally relaxed and heavy. Breathe deeply in and out … just relax. Okay, now clench your hands
into a tight fist … clench a bit more … and relax. Spread your fingers out into the shape of a star,
hold them there, stretch a bit more … and relax. Make your arms as long as possible by tensing
the muscles and stretching downwards. Try to make your arms longer than your legs … stretch
a bit more … and relax. Shake out your arms and hands … and relax. Feel your arms melting into
the floor. Now tense all the muscles in your chest, shoulders and back. Push your chest upwards
a bit and pull your shoulder blades together tightly … hold it … and relax. Make small circles with
your shoulders, first forwards … and then backwards. Take a deep breath in and out and relax.
Now stretch all the muscles in your face and neck … really pull your face backwards as if there
is an enormous wind blowing your face back … now relax. Open your mouth as wide as possible
… stretch your jaw … a bit more … and relax. Now scrunch up your face tightly … scrunch it a bit
more … and relax. Take a deep breath in and out. Your whole body should feel relaxed and heavy.
If you still feel tension in any part of your body, tense it a bit and relax. Breathe in and out a few
times and relax as you listen to the story.

Forest scene story

As you listen to this story, imagine everything around you and what you are doing. Think
carefully about your actions in each part of the story.
You are on your own in a forest. Imagine what your forest looks like and what you are
doing. What do you see around you? What do you smell? What sounds can you hear? What are
you thinking about and how are you feeling? What are you doing?
Suddenly, you come across a key. Where is the key? What does it look like? What do you
think about it and what do you do? Do you leave it, pick it up, keep it or throw it away?
A while later, you find a container of some sort. It can be any container, perhaps a tiny box,
a vase or even a huge suitcase. Imagine the kind of container you find. What does it look like?
Where is it? What do you think about it and what do you do? Do you just leave it or do you
look inside it? If you do look, what do you find in it? Then what do you do with the container
or the things inside?
You continue for a bit and then you find some water. It could be in a little puddle or a huge
river. Imagine the water you find. Where is it? What do you think about when you see it? What
do you do?
After this you continue on for a while. All of a sudden you see a dog. Where is it? What do
you think about it? What is the dog doing and what do you do?
Then you see a little hut. Where is it and what does it look like? What do you think when
you see it? What do you do?
After this you carry on and then you see a bridge. Where is it and what does it look like?
What do you think when you see it? What do you do? Do you cross over or stay on this side? If
you do cross over, what do you find on the other side? Is it the same or is it different? What do
you do after this?

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 • Show learners the words you have written on the board: forest;
key; container; water; dog; hut; bridge. They can use these words
as cues to remember the seven parts of the story.

• First work in pairs:

1 Learner 1 leads own actions Learner 2 mirrors
Pairs 2 Learner 2 leads own actions Learner 1 mirrors
3 Design routine by combining the best of both exercises

• Then join with another pair:

Learner 1 leads first pair’s
1 Other three mirror
routine
Learner 2 leads second
2 Other three mirror
Groups pair’s routine
of four Design routine by combining the best of both
3
exercises
Learner 3 lead combined
4 Other three mirror
routine

• Finally, join with another group of four:

Learner 4 leads first group’s
1 Other seven mirror
Groups routine
of eight Learner 4 leads second
2 Other seven mirror
group’s routine

• If there is time, learners can continue with the other parts of the
basic warm-up routine.

Go through the section: What cultural and social events do

you celebrate?

Activity 2: Select a cultural or social event to perform

• Divide learners into new groups of eight or let them stay in the
final groups of eight from the forest scene exercise. Explain that
this is the event performance group they will work in for the rest
of the term.
• Let learners discuss Figure 3.5.1 in their groups.
• They should identify one social or cultural event that they would
like to explore and perform for the class.

Go through the section: Drama elements used in cultural/social events.

Activity 3: Identify the dramatic elements in a cultural/

social event
• Talk about Table 3.5.1 and explain the activity to the groups.
• Let them start the activity now so you know that all the
groups know what to do. They can complete it during their own
rehearsal time.
Go through the information above Activity 4 and give learners an
example of how a social/cultural event may have some of the same
elements as those used in theatre, but they are not theatre.

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 For example, the people involved in or who attend social/cultural
events are not actors or audience members as in the theatre.

Activity 4: Compare the drama elements in an event

and theatre performance
• Explain the activity.
• Let the groups do a couple of examples so you know they are
on the right track. They can also complete this activity in their
rehearsal time this week.

Remind everyone that event groups must meet for at least an hour
during the week. In this time they can discuss the social/cultural event
they have selected to perform and complete Activities 3 and 4. You
will check the tables in the next lesson.

Answers
Activity 3
Column 1: cast, characters, audience, audience involvement, stage,
length, costumes, props, special effects, score/lyrics, blocking/
choreography, script.
Column 3: Answers depend on the event selected.

Activity 4
Column 4: Answers depend on the event selected.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners as they create warm-up activities in
to the generic pairs, groups of four and groups of eight. Check that they are acting
assessment tools out all seven parts of the forest scene.
for observation,
practical work, Activity 2: Ensure all group members participate in a discussion
performance, on the various cultural/social events they celebrate before the group
correspondence selects an event to perform. Challenge them to debate interesting
and peer assessment alternatives so they can justify their final selection.
in Section 4:
Resources on pages Activities 3 and 4: Check that all groups have the correct
344–347 of this answers for column 1 and have completed columns 3 and 4
Teacher’s Guide. satisfactorily. (Check this during the next lesson.)

Consolidation
If necessary, you can read the forest scene story to learners again while
they do the exercise in pairs.

Extension
Challenge groups to select interesting cultural/social events to perform.
They will have time to research the event and so should avoid selecting
an event that everyone in the class has attended many times before.

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 UnitUnit
Actors,
1 audience, space and time
6 Learner’s Book pages 190—192 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 190–192;
scarves, belts or ties Preparation
for blindfolds; large
pieces of paper; • Read through the unit and familiarise yourself with the content
koki pens that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Make sure you have scarves, belts or ties for learners to use as
word walk; audition blindfolds and large pieces of paper and koki pens for Activity 4.

Teaching the unit

Lesson 1 (Week 6)
• Tell learners that they will continue to develop the social/cultural
event performance in this lesson. They will focus on the actors,
the audience, space and time.
• Check that all the event groups have completed the table from last
lesson (based on Table 3.5.1.)
• Go through the section: How can you build your warm-up routine?
Lead learners through the basic warm-up routine first.

Activity 1: Do a word walk

• Explain the activity.
• Divide learners into pairs and let them decide on their special
word and how to use it.
• Then one learner from each pair should go outside and put on a
blindfold. The other learners should rearrange the room.
• Then learners should fetch the blindfolded partner and lead them
around the room using only their special word.
• Give learners a few minutes to reflect on the activity before they
swap roles for the next round.

Discuss the first step: Choose actors for each part, in the section:
What steps are involved in planning a drama? Check that everyone
understands what an audition is and happens at one.

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 Activity 2: Select your cast
• Learners work in their event groups for the rest of this lesson.
• Let groups select a director and do the activity in class.
Explain the next step in planning a drama, Decide on how to draw the
audience into the event. Stress that the audience in this case is made up
of those who attend the social/cultural event, perhaps family, friends
or community members. This audience is most likely different from a
theatre audience. Their expectations and reasons for being there will
be different.

Activity 3: Explain the role of the audience

• Explain the activity clearly.
• Let the event groups begin this activity in class and complete the
practical aspects of it in their rehearsal time this week.

Explain the next step: Arrange the space.

Activity 4: Sketch the performance space

• Explain the sketches you would like the groups to produce and
give them large pieces of paper and koki pens.
For information • They can also begin this activity in class and complete it in their
on Informal own time.
assessment, refer
to the generic Go through the final step: Manage the time. Ensure everyone is aware
assessment tools that the event performances are limited to 10 minutes. Tell them that
for observation,
you will stop the performance after 10 minutes and they will lose
practical work,
performance, marks for not completing in time.
correspondence
and peer assessment Activity 5: Work out your time
in Section 4: • Explain this activity in class and tell learners to complete it in
Resources on pages their own time.
344–347 of this
Teacher’s Guide.
• Advise learners to remember to keep checking the time of their
performance during their rehearsals this term.

Informal assessment involve the audience in their performance.

Check the final ‘theatre’ sketches from each
Activity 2: Check that all groups have
group. Ask groups to report on how they
selected a director and all members of the
are planning to manage the timing of their
cast know their roles.
performance. (Check these aspects at the
Activities 3—5: Ask event groups to beginning of the next lesson.)
explain how they plan to educate and

Consolidation
Learners who struggle to modulate their voices should practise the
examples provided in Term 1.

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 Extension
Some groups may also wish to do additional sketches to show the
position of the actors and audience at important moments in their
performance. They could also use sketches to plan their blocking to
create focal points.

Unit Costumes, props and

special effects
7 Learner’s Book pages 193—194 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 193–194;
CD player;
Preparation
Wedding March;
blank paper; picture • Read through the unit and familiarise yourself with the content
of theatre costumes, that you will need to teach. Think about what learners may
hair, make-up and already know about the topics, what skills they already have and
special effects any areas of difficulty that you think they might encounter.
• Practise doing the steps of the wedding march in time to the
New words music on the CD track: Wedding March.
and concepts
costumes; props;
• Set up the CD player so it is ready to play the track:
Wedding March.
special effects;
ceremonial; • Collect pictures with ideas of interesting and effective costumes,
processions; hair, make-up and special effects that are simple and practical
gestures; enough to use in the event performances.
significance; scenic
items; visual; aural; Teaching the unit
technicians Lesson 1 (Week 7)
• Tell learners that this lesson is all about planning the costumes,
props and special effects for their event performances.
• Explain that many events involve special movements or dances
and that today, learners will learn a ceremonial walk to add to
their basic warm-up routine.
• Do the basic warm-up routine first.

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 Remember to
Activity 1: Warm-up with the wedding march
check the ‘theatre’ • Divide learners into groups of ten or more.
sketches from • Play CD track: Wedding March. Let learners listen carefully so
Week 6. they can learn the tune.
• Then demonstrate the steps of the wedding march in time to
the music.
• Let learners practise it in their groups. They can hum the tune of
the march as they practice.
• They can then assign roles and practise the steps again by walking
in a procession. Either play the music again or let learners hum
the tune.
• Then play the music again and let them do the march in time to
the music.

Go through the first step: Design costumes, hair and make-up in the
section: What steps are involved in planning a drama? Inspire learners
by showing them the costumes, hair and make-up ideas in the pictures
you have collected. Give them some time to discuss the various ideas
or ideas of their own.

Activity 2: Design costumes, hair and make-up

• Let learners work in their event groups.
• Explain the activity by going through the example in Table 3.7.1.
• Let the groups select a costume master/mistress and begin
generating ideas for each character and compiling a table like
Table 3.7.1.
• Once you have checked that all the groups understand what they
need to do, you can ask them to stop and complete this activity in
their own time.

Explain the second step: Decide on your props. The important thing
here is for groups to find a way for the audience to understand the
meaning and significance of the props that are part of the social/
cultural event.

Activity 3: Design and create props

• Explain the activity by going through the examples in Tables 3.7.2
and 3.7.3.
• Let each group select a props master/mistress and begin working
on their lists of props, furniture and scenic items.
• The groups can also complete this activity in their own
rehearsal time.

Finally, go through the third step: Create special effects. Explain how
visual and aural effects such as lighting or sound can be used to create
the right atmosphere. Learners can look at the pictures you have
collected for ideas and inspiration.

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 Activity 4: Create special effects
• Let each group select lighting and sound technicians and begin
designing the special effects they will use for their performance.
• The groups will need to complete this activity in their own
rehearsal time.

Remind the groups to spend time this week on their:

• event performance: rehearse
• costumes, hair and make-up: design, list (Table 3.7.1), and prepare
• props, furniture and scenic items: design, list (Tables 3.7.1–2),
and create
• special effects: design and create sound, lighting or other special effects.
For information
Informal assessment
on Informal
assessment, refer Activity 1: Observe learners to see if they are able to do the
to the generic steps of the wedding march and then to work together to walk in
assessment tools procession in time to the music.
for observation,
practical work, Activities 2—4: Ask event groups to show you their completed
performance, lists of Costumes, make-up and masks (Table 3.7.1), Props
correspondence (Table 3.7.2) and Furniture and scenic items (Table 3.7.3). Ask
and peer assessment questions about anything that is not clear or does not seem to be
in Section 4: appropriate for the event they are performing. Also ask each group
Resources on pages
to explain the special effects they are planning to use. Make sure
344–347 of this
Teacher’s Guide. that their ideas are practical and will not cause any safety risks.
(Check these aspects during Activity 2 of the next lesson.)

Consolidation
Work individually with learners who are not managing to do the steps
of the Wedding March correctly. Demonstrate the steps to them again.

Extension
Encourage more creative learners to assist others with the design and
creation of the costumes, make-up or masks. These learners could also
spend time researching and creating scenic items and special effects.

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 UnitUnit
Music
1 and movement
8 Learner’s Book page 195 Duration: 1 hour

Term and week/s

Topics: 1. Dramatic skills development (15 mins/week);
Term 3, Week 8 2. Drama elements in playmaking (45 mins/week)

Resources Curriculum and Assessment Policy Statement

Learner’s Book
(CAPS) content
page 195; board
and chalk or See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
markers
‘Introduction’ of this Teacher’s Guide for the topics in this unit.
New words
and concepts Preparation
remote control; • Read through the unit and familiarise yourself with the content
simultaneous; that you will need to teach. Think about what learners may
instruments; already know about the topics, what skills they already have and
pre-recorded; any areas of difficulty that you think they might encounter.
music director;
choreography
• Draw remote control buttons on one side of the board for play,
fast forward, pause, rewind (see Learner’s Book page 195).
• Write a list of actions on the other side of the board:
1. Make a birthday cake
2. Light the candles
3. Sing Happy Birthday
4. Clap Happy Birthday
5. Stamp Happy Birthday
6. Blow out the candles.

Teaching the unit

Lesson 1 (Week 8)
Tell learners that this lesson is about the music and movement that
can be included in their event performances.

Activity 1: Warm up using imagery

• Begin with the basic warm-up routine.
• Then explain the remote control buttons and the steps you have
written on the board.
• Push play and call out the steps you have written on the board.
Learners must improvise the actions. Push the pause button every
now and again and they must freeze. Then push play again for
them to continue.
• Go through the steps again but this time make it more complicated
by using the pause, fast forward and rewind buttons at different
times. Learners must pause (freeze), do the movements faster (fast
forward) or do them faster in reverse order (rewind).

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 Let learners have fun but keep everyone focussed and in control
so the exercise does not become too chaotic. Read through the
first step: Plan the music in the section: What steps are involved in
planning a drama?

Activity 2: Identify the music for your event

• Organise learners into their event groups and then explain
the activity.
• Move around the groups to check that they are all on the right track.
• While everyone is busy you can spend time checking the work
from last lesson.
− Ask to see their completed lists of Costumes, make-up and
masks (Table 3.7.1), Props (Table 3.7.2) and Furniture and
scenic items (Table 3.7.3). Ask questions about anything that
is not clear or does not seem to be appropriate for the event
they are performing.
− Also ask each group to explain the special effects they are
planning to use. Make sure that their ideas are practical and
will not cause them to have to take safety risks.
• Stop the groups so you still have enough time for the final activity.
They can continue planning the music in their own time.

• Read through the second step: Plan the movements. Explain the
meaning of simultaneous.
• Ask learners to think of some examples of social or cultural:
− processions (e.g. staff coming onto the stage at a graduation
ceremony, opening of Parliament, funeral processions to
the graveside),
− marches (e.g. wedding march into church, military parades),
− dances (initiates returning home, Khoi rain dance)
− use of simultaneous gestures (e.g. bowing or holding hands
to pray).

Activity 3: Choreograph the movements

• Explain the activity and let groups begin working on some scenes
in class.
• Once the groups are working well, you can use this opportunity
to finish checking the work from last lesson, i.e. lists and plans for
special effects.
• Stop the groups at the end of the lesson. They can plan the rest of
their movements during their own rehearsals.
• Make sure learners are aware that they have only two weeks left to
prepare and rehearse their event performance. In their rehearsals
this week they should focus on:
− movements: complete and rehearse the choreography for all scenes
− music: arrange recordings and/or practise performing
− costumes, hair and make-up: check everything is on track
− props, furniture and scenic items: complete and use in rehearsals
− special effects: test to check they create the desired atmosphere.

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 • Remind event groups to check the assessment criteria that will be
used to assess their final performance to see that they are on the
right track (Learner’s Book page 197).

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners to see that they are following the
to the generic steps on the board and doing the actions in sync with the remote
assessment tools control.
for observation,
practical work, Activity 3: Observe the groups to see that they are using
performance, tableaux to help them to develop interesting pictures with a point
correspondence of focus.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this Ask learners to revise the information on shaping scenes using
Teacher’s Guide. blocking, levels and tableaux if they are struggling with Activity 3
(Learner’s Book pages 41–43).

Extension
Vary the warm-up by singing Happy Birthday in different languages
or asking learners to explain and write up the steps for celebrations in
different cultures.

UnitUnit
Chants,
1 call and response, dialogue
9 Learner’s Book page 196 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

2. Drama elements in playmaking (45 mins/week)

Curriculum and Assessment Policy Statement

Term and week/s
Term 3, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 196
Preparation
New words Read through the unit and familiarise yourself with the content
and concepts that you will need to teach. Think about what learners may already
chants; call and know about the topics, what skills they already have and any areas of
response; dialogue;
difficulty that you think they might encounter.
sound effects; script

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 Teaching the unit
Lesson 1 (Week 9)
• Explain that this is the final lesson before learners present their
event performances for assessment. They will use this time to add
the final touches.
• Take a few minutes now to discuss the assessment criteria that
will be used to assess the event performances next week (Learner’s
Book page 197).
• Then read the section: What can you add to your warm-up routine?
• Revise the voice modulation techniques covered on pages
122–125 of the Learner’s Book.

Activity 1: Warm up with sound effects

• Learners work individually. You can either give instructions or
lead the various exercises.
• Begin with the wander hum. Ask learners to start as if they are very
tired, then change into an angry mood and end off in an excited,
happy way. Remind learners to change their pitch, volume and
tone-colour as they do this exercise.
• Lead the face warm-ups on pages 31–32 in the Learner’s Book.
• Lead the vocal warm-ups on page 110 (Activity 2) in the
Learner’s Book and a selection from page 124 (Activity 1) in
the Learner’s Book.
• Practise the ‘m’, ‘b’, ‘p’ sounds on page 29 in the Learner’s Book.
• Practise the plosive and fricative sounds on page 128 (Activity 1)
in the Learner’s Book.
• End with some deep breathing exercises using the diaphragm.
Discuss the final step of planning a drama: Check chants, call and
response, and dialogue.

Activity 2: Develop your final script

• Learners must work in their event groups for this activity.
• Explain the activity and go through the Tips for writing good
dialogue on page 121 in the Learner’s Book.
• Assist the groups to add final improvements to their scripts. They
should not make any additional changes after this as they have
very little time left to learn and rehearse new lines.
• Let learners rehearse their full drama with the final script. Remind
them to use the voice modulation techniques on pages 122–125
of the Learner’s Book in their chants, call and response and
dialogue. They must make sure that it runs for no more than 10
minutes.
• If there is enough time, let the groups hold a report back meeting
in class. If not, they should make a time to do this before their
final rehearsal this week.

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 Learners have only this week to complete all the preparations for their
event performance and hold a final rehearsal. In their rehearsal this
week they should keep the assessment criteria in mind but they should
focus mainly on performing well together so everyone is confident and
excited about the final performance.

For information Informal assessment

on Informal
assessment, refer Activity 2: Observe the groups to see that they are simply
to the generic tightening up their script and making it sound more interesting and
assessment tools natural. They should not be making substantial changes or rewriting
for observation, it at this stage.
practical work,
performance,
correspondence
Consolidation
and peer assessment
in Section 4: Work with individuals who are still struggling to make specific sounds
Resources on pages in Activity 1.
344–347 of this
Teacher’s Guide. Extension
Ask learners to each think of one simple thing that they could bring,
make or do to improve the final performance next week, e.g. pick
some flowers from the garden, add a bit of wool to their mask, repaint
a part of the scenery, etc.

UnitUnit
Formal
1 assessment: Practical
10 Learner’s Book page 197 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 197

New words Formal assessment

and concepts
spatial arrangements; For guidance on how to assess learner’s performance, please see
props; significance; pages 292—294 in this Teacher’s Guide.
technology;
accompaniment;
well-arranged;
choreography;
chants; call and
response

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 MUSIC

UnitUnit
Discover
Music
1 literacy
your strengths
1 Learner’s Book pages 199—203
xx—xx Duration:
Duration:
15 mins/week
2 hours

Topic: 1. Music literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Weeks 1–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 199–203;
keyboard, piano or Preparation
any other melodic
instruments with • Read through the unit and familiarise yourself with the content
keys; manuscript that you will need to teach. Think about what learners may
paper, workbook, already know about the topics, what skills they already have and
pen and pencil any areas of difficulty that you think they might encounter.
to draw bass and • Look at the order that the unit is presented in.
treble clefs • There are many activities in this unit so it is important to look
at good time management. Do not get stuck on any activity too
New words
long. This unit is focused on applying previously learnt concepts
and concepts
treble clef; bass clef; and new concepts.
octave; melodic • Prepare the learners for the activities by sharing and teaching
phrases; names of the given content in the lesson, but also revising content from
the pitches in the previous lessons if necessary.
bass clef
Teaching the unit
Divide the unit into nine 15 minute lessons as follows:
Lesson Week Pages Activities
1 1 199 1
2 2 200 2
3 3 200–201 3
4 4 201 4
5 5 201 4
6 6 202 4
7 7 202 5
8 8 203 5
9 9 203 5

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 Lesson 1 (Week 1)
This lesson focuses on identifying different pitches.

Activity 1: Identify the pitches

• If you struggle to play the notes on a piano, try and find someone
to help with the playing of the music. It can also be pre-recorded.
• Work through the activity together with the learners.
• Repeat the activity to make sure that all learners internalise the
names of the pitches.
• When singing the pitches check the pitches by playing the notes
on a piano or keyboard.

Lesson 2 (Week 2)
Activity 2: Sing different pitches
• If you struggle to play the notes on a piano, try and find someone
to help with the playing of the music. It can also be pre-recorded.
• Work through the activity together with the learners.
• Repeat the activity to make sure that all learners internalise the
names of the pitches.
• When singing the pitches check the pitches by playing the notes
on a piano or keyboard.

Lesson 3 (Week 3)
This lesson focuses on the bass clef.

Activity 3: Identify the letter names of notes on the

treble and bass clef
• Explain the concept ‘bass clef ’.
• Write the staff on the board and point to the notes, spaces and
lines to explain bass clef.
• Ask learners to name the letter names of notes.
Lessons 4—6 (Weeks 4—6)
Activity 4: Name the pitches on the bass clef
• This is a difficult and more advanced activity, especially the
second part. Help learners with it.
• Ask learners to name the pitches in no. 1 (Week 4).
• Ask learners to write the pitches from the treble clef, an octave
lower on the bass clef (Week 5).
• Repeat this activity in Week 6, but use different music.
Lessons 7—9 (Weeks 7—9)
This lesson focuses on the most common time used in music, and
polyrhythms.
• It is important to keep the discipline when clapping rhythms.
• Do not allow any in-between noises and keep the pulse going at
all times.
• Have a drumming sign/sound to indicate when learners need to
stop playing.

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 • Guide the learners from a distance, so as not to limit their
creativeness, through the activities.
• There are many practical activities that involve sound and movement.
Allow the learners some freedom to express themselves freely, but
monitor the group so that it does not become out-of-hand.
• Prepare and understand the new concepts before teaching them to
the learners.
• Follow the instructions in the Learner’s Book.

Activity 5: Clap and play the meter and rhythms

Follow the instructions in the Learner’s Book.

Answers
Activity 1
2. G C F D G D F E G B G C G C E D G D F E C G E

Activity 3
1. Treble clef : FACE Bass: ACEG
2. Make up rhymes to remember the letter names. For example:
Treble clef lines – Every Good Boy Deserves Fruit
Bass clef lines – Good Boy Deserves Fruit Always

Activity 4
1. a. C F F F G F E F C G G G B A B C A F G A F D E F G G
FEDC
b. C F F F G F E F D G G G F E E D C B A F E D C

Activity 5
1. a. GED CDE GED CDEDE GEG AEA GED C
b. EEFG GFED CCDE EDD EEFG GFED CCDE DCC
DDEC DEFEC DEFED CDG EEFG GFED CCDE DCC
c. E ABCD ECEC EACAFC A ADCB E ABCD ECEC
EACAFC A
3 ​, __
3. ​ __ ​ 4 ​, __
​ 4 ​
4 4 4
In (a), there are 3 beats in a bar as the three indicates the number
For information of beats and the 4 indicates the note value (crotchet); in b and c:
on Informal there are 4 beats in a bar as the three indicates the number of beats
assessment, refer and the 4 indicates the note value (crotchet).
to the generic
assessment tools Informal assessment
for observation,
Observe the learners during their performance of the song and note
practical work,
their ability to keep the pitch accurately.
performance,
correspondence Activities 1 and 4: Learners work in their exercise books and
and peer assessment mark/check each others answers.
in Section 4:
Resources on pages Activity 5: Note whether the learners are able to identify the
344–347 of this notes and the time signature in each melodic phrase and assess
Teacher’s Guide. whether they can clap the rhythm in each melodic phrase.

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 Consolidation
• Repeat the content numerous times.
• If learners are struggling with the counting of the value of the
notes and the rhythms, break the melodic phrases down into
smaller sections.
• Or start with even more basic phrases.
Extension
• Find more pieces in the treble and bass clef and work out the
names of the pitches.
• Learners work in pairs to create their own polyrhythms to
perform.

UnitUnit
Music
1 listening
2 Learner’s Book pages 204—205 Duration: 15 mins/week

Topic: 2. Music listening

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 1–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 204–205;
different and Preparation
contrasting pieces
of music to listen • Read through the unit and familiarise yourself with the content
to; instruments that you will need to teach. Think about what learners may
(bass marimba, already know about the topics, what skills they already have and
double bass) any areas of difficulty that you think they might encounter.
• Look at the order that it will be presented in.
New words • There are many activities in this lesson so it is important to look
and concepts at good time management. Do not get stuck on any activity too
texture; timbre;
long. This lesson is focused on applying previously learnt concepts
graphic score;
mono; phonic;
and new concepts.
polyrhythm; • Prepare the learners for the activities by sharing and teaching the
meter; beats given content in the lesson, but also if need be, revising content
from previous lessons.

Teaching the unit

• Learners should listen actively to the music.
• Repeat the piece of music at least twice before doing the activity.

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 Divide the unit into two 15 minute lessons as follows:
Lesson Week Pages Activities
1 4 204 1 and 2
2 5 205 3

Lesson 1 (Weeks 1–4)

This lesson focuses on active listening to music.

Activity 1: Actively listen to music

Follow the Learner’s Book instructions.

Activity 2: Create a graphic score

• In this activity the learners can come up with their own individual
markings for a score.
• Spend enough time on this activity and let learners feel free to
express their creativity through the score.
• There is no specific right or wrong in drawing or writing the score.
Lesson 2 (Weeks 5—9)
This lesson focuses on texture in music.

Activity 3: Describe the musical texture

• Follow the instructions in the Learner’s Book.
• Work out the answers and responses according to the music pieces
that are being chosen.

For information Informal assessment

on Informal
assessment, refer Activities 1—3: These activities can be assessed on a practical
to the generic and theoretical level.
assessment tools
for observation,
practical work, Extension
performance,
correspondence
• Let learners do more research on the different elements of music
or tools that are being used in music.
and peer assessment
in Section 4: • Let learners bring their own choice of music to actively listen to.
Resources on pages • Do more in-depth research on the most common musical textures
344–347 of this that are mentioned in the unit.
Teacher’s Guide. • Do active listening on these textures.

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 UnitUnit
Performing
1 and creating music
3 Learner’s Book pages 206—210 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 1–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 206–210;
melodic instrument Preparation
(piano/keyboard or
recorder) for giving • There are many practical activities that involve sound. Allow the
the pitch; exercise learners freedom to express themselves freely, but monitor the
book or paper group so that it does not become out-of-hand.
with the music • Make sure that the learner’s know the melody of the canon well
stave (draw your before trying to perform it as a canon.
own music stave • Time management throughout the lesson is important – allow
on blank paper); enough time for each activity without getting stuck on any one
as many different activity or step.
instruments that
can be found; • Guide the learners from a distance, so as not to limit their
if there are no creativity.
instruments • You need melodic instruments for pitching songs: piano, recorder
available, find or any other; a CD player for playing and listening to the chosen
pictures of the music pieces; space for performing the actions.
instruments and
group the pictures Teaching the unit
as instructed in the
activity • Familiarise yourself with the material in this unit by reading
through the information and the activities in the Learner’s Book
New words and Teacher’s Guide.
and concepts • Practise the warm-up exercises and rhythm patterns.
voice training; • Demonstrate the music through voice or an instrument.
canon; descant; • Have the djembe or percussion instruments set out, ready for use.
the seven main
voice types;
Divide the unit into nine 30 minute lessons as follows:
ensemble; melody
instruments; Lesson Week Pages Activities
harmony 1 1 206 1
instruments; bass 2 2 207 2
instruments; 3 3 207 3
percussion
4 4 208 4
instruments;
ostinato; riff; chord 5 5 208 5
6 6 209—210 6
7 7 210 7
8 8 210 8
9 9 210 8

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 Lesson 1 (Week 1)
This lesson focuses on how the voice works.

Activity 1: Learn the proper throat position for singing

Follow the instructions in the Learner’s Book.

Lesson 2 (Week 2)
Activity 2: Do the lip trill
Follow the instructions in the Learner’s Book.

Lesson 3 (Week 3)
Activity 3: Use tonic solfa
• Guide the learners with the writing of the solfa notes.
• This might be a difficult activity for some learners so spend
enough time on this activity.

Lesson 4 (Week 4)
This lesson focuses on singing a canon in three groups and identifying
the type of voice you have.

Activity 4: Sing a canon

• Try and do the singing without playing on a melodic instrument
– it develops the aural training/listening of the learners.
• Use the help of melodic instruments just to find the first pitch to
start on.

                
Ah poor
Lesson 5 (Week 5)
Activity 5: Sing with descants
• Give the learners a copy of Amazing Grace below.
bird. Take thy flight. Far a bove the sor rows of this dark dark night.

 43                  
A ma zing grace! How sweet the sound that saved a wetch like me. I

                   
once was lost but now am found, was blind but now can see.

• Play the song for the class and ask them to follow the music score.
• Try and do the singing without playing on a melodic instrument –
it develops the aural training/listening of the learners.
• Use the help of melodic instruments just to find the first pitch to
start on.

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 Method for teaching a song
• Break up the song in smaller parts (two bars at a time).
• Sing the smaller part to the learners.
• Learners respond by echoing the part.
• Do every smaller part a few times before moving on.
• Once the whole song has been done in this way, thread it
together by doing it as a whole.

Lesson 6 (Week 6)
• This lesson focuses on the role of instruments in a band.
• Share the content in the Learner’s Book with the learners as
preparation for doing the activities.

Activity 6: Listen to the bass

Guide the learners through the instructions in the Learner’s Book.
Help them listen and hear the power of the bass line and it’s
importance.

Lesson 7 (Week 7)
This lesson focuses on accompanying songs with body percussion and/
or instruments and creating their own music.

Activity 7: Accompany songs with body percussion and/

or instruments
• Spend enough time on this activity.
• Find the right music examples that will illustrate the elements clearly.
• Give learners the freedom to be creative in working out the body
percussion and instrumental parts.

Lessons 8—9 (Weeks 8—9)

Activity 8: Create your own music
• Divide the learners into small groups of four to six.
• Read through and explain the Learner’s Book requirements and
instructions for the activity.
• Make sure that every learner understands their part.
• Hand out or let them choose which of the available instruments
they are going to use.
• Find a private/quiet space for each group to work in.
• Give them the timeframe that they have to prepare (Week 8) and
complete the performance (Week 9).

Answers
Activity 3
1. a. Learners know: Doh, ray, me, so
b. Learners should show the order on the stave as follows:
Doh Ray Me Fah So La Ti Doh or D R M F S L T D

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 For information Informal assessment
on Informal
assessment, refer Activity 3: Assess the naming of the pitches.
to the generic Learners can write the answers in their exercise books and then
assessment tools mark each other’s answers.
for observation,
practical work, Activities 4 and 5: Learners can be assessed on their
performance, performance of the two songs in these activities.
correspondence Activity 6: Use this activity to assess whether the learners can
and peer assessment
hear how the chords can be changed when changing the bass.
in Section 4:
Resources on pages Activity 8: Use this activity to assess whether the learners can
344–347 of this identify instruments playing melody, harmony, bass and percussion
Teacher’s Guide. and assess whether they can accompany music with body percussions
and/or instruments. The activity also provides an opportunity to
assess the learners’ knowledge of an ostinato and a riff.

Extension
• Find more canons and teach it to the learners.
• The more they sing the more their aural perceptions develop and
the more in-tune they will sing.
• Find more music pieces where the bass can be heard clearly and
listen to some more bass passages.

UnitUnit
Formal
1 assessment: Practical
4 Learner’s Book page 211 Duration: 1 hour

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 211
Preparation
New words
Read through the assessment criteria in the Learner’s Book so that
and concepts
Go through all learners have a clear understanding of how their performance will be
the information in assessed.
Term 3
Teaching the unit
In this unit, learners focus on performing a vocal and instrumental
piece created in Unit 3, Activity 8 for Formal assessment.

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 Formal Assessment Task: Practical
This assessment is done during ‘normal’ class time.
• Learners should work on this activity in groups.
• Each member in the group must have a specific role (melody,
harmony, bass or percussion) and must fulfill only this role.
• The group must perform as a whole, but each person should have
a short time to perform a solo.
• Remind the learners to carefully read number 4 and 5 of the
activity in the Learner’s Book.
• When learners have practiced their own vocal and instrumental
music a few times, you must conclude the activity by giving
learners the opportunity to perform their music for the whole class.
• Conclude the lesson by allowing learners to discuss their
performances with their classmates using the assessment criteria
in the Learner’s Book, and to get constructive criticism about
their work.

Formal assessment
For guidance on how to assess learner’s music performance, please
see pages 300—301 in this Teacher’s Guide.

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 VISUAL ARTS

UnitUnit
Discover
Create
1 in your
3D: Astrengths
useful container
1 Learner’s Book pages 213—214
xx—xx Duration: 4
2 hours

Topic: 2. Create in 3D

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 1–4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 213–214;
examples of pattern Preparation
and decoration
on local crafts, • Read through the unit and familiarise yourself with the content
you can look on that you will need to teach. Think about what learners may
the Internet or in already know about the topics, what skills they already have and
magazines for this any areas of difficulty that you think they might encounter.
• Make sure that you have enough equipment for everyone in the
class. Pre-cut the felt so that it is ready when the learners begin
the lesson.
• Ask the learners to bring buttons, ribbon, beads that they might
have at home and wish to add to their artwork.

Teaching the unit

Divide the unit as follows:
Lesson Week Pages Activities
1 1 213 1
2 2–4 214 2

Lesson 1 (Week 1)
Activity 1: List the recyclable materials
Ask learners to brainstorm ideas around recyclable materials and
various crafts. You should spend 10 to 15 minutes on this activity so
that there is time to complete the practical project.

Lesson 2 (Weeks 2—4)

Activity 2: Construct a cell phone holder
• Cut enough felt/material so that each learner has their own piece.
• Demonstrate sewing and decorating techniques. The sides of the
cell phone holder should be sewn together but fabric glue could
also be used to stick felt decorations onto the cell phone holder.

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 Show learners how to sew neatly, how to begin and finish a row
of stitches.
• Remind the learners to measure the size of their holder carefully.
Their phone should fit into it easily, but it should not be too big.
• Once the basic holder has been created, your learners can begin
to decorate the front and back. How much decoration they do
will depend on how quickly they work. You may wish to hand out
paper so that learners can create a rough design of their decoration
before they begin. This will help less confident learners.
• Remind learners that a pattern is a shape that is repeated.

Answers
Activity 1
paper – papier-mâché products – bowls, containers, figures; wire –
animals, containers; cardboard – containers, constructions, etc.

For information Informal assessment

on Informal
assessment, refer Display the cell phone holders in your classroom. Ask learners to
to the generic talk about what they enjoyed about the process and what they
assessment tools would change if they did the project again.
for observation,
practical work,
performance, Consolidation
correspondence
and peer assessment
• Demonstrate the sewing technique before learners begin the
project. This will help those who do not feel confident or have
in Section 4:
Resources on pages never sewed before. You can give learners who are struggling a
344–347 of this scrap of material to practice on.
Teacher’s Guide. • Allow learners who are struggling with decoration to keep the
pattern simple, i.e. maybe just sewing on beads and buttons
instead of making a detailed pattern by sewing bits of felt onto
the holder.

Extension
For learners who are able to sew with ease and are enjoying the
decorative process, encourage them to use the felt, beads, buttons and
thread in an experimental way, using as much detail as possible. The
holder can become richly decorated.

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 UnitUnit
Visual
1 literacy: The artist in society
2 Learner’s Book pages 215—217 Duration: 1 hour

Topic: 3. Visual literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 215–217;
pictures of
Preparation
buildings sourced
from the Internet
Read through the unit and familiarise yourself with the content
or books and that you will need to teach. Think about what learners may already
magazines know about the topics, what skills they already have and any areas of
difficulty that you think they might encounter.
New words
and concepts Teaching the unit
architecture; Lesson 1 (Week 5)
heritage; ‘green’;
Activity 1: Identify the role of the architect in society
solar heating
• Divide your class into groups. Ask them to look at the pictures on
page 216 and answer the questions. Remind the learners that each
person should get a chance to talk and to give their opinion.
• There are no right or wrong answers when learners need to give an
opinion, but they need to be able to back up what they are saying
with thought-out reasons.

For information Informal assessment

on Informal
assessment, refer Take note how learners present their answers as a group. Does the
to the generic group show an understanding of architecture or do you need to
assessment tools provide them with more examples?
for observation,
practical work,
performance, Consolidation
correspondence Provide more examples for learners to discuss – a class discussion
and peer assessment is also useful to generate discussion and to support learners who
in Section 4:
Resources on pages
may struggle.
344–347 of this
Teacher’s Guide.

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 UnitUnit
Formal
1 assessment: Practical
3 Learner’s Book pages 218—219 Duration: 3 hours

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Weeks 6–8 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 218–219

Formal assessment
For guidance on how to assess learner’s paper cut building, please
see pages 306—307 in this Teacher’s Guide.

UnitUnit
Create
1 in 2D: Wet drawing media
4 Learner’s Book pages 220—222 Duration: 2 hours

Topic: 1. Create in 2D

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Weeks 9–10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 220–222;
objects for drawing Preparation
– feathers, kitchen
implements, • Read through the unit and familiarise yourself with the content
plants, keys that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • Make sure that there is enough equipment for all of your learners.
mixed media; wet Order any materials that you may need at least a week before
drawing media; your lesson.
dry drawing media;
model • Make sure that your equipment is organised and ready before the
lesson begins.

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 Teaching the unit
Lesson 1 (Weeks 9—10)
Activity 1: Experiment with wet drawing media
• Arrange drawing objects on the tables so that learners can see
them easily. You may wish to group the tables together so that the
objects are in the middle of a group of learners.
• Demonstrate the techniques you wish your learners to use, i.e.
dipping a stick in ink and drawing, using a brush in ink to create
a drawing.
• Hand out paper and drawing equipment. Encourage your learners
to fill the page with their drawing and to add as much detail as
possible.
• While they are working, remind them about the art elements and
design principles. Encourage your learners to keep going back to
the object that they are drawing, in order to observe it as carefully
as possible.

For information Informal assessment

on Informal
assessment, refer When the activity is complete, put all the work up. Ask learners to
to the generic find a piece that they like, and to give a reason. Remind the learners
assessment tools that their feedback should be positive.
for observation, Ask your learners to think about what they would improve on
practical work, with their own work.
performance,
Take note of whether there is evidence of your learners
correspondence
and peer assessment understanding the art elements and design principles. If you can
in Section 4: see a gap, focus on that art element or design principle in the next
Resources on pages drawing session.
344–347 of this
Teacher’s Guide.
Consolidation
The best way to help learners to observe is to let them draw as much
as possible. Daily drawing will help learners who struggle as well as
extend those who show some skill in drawing.

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 DANCE

UnitUnit
Dance
1 performance
1 Learner’s Book page 225—229 Duration: 45 mins/week

Topics: 1. Dance performance (45 mins/week);

3. Dance theory and literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 1–7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 225–229;
space to work; Preparation
variety of music;
CD player; exercise • Read through the unit and familiarise yourself with the content
book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words and any areas of difficulty that you think they might encounter.
concepts • Read through the units on warm-up and cool-down from the previous
dance sequence; terms as well so as to refresh your memory on what was covered.
identity
• Read through the elements of dance that was covered through the
year. Remember the different activities that the learners engaged
with and what was done.
• Also find examples of the different identities that people may
have, remember that at any given time a person may have more
than one identity such as teenager, student, and athlete.
• Look for new relaxation exercises that could be used as part of the
cool-down.

Teaching the unit

Lesson 1 (Week 1)
• Discuss the importance of warming up the body before dance
again with the learners and have them relate some of their
personal experiences of what happens when they do not warm
up properly.
• Have them reflect on the warm-up routine that they began the
year with and how it has evolved through the year.
• Ask them to mention the changes made and discuss the reasons
for making the changes.
• Discuss experiences of learners when they did not warm up properly.

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 Activity 1: Evaluate your warm-up routine
• The discussion with the learners forms the activity. Learners get to
assess their warm-up and why it has changed throughout the year.
• Then get them to do each exercise and identify which muscle
group or body part it targets.
• If they find some muscle group or body part was left out then
they will need to find an exercise to include in their routine that
will target that muscle or body part.
• Then they need to see if they can up the beat of their warm-up
and make it more exciting and fun. This may be simply by adding
more upbeat music.

Lesson 2 (Week 2)
• Discuss the importance of cooling down the body after dance
again with the learners and have them relate some of their
personal experiences of what happens when they do not cool
down properly. It could be as simple as them not being able to
concentrate on the next class as their body is functioning in high
activity mode.
• Have them reflect on the cool-down routine that they began the
year with and how it has evolved through the year.
• Ask them to mention the changes made and discuss the reasons
for making the changes.
• Ensure that the choice of music is soothing, relaxing and
compliments the task.

Activity 2: Evaluate your cool-down routine

• The discussion with the learners forms the activity. Learner get
to assess their cool-down and why it has changed throughout
the year.
• Then get them to do each exercise and identify which muscle
group or body part it targets.
• If they find some muscle group or body part was left out then
they will need to find an exercise to include in their routine that
will target that muscle or body part.
• Then they need to assess how relaxing their warm-up is. They
may need to change the music to something more soothing or
incorporate other more relaxation exercises.

Answers
Activity 1
Learners will need to focus on how well their warm-up routine really
works for their bodies. They will need to evaluate it and see that it
warms up the entire body and is also fun and exciting. Their choice of
music needs to compliment the movements of the warm-up.

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 Activity 2
Learners will need to focus on how well their cool-down routine
really works for their bodies. They will need to evaluate it and see
that it works all the major muscle groups and is relaxing to the body
and mind.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe that the learners are able to identify all
to the generic the major muscle groups that need to be targeted in the warm-up
assessment tools routine. Also make sure that their warm-up is lively and interesting
for observation, and that they have a routine with movements that flow smoothly
practical work, from one to the next.
performance,
correspondence Activity 2: Observe that the learners are able to identify all the
and peer assessment major muscle groups that need to be targeted in the cool-down
in Section 4: routine. Also make sure that their cool-down is relaxing and that
Resources on pages adequate stretching and relaxation techniques are included.
344–347 of this
Teacher’s Guide.
Consolidation
• Learners will need to work on the warm-up routine that they
have, but clearly identify all the muscle groups that they have
targeted and they need to focus on the ones that still need to be
targeted in the sequence.
• Learners will need to work on the cool-down routine that
they have, but clearly identify all the muscle groups that they
have targeted and the ones that still need to be targeted in the
sequence.

Extension
• Learners could make the sequences more like a dance in their
warm-up routine. The routine should not appear as a series of
exercises strung together but instead as a dance sequence.
• Learners could work on their cool-down routine and add more
stretching and relaxation exercises.

Lesson 3 (Weeks 3—4)

• Ask the learners which elements of dance have been covered so far
in the year.
• Ask them how they explored these elements and how they think
the elements of dance impact on their choreography.
• Discuss the different elements of dance and let the learners
demonstrate them in simple moves.

Activity 3: Match the term to the definition

• This simple task refreshes the knowledge of the learners in relation
to some of the dance elements.
• They will need to match the term to the definition.

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 Activity 4: Demonstrate the elements of dance
• Ask learners to refer to the different elements of dance, discuss
and demonstrate them to the class. Learners can also combine
elements of dance to create short sequences.

Activity 5: Express your group identity through dance

• In this activity learners need to focus on the creation of a dance
that shows a ‘spirit of unity’. Part of this task is for them to find
what they have in common that they can construct an identity
around, for example, like being in Grade 7 or belonging to the
same sports club, etc.
• They will also need to find music for this choreography.
• They need to create a two minute dance sequence that will be
performed for the class. They need to use the elements of dance as
well as eye contact and facial expressions.

Lesson 4 (Weeks 5—7)

• Ask the learners what a transition is and when it is used in dance.
• What are some of the benefits of transitions in dance? (Smooth
changes from one movement to the next, makes the dance more
graceful and flowing, shows tight choreographic sequences).
• Learners should be able to identify transitions in the video clip.
Activity 6: Fill in the gaps
In this simple task the learners will test their knowledge of some basic
dance terminology by filling in the missing words.

Activity 7: Change direction

Learners continue to work on their ‘Spirit of unity’ dance adding
transitions to make their movements smoother, flowing and more
graceful.

Answers
Activity 3
level – e; shape – c; time – f; energy/force – a; space – g; symmetry
and asymmetry – d; composition – b

Activity 4
Learners need to exhibit both a practical and theoretical knowledge of
the elements of dance.

Activity 5
Learners need to show that they have found a common identity and
can translate this into dance using the elements of dance as well as
facial expressions and eye contact.

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 Activity 6
1. transition; movement
2. change
3. weight transfer
4. spotting; balance; dizzy
5. non-locomotor

Activity 7
Observe learners to make sure they are using appropriate transitions in
their work to enhance the quality of their performance.

For information Informal assessment

on Informal
assessment, refer Activity 3: You will need to mark this informal assessment as
to the generic learners need to show that they can correctly match the description
assessment tools of the element of dance to the element stated.
for observation,
practical work, Activity 6: You will need to mark this informal assessment as
performance, learners need to show that they can correctly fill in the missing
correspondence terms in the activity.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this • Learners could identify three elements of dance and use these to
Teacher’s Guide. create a basic dance sequence that shows unity.
• Learners should refer to the units in the previous terms that cover
the terminology used in this unit.

Extension
• These learners could identify more than one aspect that unites
them and incorporate these into their dance sequence using as
many elements as they can together with elevated movements.
• Learners could play around with more movements that show
transition like different types of jumps and turns. They could be
more creative with transitions.

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 UnitUnit
Improvisation
1 and composition
2 Learner’s Book pages 230—231 Duration: 15 mins/week

Topics: 2. Dance improvisation and composition (15 mins/week);

3. Dance theory and literacy (integrated into Topics 1 and 2)

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 1–7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 230–231;
space to work; Preparation
variety of music;
CD player; • Read through the unit and familiarise yourself with the content
exercise book that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
New words any areas of difficulty that you think they might encounter.
and concepts • It would help to do a bit more research on the San trance dance
trance as this would provide the learners with more background into this
ritualistic dance.

Teaching the unit

Lesson 1 (Weeks 1—7)
• Ask the learners to discuss rituals an dances in their own culture
and what it means.
• Possibly engage in a broad discussion on dance in culture and the
differing functions it serves.
• Be sure to tell the learners that cultural dances and rituals cannot
just be used in their dance without them acknowledging the
symbolism, meaning and relevance and needs to be used
with respect.

Activity 1: Short dance sequence based on a South

African theme
In this activity the learners discuss the trance dance pictures and why
the trance is used in the name of the dance. They also get to discuss
dances from their own cultures and while maintaining the theme of
their dance they incorporate some aspects of their cultural dance into
their choreography.

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 Answers
Activity 1
Learners will explain that the San healers entered a trance-like state
when they danced and could then enter the spirit world. This is why
it was called a trance dance. Observe that the learners are able to work
with some aspects of their culture and that they can integrate this into
their choreography appropriately.

For information Informal assessment

on Informal
assessment, refer Activity 1: Ensure that the learners choreography is about four
to the generic minutes and that they have incorporated elements of their own
assessment tools cultures in a tasteful and respectful manner. Also they need to show
for observation, good use of transitions and creativity in their choreography.
practical work,
performance,
correspondence Consolidation
and peer assessment Learners could identify aspects of their culture that could be used in
in Section 4:
dance and explain the symbolism to the other learners.
Resources on pages
344–347 of this
Teacher’s Guide. Extension
Learners could engage in more research on the trance dance and on
other forms of cultural dance in South Africa.

UnitUnit
Formal
1 assessment: Practical
3 Learner’s Book page 232 Duration: 2 hours

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks 8–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book page ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
232; space to work;
variety of music;
CD player; exercise Formal assessment
book
For guidance on how to assess learner’s group dance, please see
pages 284—286 in this Teacher’s Guide.

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 Review
Learner’s Book page 233 Homework

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 233
Prepare for the written examination
Learners need to read through all the notes and activities from
Terms 1–4 again to prepare themselves for their written examination.

Written assignment
Learners need to write a one-page reflection on their use of art
elements and design principles in their artwork piece. They need to
choose from the list in the Learner’s Book.

Written examination
You will find an end-of year-examination on pages 322–323 in this
Teacher’s Guide.

Answers
1. (Any one of the following.) Warming up the body is important
because:
• It prepares the muscles for hard work.
• It helps you not hurt yourself.
• It makes your heart rate go up.
• It gives more oxygen to the body.
• It improves your posture.
2. (Any one of the following.) Cooling down is important after
dancing because:
• It helps your heart rate and breathing slowly return to normal.
• It helps avoid fainting or dizziness which can happen when
you just suddenly stop exercising.
• It prepares you and your muscles for your next exercise
session.
• It removes any wastes product from your muscles that may
have accumulated there during the work out.
3. (Any one of the following.) Stretching is important because:
• It prevents injury.
• It also helps you recover from injury.
• It increases flexibility of the body.
• It is excellent for building strength.
• It unblocks twisted nerves.

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 4. (Any two of the following.) Good body alignment and posture is
important because:
• It will improve your balance and balance is important
in dance.
• It will give you agility so that you are able to move better
in dance.
• It will make you a good dance partner in duets as you will be
able to hold your own posture and not rely on your partner to
assist you.
• It will improve and maintain the health of your bones and
especially your spine.
• It makes your dance look beautiful when you move.
5. (Any one of the following.) Improvisation is used in dance
to get people to move without thinking about movements.
Many beautiful dance moves are born out of improvisation.
Improvisation could almost be thought of as a game where you
move around a room and rules are made up as you go along.
6. (Any two of the following.) Space is exactly as you understand it.
It is about moving in a space. This could be your bedroom, in a
classroom, outside; anywhere really. Space also means how you
move when you dance.
When you think about space you also think about direction. In
other words, it means which way you will move in the space.
Energy is the force of the action or movement in dance. This
affects the flow of the movement.
Relationship is an element of dance that ties all the other elements
together. It refers to the relationship of the dancer to the timing of the
dance, the space, music and the other dancers in the dance piece.
Another rule in using space is symmetry which means keeping the
dancers in the space equal. Symmetry creates a sense of balance
on the stage. You could also create a dance that uses asymmetry
which means that not everything is equal.

Another rule for using space is dancing at different levels. You could
dance upright and high, or at a medium level or low by bending your
knees and crawling. You could even dance on the floor. As a dancer
you can explore different levels that you can work at.
• Stamina: This is the staying power of the body in an activity. It refers
to your ability to dance for long periods of time without get tired.
• Fluency: This is the ability of the dancer to communicate well in
a dance style. A fluent dancer is able to show command of the
dance style while dancing with control and ease.
• Fluidity: This relates to the smooth flow of movements within a
dance, showing movements that are constant and effortless.
• Energy: We take in energy by eating, drinking and breathing.
We also use this energy to perform daily tasks. By making use of
this energy in your dance performance your movements becomes
larger, more beautiful and you seem more alive in movement.

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 • Turn-out: This is the ability to turn the legs out at the hip joint
and is important in most dance forms. Turn-out is important in
that it allows you to lift your legs higher.
• Balance: Balancing is a learned skill that requires concentration.
The more you practice the easier it becomes. Balance requires
a steady base (e.g. the foot on the floor) and involves the equal
distribution of your weight.
• Weight: This is your body mass. By making use of the weight of
your body you can make some movements easier.
• Gravity: This is the pull that keeps you on the ground. Gravity is
used in dance when you are rolling and working on the floor. Also
gravity can be worked against in dance when you leap through the
air and work with higher movements.
7. Locomotor movements: In dance, locomotor movements are
when you move from one place to another. This means that the
body as a whole is moving to another spot/place. Examples of
these are: skipping, hopping, running, gliding, leaping, jumping,
walking, etc.
Non-locomotor movements: These are movements that keep
you on the same spot but moving. Some types of non-locomotor
movements are twisting, turning, bending or stretching.
8. A good practice when landing from a jump will be to land on your
toes, transfer the weight on the ball of your foot, then on your heel
and let your bent knees take the final impact. This sounds like a
slow process but is actually a quick movement in reality that will
prevent your knees from solely absorbing the impact.
9. Dance is expressive because one can show oneself for who they are
through it. It is personal because it can trace your own journey
through life. It gives you a sense of freedom because you can use
dance to tell people how you feel when you are afraid to say it.
People find it hard to communicate using words. Sometimes, like
the choreographer, mentioned above, it is about respecting our
elders. Sometimes we are afraid to say things because we think it
will hurt somebody’s feelings. Whatever our reason for not saying
things, we need to find a way to express ourselves. Many people
find this in dance. Our movements can convey meaning. Agnes de
Mille said, ‘The truest expression of a people is in its dance and in
its music. Bodies never lie.’
10. Transition is changing from one dance movement to something
completely different without anyone noticing – jumps, turns.
11. Core muscles are the muscles of your abdomen, back and pelvis.
These muscles keep the body stable.
12. Spotting in dance is about keeping your eyes fixed on one spot
during turning so that you do not become dizzy. It is important
in that it also allows one to maintain control of your body during
turns. The way to do this is to locate a spot in the distance. It could
be a picture, a mark on the wall, a piece of paper on the floor,
anything really. Keep your eyes glued to that spot and even as you

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 turn keep your eyes focused on the spot. Only when you are unable
to do so anymore because you have to turn your head, whip your
head around quickly, find the spot again and continue to look at it.
13. It is important to ensure that the space you will be dancing in is
safe and that there is nothing that will hurt you.
14. (Any one of the following.) Subject to the learners opinion but
could include these among others …
• Greeting when you enter.
• Asking to be excused when you need to leave.
• How to dress for dance class.
• How to behave during dance class.
• Awareness of the use of space when you are moving with others.
• Respect and trust of each other.
• Personal hygiene.

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 DRAMA

UnitUnit
Discover
Careers
1 related
your strengths
to drama
1 Learner’s Book pages 235—237
xx—xx Duration:
Duration:2 1hours
hour

Topic: 5. Careers

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Week 1 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 235–237;
books, magazine Preparation
articles or other
sources of • Read through the unit and familiarise yourself with the content
information on that you will need to teach. Think about what learners may
careers related to already know about the topics, what skills they already have and
drama; firm paper any areas of difficulty that you think they might encounter.
for cue cards • Collect and list sources of information on the careers covered in
this lesson.
New words
and concepts
Teaching the unit
related; drama
teacher; drama
Lesson 1 (Week 1)
therapist; drama Introduce the lesson using your experience as a drama teacher as
life coach; voice/ an example of a career related to drama. Then briefly mention that
speech therapist; other related fields of education, health, managing performers and
movement presenting at events or on radio and television.
therapist; radio or
television presenter; Activity 1: Identify a career that interests you
master-of-
ceremonies (MC); • Let learners complete the questionnaire on their own and work
agent; cue cards out the fields that could suit them.
• Explain that you are going to find out more about each career in
the next activity.

Activity 2: Prepare a presentation

• Let different learners read out each career.
• Briefly discuss each career.
• Explain the presentation that learners need to prepare. Let them
select the career they are most interested in and begin planning
the presentation.
• Learners must finish preparing their three-minute presentations at
home and be ready to do their presentations in the next lesson.

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 The folktale groups from Term 2 should arrange a time to meet and
run through their folktale story before the next lesson. Explain that
they will be working on a polished performance of their folktale this
term and so should meet to go over everything they did in Term 2.

Answers
Activity 1
Learners’ own answers for the questionnaire. It is possible for the score
to point to more than one possible career.

For information Informal assessment

on Informal
assessment, refer Activity 1: Walk around and make sure that learners are
to the generic managing to answer the questions. There are no wrong or right
assessment tools answers and the activity is designed to give them an idea of the type
for observation, of career they might be interested in.
practical work,
performance, Activity 2: Make time in the following lessons for the folktale
correspondence groups to give their career presentations. The other groups
and peer assessment can continue with practical activities as you do this. After each
in Section 4: presentation give feedback on:
Resources on pages • the quality of the content (research and presentation)
344–347 of this
• the quality of the presentation (use of time and cue cards).
Teacher’s Guide.

Consolidation
For Activity 1, learners can work in pairs to calculate the results of
the questionnaire.

Extension
Learners may wish to research more than one career. They can then
select one of these careers for their presentation.

UnitUnit
Storytelling,
1 narrative and dialogue
2 Learner’s Book pages 238—239 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic form
Term and week/s (45 mins/week)
Term 4, Weeks 2–3
Curriculum and Assessment Policy Statement
Resources
Learner’s Book (CAPS) content
pages 238–239;
performance space See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
for each folktale ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
group; blank paper

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 New words Preparation
and concepts Read through the unit and familiarise yourself with the content
storytelling; that you will need to teach. Think about what learners may already
narrative; dialogue; know about the topics, what skills they already have and any areas of
consolidate; flow; difficulty that you think they might encounter.
polish; review;
script
Teaching the unit
There are two lessons in this unit.
Lesson Week Pages Activities
1 2 238—239 1 and 2
2 3 239 3

Lesson 1 (Week 2)
Introduce the lesson by explaining that learners will have a chance to
develop individual flowing warm-up routines by selecting some of the
warm-up exercises they have learnt this year.

Activity 1: Establish the flow of a warm-up

• Go through the warm-up exercises in Table 4.2.1 and check that
learners remember what each one entails.
• Learners work on their own to do Steps 1–3. Stress that everyone
should select exercises that they feel suit them best.
• Learners work in pairs to do Steps 4–7 of the activity.
Explain to learners that they will spend most of this term working on
their folktale performance from Term 2. They will work on additional
aspects so that they can present a really polished, exciting performance
at the end of the term. Check whether all the folktale groups managed
to meet and go through their folktale.

Activity 2: Review your folktale

• Learners do this activity in their folktale groups from Term 2.
• Walk around and make sure all the groups are managing to do
the activity.
• If the groups are working well, you can ask one group to come up
and do their career presentations.

Ask groups to arrange a time to meet to complete their story map,

scene sheets and storyboard before the next lesson.

Lesson 2 (Week 3)
• Learners should work with a different partner to go through
their own flowing warm-up routine. They can follow Steps 4–7
in Activity 1.
• Explain that the folktale groups will work on their narrative and
dialogue during this lesson. The aim is to create a really interesting
script with no unnecessary narrative or dialogue.

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 Activity 3: Improve your script
• Learners work in their folktale groups for this activity.
• Walk around and give each group some assistance and examples of
how they can improve their narrative and dialogue. You can also
check their story maps, scene sheets and storyboards as you go
around to each group.
• Once all the groups are working well, you can ask a group to
come up and do their career presentations.
• Check on the groups again before you ask another group to come
up and do their presentations.

Learners should arrange a time to complete their script before the

next lesson.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners as they develop and practise
to the generic their own flowing warm-up routines. Make individual and general
assessment tools suggestions for improvements.
for observation,
practical work, Activity 2: In Lesson 2 you should check that each group
performance, has completed the story map, scene sheets and storyboard
correspondence satisfactorily.
and peer assessment
Activity 3: Observe the groups working and check that they
in Section 4:
Resources on pages are indeed making the script tighter and more interesting. Check
344–347 of this that they are not including unnecessary narrative or dialogue in an
Teacher’s Guide. attempt to make it more interesting.

Consolidation
Partner with learners who are struggling to create their own flowing
warm-up routine and offer ideas to help them.

Extension
Let enthusiastic learners read examples from good play scripts at home
and notice how the narrative and dialogue has been written.

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 UnitUnit
Movement
1
3 Learner’s Book pages 240—241 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic form
(45 mins/week)

Curriculum and Assessment Policy Statement

Term and week/s
Term 4, Weeks 4–5 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 240–241;
pictures showing Preparation
examples of
body language;
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
performance space
for each folktale already know about the topics, what skills they already have and
group any areas of difficulty that you think they might encounter.
• Find some pictures showing a variety of body language.
New words
and concepts Teaching the unit
body language; There are two lessons in this unit.
non-verbal
Lesson Week Pages Activities
communication;
movement; 1 4 240 1 and 2
gestures; facial 2 5 241 3
expressions; eye
contact; attitude; Lesson 1 (Week 4)
mime • Explain that this unit is all about using physical movement to tell
the story.
• Tell learners that they are now going to practise their own flowing
warm-up routines as a lead and follow activity in groups.

Activity 1: Warm up in small groups

• Divide learners into group of four for this activity.
• Monitor that the groups are managing to do the activity properly.
Go through the information under the headings: How do you use
movement to tell the story? and What is body language? on page 240 in
the Learner’s Book.

Activity 2: Identify and read body language

• Learners work in pairs for this activity.
• Give each pair a chance to show their picture to the class. Vote on
the best picture and ask learners to explain why it was the best.

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 • Show learners the pictures you brought in showing different body
language. If there is time they can discuss the pictures and try to
copy the body language shown.
• Ask learners to collect pictures that show clear body language and
to stick these into their character journals as reference material.
• Check that the folktale groups have all completed their scripts and
have made a time to meet and rehearse this week.

Lesson 2 ( Week 5)
• Let learners form new groups of four to do the warm-up in
Activity 1.
• Explain that this lesson is all about making body language
powerful enough to tell the story without words. This is what
mime artists are able to do.

Activity 3: Mime your folktale

• Let learners work in their folktale groups for this activity.
• They should first work on the movements and body language in
the most important scene in their story.
• If there is time, they can start working on other scenes in their story.
• Once the groups are working well, use this opportunity to observe
For information the final career presentations.
on Informal
assessment, refer Make sure that all the groups have made a time to work on miming
to the generic and improving the movement in the other scenes in their story.
assessment tools
for observation,
practical work,
Answers
performance, Activity 2
correspondence 1. a. The parent is angry with the teenager.
and peer assessment b. It is acted.
in Section 4: c. The teenager feels upset. Her attitude is non-caring.
Resources on pages d. The parent feels angry. Her attitude is stern. You can see this
344–347 of this by the way she is pointing her finger.
Teacher’s Guide.
2. Learners copy the boy’s body language by slouching in their chairs.

Informal assessment checking that their ‘body language pictures’

look similar to the original.
Activity 1: Observe learners doing their
warm-up routines. They should be quite Activity 3: Check that the groups are
familiar with their own routine by now and it working well and that learners are able
should be flowing nicely. to give each other practical, constructive
feedback on how the movement and body
Activity 2: Check that learners have
language can be improved.
grasped the concept of body language by

Consolidation
Work with any learners who are still battling to create a flowing
warm-up routine that includes exercises from all categories.

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 Extension
If learners complete Activity 2 before the end of the lesson, give them
additional pictures that show body language to discuss and copy.

UnitUnit
Physical
1 characterisation
4 Learner’s Book pages 242—243 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic form
(45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Week 6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 242–243;
performance space Preparation
for each folktale
group; pictures of • Read through the unit and familiarise yourself with the content
actors transformed that you will need to teach. Think about what learners may
through costumes, already know about the topics, what skills they already have and
hair/wigs, make-up any areas of difficulty that you think they might encounter.
and masks • Arrange to have enough space for all the folktale groups to practise
simultaneously.
New words
and concepts
• Collect pictures of some amazing transformations that can be
done with costumes, hair/wigs, make-up or masks.
physical
characterisation;
lines; costumes; hair; Teaching the unit
make-up; masks Lesson 1 (Week 6)
Tell learners that this lesson will give them all a chance to work on
their folktale characters so that they can come to life for the audience.
Research has shown that up to 70% of communication happens
through body language. So it is vital for all performers to perfect their
body language.

Activity 1: Use eye contact in mirror work

• Let learners work in pairs. They should try to work with someone
they have not worked with before for this activity.
• Explain the activity and let learners do it and reflect on how they
felt when there was no eye contact.
• Hold a short class discussion on how eye contact affects mirror
work and communication with other performers and the audience.

Go through the section with the heading: How does your character move?

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 Activity 2: Move as your character
• Ask learners to work in their folktale groups for this activity.
They should set up a space as shown in Figure 4.4.2.
• Assist the groups as they do the activity. You can also make
suggestions for improvements. Each character should have an
individual way of walking, standing and sitting that defines who
they are.

Explain that the groups are now going to work on expressing

emotions. This is one of the most difficult areas in acting. It is very
easy to either underplay or overplay feelings on stage. When emotions
are well acted, the character comes across as real, believable and
convincing. When they are not done well, the character seems fake,
unbelievable and maybe even humorous. Go through the section:
How does a character use the body as a tool to tell the story?

Activity 3: Show your character physically

• Learners should first go through their lines on their own and try
to develop good body language for each line and particularly for
the points where emotions change.
• They then work with a partner to perfect it further.
• Finally, they show the group what they have developed and receive
feedback. If time is short, ask groups to complete the activity in
their rehearsal time.

For information Informal assessment

on Informal
assessment, refer Activity 1: Observe learners during this activity and take some
to the generic time after the activity to discuss the questions in Step 4 as a class.
assessment tools
Activity 2: Observe the groups to see that all learners are
for observation,
practical work, managing to create the movements for their character.
performance, Activity 3: Walk around and check that learners are not over– or
correspondence under-acting their feelings.
and peer assessment
in Section 4:
Resources on pages Consolidation
344–347 of this Assist learners who are not very confident at using their body to show
Teacher’s Guide. emotion or appoint another learner in their group to help them.

Extension
Ask all learners to practise moving and using the body language they
have developed to show their emotions.

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 UnitUnit
Vocal
1 characterisation
5 Learner’s Book pages 244—245 Duration: 1 hour

Topics: 1. Dramatic skills development (15 mins/week);

3. Interpretation and performance of choice of dramatic form
(45 mins/week)

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Week 7 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 244–245;
blank paper Preparation
Read through the unit and familiarise yourself with the content that
New words
and concepts you will need to teach. Think about what learners may remember
vocal about voice modulation from Term 2, what vocal skills they already
characterisation; have and any areas of difficulty you think they might encounter.
pitch; inflection;
pace; pause; Lesson 1 (Week 7)
volume; emphasis;
tone-colour; accents
• This lesson is about developing voices for their folktale characters
and making sure learners know what and how to revise for the
written examination next week.
• Revise the voice modulation techniques on pages 122–123 of the
Learner’s Book.

Activity 1: Warm up your voice

• Lead learners through the basic warm-up routine.
• Ask learners to stand in a circle facing outwards so they cannot see
each other. This way they will be able to concentrate on the sounds
they produce and hear without being distracted by other learners.
• Practise the sentence in a normal voice before beginning to change
different aspects of their voices. Demonstrate and let learners copy
what they hear. Use the terminology so they become familiar with
it, e.g. pitch, inflection.
• Encourage learners to experiment and have fun.
Go through the section: What is vocal characterisation?

Activity 2: Build a picture of the speaker’s character

• Do this activity in pairs.
• Learners first discuss Figure 4.5.1 and then answer the questions.
• Check learners are using voice modulation techniques when they
go on to act out the conversation.

Read the section: What does your character sound like?

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 Activity 3: Develop your character’s voice and express
feelings
• Let learners work on their own to develop their voice and vocal
expression. They should link this with the body language they
worked on earlier.
• Then they can get feedback from a partner and then from the folktale
group. They can complete this activity in their own rehearsal time.

For information Informal assessment

on Informal
assessment, refer Activity 1: Walk around the circle and listen to how learners are
to the generic managing to modulate their voices. Practise each aspect of modulation
assessment tools until you can hear that the majority of the class is able to do it correctly.
for observation,
practical work, Activity 3: Observe learners to see that they are able to develop
performance, a voice that is suitable for their character’s gender, age, personality
correspondence and role. Also check that they are able to integrate their physical
and peer assessment and vocal characterisation.
in Section 4:
Resources on pages
344–347 of this Consolidation
Teacher’s Guide. Identify learners who are struggling with any aspect of voice
modulation during the first activity. Assist these learners individually.

Extension
Learners with smaller roles may finish Activity 3 early. They can then
assist learners with more lines by making suggestions or offering
constructive feedback.

UnitUnit
Prepare
1 for a dress rehearsal
6 Learner’s Book pages 246—247 Duration: 1 hour

Term and week/s Topics: 1. Dramatic skills development (15 mins/week);

Term 4, Week 8 3. Interpretation and performance of choice of dramatic form
(45 mins/week)
Resources
Learner’s Book Curriculum and Assessment Policy Statement
pages 246–247;
blank paper (CAPS) content

New words See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
and concepts ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
full dress rehearsal;
uninterrupted; Preparation
technical aspects; Read through the unit and familiarise yourself with the content
timing; finishing that you will need to teach. Think about what learners may already
touches; atmosphere know about the topics, what skills they already have and any areas of
difficulty that you think they might encounter.

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 Teaching the unit
Lesson 1 (Week 8)
• The timing is crucial in this lesson. Spend no more than 15
minutes on Activities 1 and 2 as learners need a full 40 minutes
for the written examination. Learners should complete Activities 1
and 2 on their own during rehearsal time outside class.
• Explain that the dress rehearsal will be held in the next lesson and that
this counts towards their marks in the final practical assessment.
• Go through the information under the headings: What is a dress
rehearsal? and How do you prepare for the dress rehearsal?

Activity 1: Allocate responsibilities

• Give instructions for the activity and discuss Table 4.6.1 before
learners break into their folktale groups.
• Walk around to see that the groups have worked out how to
complete the table and know to include everything that needs to
be done. Ask groups to complete the table in their own rehearsal
time.
• All the groups should then appoint a stage manager, lighting
and sound technician/s, a props master and costume master.
Make sure these learners understand that they don’t need to do
everything themselves, but they do need to make sure it gets done.

Go through the section called: Time everything! Explain how timing

can make the difference between a sloppy and a smooth performance.
Learners need to set up, make changes and pack up quickly and
quietly for the production to be professional.

Activity 2: Plan your timing

Give learners a short time to start this activity in class. They can
complete it during their own rehearsal time this week.

For information Informal assessment

on Informal
assessment, refer Activity 1: Check that the groups have started the table and
to the generic know to allocate responsibility for all the technical aspects of their
assessment tools performance. They must complete the table in their own time.
for observation,
practical work,
performance, Consolidation
correspondence Spend more time assisting the groups you feel need more help.
and peer assessment You could even offer to attend their rehearsals to help them if you
in Section 4:
have the time.
Resources on pages
344–347 of this
Teacher’s Guide. Extension
Challenge groups to add finishing touches that will enhance the mood
and take their performance to a higher level, e.g. sound effects or
special effects.

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 Unit Formal assessment: Practical
examination (1)
7 Learner’s Book page 248 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 248

New words
Formal assessment
and concepts
stagger; set For guidance on how to assess learner’s dress rehearsals, please see
up; technical pages 294—296 in this Teacher’s Guide.
equipment;
scene changes;
costume changes;
constructive
feedback

Unit Formal assessment: Practical

examination (2)
8 Learner’s Book page 249 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 249

New words Formal assessment

and concepts
assessment criteria; For guidance on how to assess learner’s folktale performance,
focus; concentrate; please see pages 294—296 in this Teacher’s Guide.
demonstrate

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 Review
Learner’s Book page 250 Homework

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 250
Prepare for the written examination
Learners need to read through all the notes and activities from
Terms 1–4 again to prepare for the written examination.

Answers
Activity 1: Revise information about careers and
elements of drama
The following answers are a guide to the review answers. Learners
may choose to answer in more detail which would benefit them in the
examinations.

Topic 1: Dramatic skills development

1. Possible examples of warm-ups aimed at physical development are:
• The march/stroll
• Body swings/body shakes
• Face warm-ups
• Mirrors
• Using imagery to warm-up
• Lead and follow making a rainstorm
• Spinal curl
• Waves and echoes
• Taking characters to different environments
2. Possible examples of warm-ups for vocal development are:
• Reach for the stars
• Ragdoll
• Air in the ball
• Resonance exercises like wander, humming
• Articulation exercises like ma, ma, ma, etc.; rolling your
tongue, tongue twisters, etc.
• Sound effects
Topic 3: Drama elements in playmaking
1. One can speak from memory, e.g. around a fire; read, e.g telling
a story to young children; mime, e.g. tell the story silently
through facial expressions and body language; record, e.g. a radio
show; perform, e.g. a play; or film a story in drama. Each of
these techniques could make use of a narrator and dialogue. In

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 mime, the dialogue may take place silently while the actors use
facial expressions and body language. It is important for one to
be aware of the structure, the setting, the scenes one is creating,
vocal modulation, expression, characterisation and ones spatial
arrangements.
2. Voice modulation is how you change, vary or adapt your voice
while acting a part. It helps one to express the meaning and
feeling behind what a character is saying, shows the personality of
the character and keeps the audience interested. Some techniques
one could use are:
• Pitch or tone: Speaking in a low, medium or high voice can be
used to express feelings.
• Inflection: How you vary your pitch to tone to create a
rhythm. Your voice can peak, rise, dip or fall.
• Pace: The speed at which you speak. It can be fast, normal
or slow.
• Pause: A break or silence between words or sentences. These
can be long, medium or short. They can show thinking,
surprise, shock, suspense, etc.
• Volume: Your voice can be loud, normal or soft. It can be used
to express how a character is feeling.
• Emphasis: The stress or force you put on a certain word or
words in a sentence to change the meaning.
• Tone-colour: The combination of various modulation
techniques to say words with feeling.
3. Vocal characterisation is the way your characters’ voices express
their role and personality in the drama. Physical characterisation
is the way the body movements express the role and personality of
the character in the drama.

Topic 3: Interpretation and performance of choice of dramatic forms:

folktales
1. You can use your body to tell the story by using different
techniques like movement, gestures, particular habits, body
language, facial expressions and eye contact.
2. You can use your voice to tell a story by making use of the
different vocal modulation techniques mentioned in the answer
to no. 2 in Topic 2. You could also use different accents, singing,
questioning the audience, narrating the story and creating vocal
sound effects in order to tell the story more effectively.

Topic 4: Careers
1. The role of the producer is a huge responsibility. He/she is
responsible for the whole production. This means he/she employs
and manages the teams, the money, the budget, marketing and
advertising, performance venues, dates and times and ticket prices.
The director supervises the production. He/she gives advice to the
actors/actresses, the design team and the technical teams.

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 2. a. For information on performing careers, e.g. acting, dancing,
singing, music, comedy/clown, etc. see pages 47–49 in the
Learner’s Book.
b. For information on the creative team, e.g. the director, the
producer, playwrights, etc. see page 129 in the Learner’s Book.
c. For information on careers in the support team, e.g. front of
house, management of back of house, etc. see pages 184–185
in the Learner’s Book.
d. For careers related to drama, e.g. teachers, master-of-
ceremonies, radio and television presenters, voice/speech
therapists, etc. see pages 236–237 in the Learner’s Book.

Written examination
You will find an end-of year-examination on pages 324–326 in this
Teacher’s Guide.

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 MUSIC

UnitUnit
Music
1 literacy
1 Learner’s Book pages 252—254 Duration: 15 mins/week

Topic: 1. Music literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 1–8 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
pages 252–254;
exercise book or Preparation
large paper; pencil;
rubber • Familiarise yourself with the material in this unit by reading
through the information and the activities in the Learner’s Book
New words and Teacher’s Guide.
and concepts • Refer to previous units where the content was presented.
consolidation of
concepts and music Teaching the unit
elements Divide the activities in this unit into 15 minute lessons across the
term. These activities will help learners to revise the work that has
been done so far.

Activity 1: Review letter names of notes on the treble

and bass clef
• Work through the activity following the instructions in the
Learner’s Book.
• Where necessary refer back to previous units for assistance.
Activity 2: Clap or drum short rhythmic phrases
• Work through the activity following the instructions in the
Learner’s Book.
• Where necessary refer back to previous units for assistance.
Activity 3: Clap or drum polyrhythmic phrases
• Work through the activity following the instructions in the
Learner’s Book.
• Where necessary refer back to previous units for assistance.

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 For information on
Activity 4: Sight using tonic solfa
Informal assessment,
refer to the generic • Work through the activity following the instructions in the
assessment tools for Learner’s Book.
observation, practical • Where necessary refer back to previous units for assistance.
work, performance,
correspondence and
peer assessment in Informal assessment
Section 4: Resources Activities 1, 2, 3 and 4: Assess content previously accumulated.
on pages 344–347 of
this Teacher’s Guide.

UnitUnit
Music
1 listening
2 Learner’s Book page 255 Duration: 15 mins/week

Topic: 2. Music listening

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 1–8 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
page 255
Preparation
New words
and concepts • Familiarise yourself with the material in this unit by reading
timbre; Orff through the information and the activities in the Learner’s Book
instruments and Teacher’s Guide.
• Refer back to previous unit where the content was presented
if necessary.

Teaching the unit

Divide the activities in this unit into 15 minute lessons across the
term. These activities will help learners to revise the work that has
been done so far.

Activity 1: Actively listen to music

For information
on Informal Follow the instructions in the Learner’s Book and complete the activity.
assessment, refer
to the generic Activity 2: Create a graphic score
assessment tools Follow the instructions in the Learner’s Book and complete the activity.
for observation,
practical work,
performance, Informal assessment
correspondence Activities 1—2: Carefully observe the learners and assess if they
and peer assessment
are doing the activity in the correct way. This activity also provides
in Section 4:
Resources on pages the opportunity to assess whether they have an understanding of
344–347 of this creating a graphic score of a musical piece they have listened to and
Teacher’s Guide. whether they used words, symbols or drawings to create their scores.

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 UnitUnit
In-tune
1 singing
3 Learner’s Book pages 256—258 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks 1–5
(CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book
of this Teacher’s Guide for the topics for this unit.
pages 256–258;
spacious venue to
work in; mirror; Preparation
paper; pencils; • Familiarise yourself with the material in this unit by reading
songs; instruments through the information and the activities in the Learner’s Book
like percussion, and Teacher’s Guide.
found or self-
made instruments;
• Make sure you have the appropriate space for performing the
action songs.
traditional
instruments; Orff • Make sure that the learners know the melody of the song well
instruments before trying to perform it.
• Time management throughout the lesson is important – allow
New words enough time for each activity without getting stuck on any one
and concepts activity or step.
intonation;
resonance; tone;
Teaching the unit
enunciation;
soft palate
Method for teaching a song
• Break up the song in smaller part (two bars at a time).
• Sing the smaller part to the learners.
• Learners respond by echoing the part.
• Do every smaller part a few times before moving on.
• Do not talk in between phrases — just keep on repeating
and singing.
• Once the whole song has been done in this way, thread it
together by doing it as a whole.

Divide the unit into five 30 minute lessons as follows:

Lesson Week Pages Activities
1 1 256—257 1—2
2 2 257 3—4
3 3 258 5
4 4 258 6
5 5 258 7

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 Lesson 1 (Week 1)
This lesson focuses on the correct jaw and soft palate position for
singing.

Activity 1: Learn the jaw position for singing

Follow the instructions in the Learner’s Book.

Activity 2: Learn the soft-palate position for singing

Follow the instructions in the Learner’s Book.

Lesson 2 (Week 2)
Activity 3: Work on your intonation
Follow the instructions in the Learner’s Book.

Activity 4: Imagine sound resonating from a part of

your body
Follow the instructions in the Learner’s Book.

Lesson 3 (Week 3)
This lesson focuses on improving tone, intonation and resonance.

Activity 5: Develop in-tune singing

• Be aware not to change the pitch of the note.
• When putting in the given dynamics – going louder and softer, it
is important to stay on the same pitch.
• Support the sound by good breathing.
• The whole body must work together to produce the right sound.
Lesson 4 (Week 4)
This lesson focuses on singing folksongs, light music and rounds and
creating graphic scores for one of the songs chosen by the group.

Activity 6: Sing folksongs, light music and rounds

• Make sure that the learners are exposed to a variety of songs.
• If time allows, learn more than one song during this activity.
• The more the learners sing the more the in-tune singing
will develop.
• Add accompaniment with available instruments or body percussion.
Lesson 5 (Week 5)
Activity 7: Play music from graphic scores
Encourage learners to make colourful and creative scores.

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 For information
on Informal
Informal assessment
assessment, refer Activities 6 and 7: Assess the groups performing their songs.
to the generic Assess the clarity and creativeness of the graphic score that each
assessment tools group made for the chosen song.
for observation,
practical work,
performance,
Consolidation
correspondence
and peer assessment At the beginning of each lesson, repeat the technique building
in Section 4: activities (Activities 1–5) to enhance the quality of the singing.
Resources on pages
344–347 of this Extension
Teacher’s Guide. • Find and add more songs to learn.
• Add interesting accompaniment through instruments and
body percussion.

UnitUnit
Create
1 own vocal music
4 Learner’s Book pages 259—261 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks 6–7 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
pages 259–261;
recordings/CD with
rapping and other
Preparation
songs; CD player; Familiarise yourself with the material in this unit by reading through
exercise book; the information and the activities in the Learner’s Book and Teacher’s
paper; pencils; Guide.
spacious venue
Teaching the unit
New words
and concepts
• Teach the content as is written in the Learner’s Book.
lyrics; rapping; • There are many practical activities in this unit that involve sound and
rhyming; rhyming movement. Allow the learners freedom to express themselves.
schemes; social • Time management throughout the lesson is important – allow
issues enough time for each activity without getting stuck on any one
activity or step.
• Make sure there is enough space to rap in.
• Guide the learners from a distance so that their creativity is
not limited.

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 Divide the unit into two 30 minute lessons as follows:
Lesson Week Pages Activities
1 6 260—261 1—3
2 7 261 4

Lesson 1 (Week 6)
This lesson focuses on lyrics and rhythms.

Activity 1: Listen to the lyrics and rhythms

• Ask learners to bring CDs of rapping, because they will have a
variety to choose from.
• Follow the instructions in the Learner’s Book.
Activity 2: Write words to fit the rhythms
Follow the instructions in the Learner’s Book.

Activity 3: Fit rhythms to these words

• Time management might be an issue so divide the rhythms
between four groups so that each group can work on one set
of words.
• Follow the instructions in the Learner’s Book.
• Learners must first clap or tap the rhythm patterns several times
so that they can be familiar with them before trying to set words
to it.
For information
on Informal Lesson 2 (Week 7)
assessment, refer This lesson focuses on writing lyrics and improvising rhythms.
to the generic
assessment tools Activity 4: Write a four-line song
for observation,
practical work, • Give the learners space and freedom to be as creative as possible.
performance, • Let the learners work in groups to make optimal use of time.
correspondence • Set aside enough time for learners to perform.
and peer assessment
in Section 4:
Resources on pages Informal assessment
344–347 of this
Teacher’s Guide. Activities 3—4: Assess the performances of the end product.

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 UnitUnit
Create
1 own instrumental music
5 Learner’s Book pages 262—264 Duration: 30 mins/week

Topic: 3. Performing and creating music

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Week 8 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
pages 262–264;
melodic instrument Preparation
for pitch and
playing melodies • Familiarise yourself with the material in this unit by reading
on; exercise book; through the information and the activities in the Learner’s Book
pencil; manuscript and Teacher’s Guide.
paper for writing • Practise the warm up exercises for voice from previous units.
music; instruments • Demonstrate the music through voice or an instrument.

New words Teaching the unit

and concepts
scale; C major scale; • Guide the learners from a distance, so as not to limit their
contour; sound
creativity.
picture • There are many practical activities in the unit that involve sound
and movement. Allow the learners freedom to express themselves.
• Prepare and understand the new concepts before teaching it to the
learners.
• Follow the instructions in the Learner’s Book.

Lesson 1 (Week 8)
This lesson focuses on scales as an important building-block in music.

Activity 1: Play and sing the C major scale

• When singing the melodies on page 262, only give the first pitch
of each melody.
• Try and sight sing the rest of the melody without the piano.
• Tonic solfa can be used as a tool to work out the melody.
Activity 2: Identify the contours
• This activity focuses on the common contour types.
• If the teacher cannot play the melodies find someone at school that
can or make a recording of the melodies and play it to the learners.
• Follow the Learner’s Book instructions.

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 Activity 3: Write a four-line song and melody
• Follow the Learner’s Book instructions.
• Allow enough time for this activity.
• Give learners freedom to be as creative as possible.
Activity 4: Create a sound picture
• This activity focuses on creating sound pictures.
• Follow the Learner’s Book instructions.
• Allow enough time for this activity.
• Give learners freedom to be as creative as possible.

Unit Formal assessment: Practical

examination
6 Learner’s Book page 265 Duration: 1 hour

Curriculum and Assessment Policy Statement

Term and week/s
Term 4, Week 9 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
page 265

Formal assessment
For guidance on how to assess learner’s song and melody, please
see pages 301—302 in this Teacher’s Guide.

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 Review
Learner’s Book page 266 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Resources See the ‘Term (teaching) Plans’ on pages 14–64 in the ‘Introduction’
Learner’s Book of this Teacher’s Guide for the topics for this unit.
page 266
Prepare for the written examination
Learners need to read through all the notes and activities from
Terms 1–4 again to prepare themselves for their written examination.

Written assignment
The purpose of the review activity is to prepare learners for the end-of-
year written examination. They can do it in class or in their own time.

Answers
1. a. i. treble clef
ii. bass clef
b. i. E C B A G C G F E G E D C C G F E G E D C D E F G
ii. E C B A
c. It is a quadruple meter or 4 crotchet beats in a bar.
2. The notes indicate a two-part harmony. In the first bar they both
play/sing crotchets and in the second bar the one plays crotchets
and the other quavers.
3. Texture in music means the different parts and elements of music
and how they fit together.
4. The four main voice types are the bass, tenor, alto and soprano.
5. An octave is 12 semitones, e.g. C to C.
6. They play the melody, harmony, base and percussion.
7. Ostinato is a short melody played over and over again usually at
the same pitch.

Written examination
You will find an end-of year-examination on pages 328–329 in this
Teacher’s Guide.

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 VISUAL ARTS

UnitUnit
Discover
Create
1 in your
2D: Astrengths
life drawing
1 Learner’s Book pages 268—269
xx—xx Duration: 2 hours

Topic: 1. Create in 2D

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 1–2 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 268–269;
model and chair Preparation
New words
• Make sure that there is enough equipment/materials for learners.
and concepts
• Set up your classroom so that learners will be able to see the
life drawing;
model easily.
view finder • Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Weeks 1—2)
Activity 1: Create in 2D (Part 1)
• Make sure that all of your learners can see the model.
• Hand out paper and charcoal.
• Ask your learners to observe how the model is sitting and the
proportions of the body.
• Remind your learners to begin their drawing at the top of the page
so that they fill their page and can fit the entire model onto the page.
• If your learners have never worked with charcoal before, demonstrate
to them how they can draw with it without smudging too much.

Formal assessment
This activity forms part of the Formal Assessment: Practical
Examination in Unit 5.

Consolidation
Keep pointing out the body proportions to those learners who are
struggling. Encourage them to add as much detail as possible and to
keep looking at the model.

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 Extension
Encourage learners to put in as much detail as possible and to really
focus on body proportions and use of space in their drawing.

UnitUnit
Create
1 in 2D: Tone and texture
2 Learner’s Book page 270 Duration: 2 hours

Topic: 1. Create in 2D

Term and week/s

Curriculum and Assessment Policy Statement
Term 4, Weeks 3–4 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 270; learners’
drawings from Preparation
previous lesson
• Make sure that you have enough equipment for all your learners
and that they all have their work from the previous lesson.
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Weeks 3—4)
Activity 1: Add tone and texture (Part 2)
• Hand out drawings from the previous lesson.
• Hand out pencils and rulers.
• Ask learners to create two blocks on their drawing of 10 cm x
10 cm each. Encourage learners to place their blocks in a place
where there is a lot of drawing, rather than in an open space.
• Remind learners about the art elements of tone and texture.
• Ask learners to fill in one block with tone and one with texture.

Formal assessment
This activity forms part of the Formal Assessment: Practical
Examination task in Unit 5.

Consolidation
Keep reminding learners about tone and texture. Encourage them to
use as much variety as possible.

Extension
Encourage learners to explore tone and texture as fully as possible.

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 UnitUnit
Create
1 in 2D: Tonal range of colour
3 Learner’s Book page 271 Duration: 2 hours

Topic: 1. Create in 2D

Curriculum and Assessment Policy Statement

Term and week/s
Term 4, Weeks 5–6 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 271; pencil
crayons Preparation
• Make sure that there is enough equipment for everyone to use.
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Weeks 5—6)
Activity 1: Add tonal colour (Part 3)
• Hand out work from the previous week.
• Hand out pencil crayons and rulers.
• Ask learners to create a block on their drawing of 15 cm x 15 cm.
• Remind learners how to work tonally with their pencil crayons by
pressing softly and firmly.
• Ask learners to add colours tonally. They can choose to use warm
or cold colours if they wish.

Formal assessment
This activity forms the last part of the Formal Assessment: Practical
Examination task in Unit 5.

Consolidation
• Keep reminding learners to work tonally with their pencil crayons.
• If they are struggling, demonstrate on a scrap piece of paper and
let them experiment until they feel comfortable.

Extension
Encourage learners to explore tonal variety as much as possible.

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 UnitUnit
Create
1 in 3D: Stick creatures
4 Learner’s Book pages 272—273 Duration: 3 hours

Topic: 2. Create in 3D

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks 7–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
pages 272–273;
newspaper,
recyclable materials,
Preparation
tape, string, • Make sure that there is enough equipment for everyone to use.
scissors, craft • You may want to ask your learners to collect recyclable materials
knives, glue for this activity. They can bring string, buttons, feathers, ribbons,
boxes, egg boxes, etc.
• Make sure that you know how to roll a stick and have experimented
with creating your own stick creature before the activity.
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

Teaching the unit

Lesson 1 (Weeks 7—9)
Activity 1: Create stick creatures
• Demonstrate how to roll a solid, well-constructed stick.
• Demonstrate a couple of different joining and construction techniques
so that your learners understand how to begin their stick creature.
• Ask learners to create a basic body shape. Everything should be
well joined and firmly constructed.
• Once the basic body shape has been created remind your learners
about various body parts they could add, such as ears, nose, trunk,
For information horns, wings, legs, scales, tails, claws, paws, fangs. Encourage as
on Informal much variety and creative thought as possible.
assessment, refer
to the generic
assessment tools Informal assessment
for observation,
practical work, • Display all the creatures.

performance, • Ask learners to write down what they found easy in this activity,
correspondence what they struggled with, what they like about their work and
and peer assessment what they would change next time. You can also ask learners
in Section 4: to give feedback about each others work. Encourage positive,
Resources on pages constructive feedback at all times.
344–347 of this
Teacher’s Guide.

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 Consolidation
Make sure that you are moving around the classroom so that you can
assist learners who are having technical difficulties with this activity.

Extension
If learners finish quickly, they can create a name for their creature and
write a paragraph about the creature – where it lives, what it eats, etc.

Review
Learner’s Book page 274 Homework

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks 7–9 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 274
Prepare for the written examination
Learners need to read through all the notes and activities from
Terms 1–4 again to prepare themselves for their written examination.

Written assignment
Learners need to write a one-page reflection on their use of art
elements and design principles in their artwork piece. They need to
choose from the list in the Learner’s Book.

Answers
1. a. Art elements are the ingredients that are used to create an
artwork, e.g. line, tone, texture, shape, form, space, and colour.
b. Design principles include the principles of balance, contrast,
emphasis, proportion, pattern, rhythm, unity and variety. They
are the basic units that make up a painting, drawing or design.
2. Learners are to give the definitions and then draw suitable
examples.

Art element What it is Draw or give an

example
line a continuous mark on
a page
tone the lightness or
darkness of a colour
texture the way something
feels
shape a 2D or flat space
enclosed by a line

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 Art element What it is Draw or give an
example
form A 3D shape
space the area around,
between or within the
artwork
colour different colours like
red, yellow, etc.
tonal colour this could include
related colours
or warm and cool
colours that are close
in their colour range
Design principles
balance the use of line,
shape or colour in an
artwork in a balanced
manner
contrast to put different
elements next to
each other to make
something more
visible or easier to see
emphasis to make certain parts
stand out
proportion the size or position of
an object in relation
to another
pattern the repetition of line,
shape or colour
rhythm the repeat art
elements and
patterns
unity when everything
works together
variety to make something
look different to the
rest in order to create
diversity

Written examination
You will find an end-of year-examination on pages 331–332 in this
Teacher’s Guide.

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 Unit Formal assessment: Practical and
written examination
5 Learner’s Book page 275 Duration: 1 hour

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Resources See the ‘Grade 7 Term (teaching) Plans’ on pages 14–64 in the
Learner’s Book ‘Introduction’ of this Teacher’s Guide for the topics in this unit.
page 275

Formal assessment
For information on how to assess learner’s 2D life drawing, please
see pages 307—309 in this Teacher’s Guide.

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 3. Formal assessment
1. A
 ssessment in Creative Arts in
Grade 7 274
2. Programme of assessment  275
3. F
 ormal Assessment Tasks per
Creative Arts form 278
4. Recording and reporting  309
5. Photocopiable assessment resources  313

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 1. Assessment in Creative Arts in Grade 7

Assessment in Grade 7 is made up of:

• informal or daily assessment
• formal assessment.
In Study & Master Creative Arts Grade 7:
• informal assessment advice is given as part of the lesson
guidance in the Lesson-by-lesson section (pages 66–272)
of this Teacher’s Guide
• some details on formal assessment are also provided in the Lesson-
by-lesson section, but more detailed guidance and assessment
tools are provided below.

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 2. Programme of assessment

In the Senior Phase, Creative Arts learners do formal assessments in

each of their two selected art forms. This include:
• Practical work: Assessment should track progress through class
observation of practical work and build up to a final practical
assessment task in each art form in Term 4.
• Written work: Due to the shortage of time, written assessments
are limited to one written assignment/test per art form per year
and an end-of-year written examination paper.
In the Senior Phase, school-based assessment counts for 40% and
the end-of-year examination counts for 60%.
The requirements (number and nature of tasks) and weighting for
Creative Arts are indicated in the two tables below.

Formal assessments
End-of-year examination
(SBA during the year)
40% 60%
• Assessment of practical work in two selected • Performance/presentation in two selected art
art forms 30% forms 40%
• Assignment/written test in two selected art • Written examination paper/s with questions
forms 10% from each selected art form 20%

Programme of assessment per term

Term Formal Assessment Tasks Total number of Total number of
marks per term marks for Creative
Arts per term
1 Practical assessment
Art form 1 10 marks (5%)
20 marks: 10%
Art form 2 10 marks (5%)
2 Written assignment or test
Art form 1 10 marks (5%)
20 marks: 10%
Art form 2 10 marks (5%)
Practical assignment or test
Art form 1 10 marks (5%)
20 marks: 10%
Art form 2 10 marks (5%)
3 Practical Assessment
Art form 1 10 marks (5%)
20 marks: 10%
Art form 2 10 marks (5%)
4 Practical examination
Art form 1 40 marks (20%)
80 marks: 40%
Art form 2 40 marks (20%)
Written examination
Art form 1 20 marks (10%)
40 marks: 20%
Art form 2 20 marks (10%)

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 The Programme of assessment provided in Study & Master Creative
Arts Grade 7 is in line with the Curriculum and Assessment Policy
Statement (CAPS) for Creative Arts and thus spreads out the formal
assessment tasks throughout the year.

Term Formal Assessment Tasks Learner’s Book and Teacher’s Total number of
Guide page reference marks per task
1 Practical assessment
Dance Learner’s Book p. 25
10 marks (5%)
Teacher’s Guide pp. 278—279
Drama Learner’s Book p. 52
10 marks (5%)
Teacher’s Guide pp. 287—288
Music Learner’s Book p. 70
10 marks (5%)
Teacher’s Guide pp. 297—298
Visual Arts Learner’s Book p. 88
10 marks (5%)
Teacher’s Guide pp. 303—304
2 Written assignment or test
Dance Learner’s Book p. 106
10 marks (5%)
Teacher’s Guide pp. 279—280
Drama Learner’s Book p. 130
10 marks (5%)
Teacher’s Guide pp. 289—291
Music Learner’s Book p. 146
10 marks (5%)
Teacher’s Guide p. 298
Visual Arts Learner’s Book pp. 155—156
10 marks (5%)
Teacher’s Guide pp. 304—305
Practical assignment or test
Dance Learner’s Book p. 105
10 marks (5%)
Teacher’s Guide pp. 281—282
Drama Learner’s Book p. 131
10 marks (5%)
Teacher’s Guide pp. 291—292
Music Learner’s Book p. 147
10 marks (5%)
Teacher’s Guide p. 299
Visual Arts Learner’s Book pp. 155—156
10 marks (5%)
Teacher’s Guide pp. 305—306
3 Practical assessment
Dance Learner’s Book p. 175
10 marks (5%)
Teacher’s Guide pp. 283—284
Drama Learner’s Book p. 197
10 marks (5%)
Teacher’s Guide pp. 292—294
Music Learner’s Book p. 211
10 marks (5%)
Teacher’s Guide pp. 300—301
Visual Arts Learner’s Book pp. 218—219
10 marks (5%)
Teacher’s Guide pp. 306—307
4 Practical examination
Dance Learner’s Book p. 232
40 marks (20%)
Teacher’s Guide pp. 284—286
Drama Learner’s Book pp. 248—249
40 marks (20%)
Teacher’s Guide pp. 294—296
Music Learner’s Book p. 265
40 marks (20%)
Teacher’s Guide pp. 301—302
Visual Arts Learner’s Book p. 275
40 marks (20%)
Teacher’s Guide pp. 307—308

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 Term Formal Assessment Tasks Learner’s Book and Teacher’s Total number of
Guide page reference marks per task
4 Written examination
Dance Learner’s Book p. 233 (Review)
20 marks (10%)
Teacher’s Guide pp. 286—287
Drama Learner’s Book p. 250 (Review)
20 marks (10%)
Teacher’s Guide p. 296
Music Learner’s Book p. 266 (Review)
20 marks (10%)
Teacher’s Guide pp. 302—303
Visual Arts Learner’s Book p. 274 (Review)
20 marks (10%)
Teacher’s Guide pp. 308—309

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 3. Formal Assessment Tasks per Creative Arts form

Creative Arts: Dance

FORM 1

Term 1 Formal assessment: Practical

Dance performance (10 marks)

Creative Arts topic

Term and week/s Topic 2: Dance improvisation and composition
Term 1, Week 10
Curriculum and Assessment Policy Statement
Resources
Learner’s Book (CAPS) content
page 25
Includes all the CAPS content covered in Term 1.

Background
• This is the third formal assessment for the year but the second one
for this term.
• In this task, learners are required to prepare and perform a three-
minute dance. The task includes the following:
space – shape, symmetry and asymmetry, dimension, level,
direction/pathways
time – duration, tempo, accent and rhythm.

Outlining the task with the learners

• Allow time in Term 1, Week 9 after you have done Unit 9, to talk
about this Formal Assessment Task with the learners.
• Read through the task with them and answer any queries.
• Allow learners one week to complete the dance.
• Remind the learners to underline key words and be guided by
the number of marks for each question. Also remind them of the
elements of dance they need to include in their dance.
• Draw the learners’ attention to how the task will be assessed.

The task
You will find Term 1 Formal assessment: Practical on page 25 of the
Learner’s Book.

Assessing the task

• Learners will need to work through the assessment by creating a
dance work and incorporating the specified elements of dance.
• Using the given criteria you will assess the performance granting a
point for each criteria on the rubric.

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 • When the performance is complete, the learner will need to
submit a written description of the dance work, the movements
used and how the prescribed elements were incorporated into the
dance. You will need to mark this.

Assessment criteria Possible mark

Classwork
• Uses body safely (posture, alignment, safe landings) 1
• Shows fitness (strength, flexibility) 1
• Does warm-up exercises to prepare muscles for
performance 1
• Does cool-down exercises after dance performance 1
Group dance
• Shows a clear beginning, middle and end in the
dance 1
• Shows understanding of the choreographic brief 1
• Shows a sense of team work (timing, spatial
awareness) 1
Improvisation and choreography
• Uses space in his/her performance 1
• Uses time in his/her performance 1
• Shows originality in creation of dance 1
Total 10

* Give 1 mark for each point that each learner can demonstrate
successfully.

Term 2 Formal assessment: Practical

Create a dance (10 marks)

Creative Arts topic

Topic 1: Dance performance

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Resources Includes all the CAPS content covered in Term 2.
Learner’s Book
page 105; space Background
to work; variety of
music; CD player;
• This is the second formal assessment for the year. The learners will
exercise book
be expected to create a simple group choreography.
• This task will be done in class time but it would be a good idea
for the learners to be briefed the week before and have them begin
working on it in their own time.
• Each performance should be about two minutes and they will
have time to work during class as well.
• Each criterion on the rubric is scored at one point each.

Outlining the task with the learners

• Allow time in Term 2, Week 8 after you have completed Unit 8,
to talk about this Formal Assessment Task with the learners.
• Read through the task with them and answer any queries.

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 • Remind the learners to underline key words and be guided by the
number of marks for each part of the task.
• Draw the learners’ attention to how the task will be assessed.

The task
You will find Term 2 Formal assessment: Practical on page 105 of the
Learner’s Book.

Assessment guidance
• Prepare the learners in advance for the assessment.
• Brief them and encourage them to work on their own in the
creation of the choreography or they should think it carefully and
come to class with good ideas for the work.
• Ensure that the learners are well aware of the what needs to
incorporated in their choreography – energy/force, relationship,
a choreography with a beginning, middle and an end, and
appropriate music. They can add other elements but these are the
basic criteria.
• Use the rubric criteria below to assess the learners’ movement in
Activity 1.
• Record your assessment on the Dance Assessment Record Sheet
(page 310).

Assessment criteria Possible mark

1. Dance elements
• Demonstrates relationships in dance 1
• Demonstrates force/energy in dance 1
• Uses space appropriately 1
• Demonstrates the element of time 1
2. Group sequence or dance
• Creates an interesting story of events in dance with
a beginning, middle and end 1
• Understands the choreographic brief 1
• Works well in a group 1
3. Improvisation and choreography
• Shows confidence in movement 1
• Shows originality in creation 1
• Works and moves with others 1
Total 10

* Give 1 mark for each point that each learner can demonstrate
successfully.

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 Term 2 Formal assessment: Written
Terminology, purposes of warming up, cooling down, elements of
dance and dance technology  (10 marks)

Creative Arts topic

Topic 3: Dance theory and literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 10 (CAPS) content
Resources Includes all the CAPS content covered in Term 2.
Learner’s Book page
106; a big sheet Background
of cardboard; old
magazines; glue;
• This is the third formal assessment for the year but the second one
koki pens; scissors;
for this term.
pencil crayons • This could be started during class time and completed at home.
• It will be marked out of 20.
• Learners may take their times and hand it in class the following week.

Outlining the task with the learners

• Allow time in Term 2, Week 9 after you have completed Unit 9,
to talk about this Formal Assessment Task with the learners.
• Read through the task with them and answer any queries.
• Remind the learners to underline key words and be guided by the
number of marks for each question. Also remind them to follow
the instructions in the Learner’s Book.
• Draw the learners’ attention to how the task will be assessed.

The task
You will find the Term 2 Formal assessment: Written test on page 106
of the Learner’s Book.
Assessing the task
Use the following rubric to assess the learners’ posters in Activity 1.
Assessment criteria Possible mark
1. All ten dance terms have been included as headings 1
2. Description of terms are short and to the point 1
3. Each term is explained by using an example 1
4. Layout of headings and text is effective and 1
attractive
5. Pictures are interesting and relevant 1
6. Print sizes are used effectively 1
7. Colour is used effectively and attractively 1
8. Headings and descriptions are clearly layed out 1
9. Content 1
10. Overall neatness 1
Total 10

* Give 1 mark for each point that each learner can demonstrate
successfully.

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 You will find a photocopiable memorandum for the mid-year
examination on page 313 of this Guide. Use it to assess the content of
the posters.
• Ensure that the learner has a fair knowledge and understanding of
the terminology and is able to demonstrate this in picture form.
• Also look for creativity and neatness of the work presented.
Ensure that all terms are addressed.
• Record your assessment on the Dance Assessment Record Sheet
(page 310).

Suggested headings and descriptions

1. Warm up – prepares the muscles for hard work, helps you not
hurt yourself, makes your heart rate go up, gives more oxygen to
the body, improves your posture.
2. Elements of dance – are tools used in the creation of dance. They
could be made up of time, space, level, energy/force, relationship.
They are used in dance to create variation in movements and to
add emotion and feeling to the work.
3. Force – refers to doing something faster than they want to.
4. Posture – refers to the position of the body. Good posture: will
improve your balance, will give you agility so that you are able
to move better in dance, will improve and maintain the health of
your bones and especially your spine, will make your dance look
beautiful when you move.
5. Relationships – refers to the connection between the dance
elements, the dancer and the space, the music and other dancers
in the space.
6. Core muscles – refers to the muscles of your abdomen, back and
pelvis. These muscles keep the body stable.
7. Cool down – helps your heart rate and breathing slowly return
to normal, helps avoid fainting or dizziness which can happen
when you just suddenly stop exercising, it prepares you and
your muscles for your next exercise session, it removes any waste
products from your muscles that may have accumulated there
during the work out.
8. Locomotor movements – these are the basic movements that
create the ability to move in more complex ways, e.g. hop, jump,
leap, skip, gallop.
9. Spotting – is used when turning. It is the practice of keeping
one’s head locked in a position until it is completely necessary to
turn the head. At this point it should be done swiftly and the head
should focus on the point it was at prior to the turn.
10. Safe landing – is important when using elevated movements in
dance. Landing safely will reduce the impact on knees and ankles
thereby protecting the body. When landing from an elevated
movement land on the toes, slowly transferring the weight to the
ball of the foot, then the heels and then bending the knees to
absorb the impact.

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 Term 3 Formal assessment: Practical
Dance a memory (10 marks)

Creative Arts topic

Topic 1: Dance performance

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 10 (CAPS) content
Resources Includes all the CAPS content covered in Term 3.
Learner’s Book
page 175; space Background
to work; variety of
In this task, learners are required to create a two-minute dance about
music; CD player;
exercise book
four of their memories. The task includes the following:
• movements that show their feelings and meaning
• the elements of dance
• a combination of locomotive movements with coordinating arm
movements
• performance for the class.
• This is the fourth formal assessment for the year but only the third
practical formal assessment. The learners will be expected to create
a simple group choreography.
• This task will be done in class time but it would be a good idea
for the learners to be briefed the week before and have them begin
working on it in their own time.
• Each performance should last about two minutes and they will
have time to work during class as well.
• Each criterion on the rubric is scored at one point each.

Outlining the task with the learners

• Allow time in Term 3, Week 9 after you have completed Unit 9,
to talk about this Formal Assessment Task with the learners.
• Read through the task with them and answer any queries.
• Allow learners one week to create and perform their dance.
• Remind the learners to underline key words in the instructions
and be guided by the number of marks for the task.
• Prepare the learners in advance for the assessment.
• Brief them and encourage them to work on their own in the
creation of the choreography or they should think it carefully and
come to class with good ideas for the work.
• Ensure that the learners are well aware of what needs to be
incorporated in their choreography – energy/force, relationship, a
choreography with a beginning, middle and an end, and appropriate
music. They can add other elements but these are the basic criteria.
• Tell them to look at the assessment criteria so that they know
exactly what they will be marked against.

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 • They will also need to use eye contact and emotion to relate their
movement story.
• Remind them to use arm movements as well as other locomotor
movements.

The task
You will find Term 3 Formal assessment: Practical on page 175 of the
Learner’s Book.

Assessing the task

Use the rubric criteria below to assess the learners’ movement in
Activity 1.
Record your assessment on the Dance Assessment Record Sheet
(page 310).

Assessment criteria

Learner 4

Learner 5
Learner 2

Learner 3
Learner 1
Possible
mark

Terminology
• Understands and uses locomotor
movements with coordinating arm
movements 1
• Understands and uses dance elements 1
Group sequence or dance
• Performs a clear and short movement
sequence 1
• Understands the choreographic brief 1
• Works well in a group 1
Improvisation and choreography
• Maintains good posture and alignment 1
• Uses movements to show feelings and
meaning 1
• Shows confidence in movement 1
• Shows originality in creation 1
• Moves nicely with others 1
Total 10

* Give 1 mark for each point that each learner can demonstrate
successfully.

Term 4 Formal assessment: Practical

Perform your group dance  (40 marks)

Creative Arts topic

Topic 1: Dance performance
Topic 2: Dance improvisation and composition

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 Term and week/s
Curriculum and Assessment Policy Statement
Term 4, Week 9 (CAPS) content
Resources Includes all the CAPS content covered in Term 4.
Learner’s Book
page 232; space Background
to work; variety of
music; CD player;
• This is the fifth formal assessment for the year but only the fourth
practical formal assessment. The learners will be expected to create
exercise book
a simple group choreography.

• This task will be done in class time as they would have been
developing it over a few weeks. It would be a good idea for the
learners to be briefed the week before about the assessment so that
they can polish it and have it ready for presentation.
• Each performance should last about four minutes and they will
have time to work during class as well.
• Each criterion on the rubric is scored at one point each.

Outlining the task with the learners

• Allow time in Term 4, Week 7 after you have completed Unit 5,
to talk about this Formal Assessment Task with the learners.
• Prepare the learners in advance for the assessment.
• Brief them and encourage them to work on their own in the
creation of the choreography or they should think it carefully and
come to class with good ideas for the work.
• Ensure that the learners are well aware of what needs to be
incorporated in their choreography – elements of dance, jumps
with safe landing, full turns with spotting, a choreography with
a beginning, middle and an end, a clear movement story and
appropriate music. They can add other elements but these are the
basic criteria.
• Tell them to look at the assessment criteria so that they know
exactly what they will be marked against.
• They will also need to use eye contact and emotion to relate their
movement story.
• They will need to stick to the choreographic brief of ‘Spirit of
unity’.

The task
You will find Term 4 Formal assessment: Practical on page 232 of the
Learner’s Book.

Assessing the task

Use the rubric criteria on the next page to assess the learners’
movement in Activity 1.
Record your assessment on the Dance Assessment Record Sheet
(page 310).

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 Assessment criteria

Learner 4

Learner 5
Learner 2

Learner 3
Learner 1
Possible
mark
1. Classwork
• Performs warm-up routine and shows good posture and alignment 4
• Shows core strength, stability and flexibility 6
• Shows good joint mobility 2
• Shows safe landing from elevation 2
• Performs cool-down routine and stretches with safety 4
2. Improvisation and composition
• Explores dance element of:
——space (shape, dimension, level (symmetry and asymmetry),
direction, pathways) 2
——time (duration, tempos, accent, phrases) 2
——force/energy (flow of energy, opposites) 2
——relationships (to the floor, other dances, props) 2
3. Participating and collaborating
• Demonstrate understanding of choreographic brief 2
• Participates in the composition of the dance sequence 2
• Uses dance terminology with understanding 2
• Shows sensitivity towards own and others’ dance work
(e.g. towards gender and disability) 2
• Works well in a group 2
• Performs dance successfully 2
• Participates enthusiastically 2
Total 40

* Give 1 mark for each point that each learner can demonstrate
successfully.
[40 marks]
Term 4 Formal assessment: Written
End-of-year examination (20 marks)

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 10 (CAPS) content
Content, knowledge and skills covered in Terms 1 to 4.
Resources
Copy of
Background
examination paper
pages 308–309 in The end-of-year examination focuses on all material covered during
this Teacher’s Guide the year. All questions are compulsory and they require short, direct
answers that range from one word to a sentence in length.

Outlining the task with the learners

• At the beginning of Term 4, discuss with the learners what
material will need to be covered by them in the examination.
• In Week 8 and 9 of Term 4, spend some time reminding learners
about the format of the examination, including how much time
they will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.

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 The task
You will find Term 4: End-of-year written examination on pages
314–315 of this guide. You may photocopy this examination.

Assessing the task

You will find a photocopiable memorandum for the end-of-year
examination on pages 336–337 of this Teacher’s Guide.

Creative Arts: Drama

FORM 2

Term 1 Formal assessment: Practical

Classroom improvisation: Process and performance (group work) 
 (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 2: Drama elements in playmaking

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Week 10 (CAPS) content
Resources Includes all the CAPS content covered in Term 1.
Learner’s Book
page 52; Background
performance space
• This is the first assessment task of the year.
• Learners have been asked to work in groups to prepare a classroom
improvisation. The improvisation is based on a word story they
created in the second week of the term. They have worked on
their performance in various class activities during the term and
were expected to arrange rehearsals outside of class time.
• Allow up to ten minutes for each performance.

Outlining the task with the learners

• Learners need to time their performance during the final
rehearsals to make sure it runs for no more than ten minutes.
• In Unit 2 and again in Unit 8 you should explain the assessment
criteria that are listed on page 52 of the Learner’s Book. Learners
should refer to these criteria while they are rehearsing their
improvisation.
• Start the lesson with the basic warm-up routine. To make sure
learners are ready to perform and do not get too anxious while
waiting for their turn to perform, lead a few stretching and
breathing exercises between each performance.

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 Assessment guidance
Use the rubric below and the Practical Drama formal assessment
instrument on page 316 to assess the learners’ classroom
improvisations in Unit 10, Activity 2.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

Assessment criteria 10—8 6—7 4—5 1—3

1. Vocal development and Outstanding Good Average Poor
physical development
Does vocal and physical
warm-up
2. Develops an Extremely Interesting, Fairly Not very
improvised drama interesting, clear and well- interesting, interesting,
The drama has a clear and well- structured clear and well- clear and well-
beginning, middle and structured structured structured
an end, and an exciting
climax
3. Group dynamics Outstanding Good Fair Poor
Works well together
Listens to others, Exceeds Meets Partially meets Does not meet
concentrates, acts and expectations expectations expectations expectations
reacts
4. Theme, message, Exceeds Meets Partially meets Does not meet
structure and plot expectations expectations expectations expectations
Answers the questions:
who, what, where and when
5. Physical relationships Answers all Answers most Answers some Answers hardly
in space questions questions questions any questions
Creates interesting clearly clearly clearly clearly
pictures, using different
levels and points of focus
6. Spatial arrangements Exceeds Meets Partially meets Does not meet
Arranges and uses the expectations expectations expectations expectations
stage/space well
Considers where/how the Outstanding Good use of Fair use of Poor use of
audience will view the use of space space space space
picture
7. Characters Excellent Good Fair Poor
Well-developed and acted
8. Scenes Exceptionally Well-developed Fairly well- Poorly
Well-developed and well-developed and acted developed and developed and
shaped and acted acted acted
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)

* Use the Practical Drama Formal assessment instrument to allocate marks for each learner.

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 Term 2 Formal assessment: Written test (Part 1)
Careers: Write an advertisement for the creative team
(10 ÷ 2 = 5 marks)

Creative Arts topic

Topic 5: Careers

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Resources Includes all the CAPS content covered in Term 2.
Learner’s Book
page 130; copies Background
of example
advertisement in
• Part 1 of the test is a written assignment that gives learners an
opportunity to research one of the careers in the creative team,
Teacher’s Guide
page 320 taught in Unit 8. In doing this, they need to draw on their
knowledge of how drama productions are developed.
• The learners have one week to research and complete a draft of
this assignment at home (Week 8). They work with a partner to
improve their draft (Week 9). They can then have a few days to
complete the final assignment and should hand it in on a specific
date so you can mark it before the end of the term.
• This assignment is marked using the assessment criteria below. It
is scored out of 10 marks which is then converted to a mark out
of 5. This assignment counts 5% towards the year mark.
• The test marks for Part 1, i.e. this written assignment on a career
advertisement, and Part 2, on dramatic elements (see page 130),
are added together to give a mark out of 10.

Outlining the task with the learners

• The content of the lesson in Week 8 covers basic information on
the careers in the creative team. Explain the assignment to learners
at the end of this lesson.
• Give learners a copy of the example advertisement for a producer
on page 320 of this Teacher’s Guide or refer them to job
advertisements in the Sunday newspapers.
• Learners have a week to research one of the careers and to produce
a draft advertisement. Give learners ideas of where or how to find
information on the careers they select.
• In the next lesson (Week 9), learners give each other feedback on
the draft advertisement.
• They can then improve their work and hand in the final advertisement
a few days later so you can mark it before the end of the term.

Assessment guidance
Use the assessment criteria below to assess the learners’ career
advertisement in Unit 9, Activity 1.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

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 Assessment criteria Marks
The text looks like a job advertisement 1
The advertisement has the content specified:
1
• Name of position (​ __
2 ​mark) 1
• Short description of position (​ __
2 ​mark) __1
• Experience and qualifications needed (​ 2 ​mark)
1
• Role and responsibilities (​ __
2 ​mark) 2
The advertisement shows that the learner:
• has explored the career (3 marks)
• understands what the career entails (2 marks)
• understands the importance of the career in drama
productions (2 marks) 7
Total marks for Part 1 10 ÷ 2 = 5

Term 2 Mid-year written assignment

Test (10 ÷ 2 = 5 marks)

Creative Arts topic

Topic 2: Drama elements in playmaking

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Resources Content, knowledge and skills covered in Terms 1 and 2.
Learner’s Book
page 130; copies Background
of the mid-year
written assignment
• Part 2 of the test is a formal written test on the basic drama
on page 323–324 of
elements learners have covered through practical work in Terms
this Teacher’s Guide 1 and 2. They are encouraged to revise the work covered in their
Learner’s Book (Unit 9).
• Copies of the test are handed out and learners have 30 minutes
to complete it in class. They should work on their own, under
normal test conditions.
• The test is marked using the memorandum below. It is scored out
of 10 marks and counts 5% towards the year mark.
• The test marks for Part 1, the job advertisement (see page 130),
and Part 2, i.e. this written assignment on basic drama elements,
are added together to give a mark out of 10. This is then
converted to a mark out of 5.

Outlining the task with the learners

• At the end of Unit 8, learners are asked to spend time revising the
basic drama elements in preparation for this written assignment.
Guidance is given on the specific elements they should focus on.
• Ensure learners are aware that they have only 30 minutes for the
test. Advise them to check the mark allocation in order to use
their time well.

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 The task
You will find the preparation for the assignment on page 130 of
the Learner’s Book and the assignment on page 323–324 of this
Teacher’s Guide.

Assessing the task

You will find a photocopiable memorandum for the mid-year written
assignment on page 338 of this Teacher’s Guide. You may photocopy
this memorandum.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

Term 2 Formal assessment: Practical

Perform with your group  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 3: Interpretation and performance of folktale

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9–10 (CAPS) content
Resources Includes all the CAPS content covered in Term 2.
Learner’s Book
page 131; Background
performance space
• This is the third formal assessment of the year and groups should
perform during class time in Weeks 9 and 10.
• Allow about 10 minutes for each group to perform their folktale
and time afterwards for learners to reflect on their own and other
performances and to give feedback.
• Learners have been asked to work in groups to prepare a
folktale to perform for assessment. They have worked on their
performance in various class activities during the term and were
expected to arrange additional time to plan and rehearse their
folktale.
• This assessment is based on observation and is scored out of
10 marks.

Outlining the task with the learners

• Learners need to time their performance during the final
rehearsals to make sure it runs for approximately ten minutes.
• Explain the assessment criteria on page 131 of the Learner’s Book
early in the term and ensure learners refer to these criteria when
they create and rehearse their folktale.
• Start the lessons with the basic warm-up routine. To make sure
learners are ready to perform and do not get too anxious while
waiting for their turn to perform, lead a few stretching and
breathing exercises between each performance.

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 Assessment guidance
Use the rubric below and the Practical Drama formal assessment
instrument on page 317 to assess the learners’ folktale performances as
described in Unit 10, Activity 2.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

Assessment criteria 10—8 6—7 4—5 1—3

1. Group dynamics Outstanding Good group Fair group Poor group
Works well together group dynamics dynamics dynamics
dynamics
2. Spatial arrangements Outstanding Good use of Fair use of Poor use of
Arranges and uses the stage/ use of space space space space
space well
3. Physical relationships Excellent Good points of Points of Points of
Have points of focus in the points of focus focus are focus are not
main scenes focus fairly clear clear
4. Structure of the folktale Extremely Well- Fairly well- Not well-
There is a beginning, middle and well- structured structured structured
end structured
Answers the questions: who, Answers all Answers most Answers some Answers
what, where and when questions questions questions hardly any
clearly clearly clearly questions
clearly
5. Narrative and dialogue Exceeds Meets Nearly meets Does not meet
Narrative is interesting expectations expectations expectations expectations
Dialogue helps to tell the story well
Dialogue helps to tell the story Exceeds Meets Nearly meets Does not meet
expectations expectations expectations expectations
well
6. Vocal characterisation Outstanding Good Fair Poor
Uses voice modulation and
expression
7. Physical characterisation Outstanding Good Fair Poor
Uses physical characterisation
8. Vocal sound effect Excellent Good Fair Not used or
Uses vocal sound effects not used well
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)

Term 3 Formal assessment: Practical

Perform your drama  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 2: Drama elements in playmaking

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 10
(CAPS) content
Resources Includes all the CAPS content covered in Term 3.
Learner’s Book
page 197;
performance space

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 Background
• This is the fourth formal assessment of the year and should be
performed during class in Week 10. Arrange more time if necessary.
• Performances should run for no more than 10 minutes. Leave
time at the end of the lesson for learners to reflect on their own
and other performances and give feedback.
• Learners have worked in groups to prepare a polished performance
about a cultural or social event. They have worked on their
performance in various class activities and were expected to
arrange additional time to plan and rehearse.
• This assessment is based on observation and is scored out of 20
marks. This is then converted to a mark out of 10 and counts 5%
towards the year mark.

Outlining the task with the learners

• Explain that groups must develop a polished performance.
Go through the assessment criteria on page 197 of the Learner’s
Book when learners first select a social/cultural event to perform
in Unit 5. Ensure learners refer to these criteria when they create
and rehearse the performance.
• Learners need to time their performance to run for no more than
ten minutes.
• Begin the lesson with the basic warm-up routine. To make sure
learners are ready to perform and do not get too anxious while
waiting for their turn to perform, lead a few stretching and
breathing exercises between each performance.

Assessment guidance
Use the rubric below and the Practical Drama formal assessment
instrument on page 318 to assess the learners’ polished performances
in Unit 10, Activity 1.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

Assessment criteria 10–8 6–7 4–5 1–3

1. Actors Extremely clear Clear Fairly clear Not clear
Makes characters clear
(voice and body)
2. Audience Excellent Good Some Little or no
Participates in the event participation participation participation participation
3. Spatial arrangements Space used Space used Space used Space not used
Uses space well extremely well well fairly well very well
4. Time Perfect timing Good timing A bit longer/ Far longer/
Keeps to 10 minute time shorter than shorter than
limit expected expected
5. Costumes, hair and Outstanding Good Fair Poor
make-up
Suits the characters played
6. Props Excellent Good Some Very little or no
Significance understood by understanding understanding understanding understanding
the audience

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 Assessment criteria 10–8 6–7 4–5 1–3
7. Special effects Very Impressive Fairly good Not very
Uses special effects impressive impressive
technology well
8. Music or Excellent Good Fair Poor
accompaniment
Well-arranged/performed
9. Movement or Extremely Interesting Fairly Not very
choreography interesting interesting interesting
Creates interesting pictures
10. Dialogue, chants, call Excellent Good Fair Poor
and response
Seems natural and real
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)

Term 4 Formal assessment: Practical examination

Perform your folktale  (40 marks)

Creative Arts topic

Topic 3: Interpretation and performance of folktale

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks (CAPS) content
9–10
Content, knowledge and skills covered in Terms 1 to 4.
Resources
Learner’s Book Background
pages 248–249;
performance space
• This is the fifth formal assessment of the year and the dress
rehearsal should be held in Week 9 and the final performance in
Week 10. Arrange more time if necessary.
• Performances should run for approximately 10 minutes. Leave
time afterwards for learners to reflect on their own and other
performances and give feedback.
• Learners have worked in groups to prepare a more professional
performance of the folktale they performed in Term 2. They have
worked on their performance in various class activities and were
expected to arrange additional time to plan and rehearse.
• This assessment is based on observation. It is scored out of 40.

Outlining the task with the learners

• Make sure all learners know that the folktale performance counts
for 40% of their year marks and that you will observe both the
rehearsal and the final performance.
• Go through the assessment criteria page 248 of the Learner’s Book
early in the term and ensure groups refer to these criteria as they
develop and rehearse the performance.
• Learners need to time their performance to run for approximately
ten minutes.

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 • Make sure all learners have warm-up before they perform. Groups
can do some additional stretching and breathing exercises between
each performance.

Assessment guidance
Use the first part of the rubric below to assess the learners’ participation
in the dress rehearsals in Unit 7, Activities 1 and 2. Use the second part
of the rubric to assess the final performances in Unit 8, Activity 1.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

Use the following rubric and the Practical Drama formal assessment
instrument on page 319 to assess the learners’ practical examination:
Folktale (group work).

Dress rehearsal 10—8 6—7 4—5 1—3

Assessment criteria
1. Group dynamics Excellent Good Fair Poor
The group works well together
2. Preparation Excellent Good Fair Poor
All learners are involved in preparing for the dress
rehearsal
3. Participation Excellent Good Fair Poor
All learners contribute to the success of the dress
rehearsal
4. Reflection and feedback Excellent Good Fair Poor
The group is able to reflect on the rehearsal and give
feedback to each other
Final performance 10—8 6—7 4—5 1—3
Assessment criteria
5. Focus and concentration Excellent Good Fair Poor
The actors focus and concentrate while performing
6. Confidence and preparation Excellent Good Fair Poor
The actors are confident and it is clear they have spent
time preparing and rehearsing
7. Use of space Excellent Good Fair Poor
The actors use the performance space well
8. Relationship with audience Excellent Good Fair Poor
The actors establish a relationship with the audience
9. Group dynamics Excellent Good Fair Poor
The actors work well as a group
10. Vocal characterisation Excellent Good Fair Poor
The actors show good vocal interpretation
11. Physical characterisation Excellent Good Fair Poor
The actors show good physical interpretation
12. Storytelling techniques Excellent Good Fair Poor
The story is told effectively and has a beginning,
middle, end and climax
13. Narrative and dialogue Excellent Good Fair Poor
Narrative and dialogues are used well to tell the story
14. Movement Excellent Good Fair Poor
Actors use the body as a tool to tell the story through
movement, body language, facial expressions and eye
contact

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 Final performance 10—8 6—7 4—5 1—3
Assessment criteria
15. Voice and vocal sound effects Excellent Good Fair Poor
Actors use voice modulation techniques (pitch, pace,
volume, tone-colour, pause, emphasis) and vocal sound
effects successfully
16. Reflection and feedback Excellent Good Fair Poor
The group is able to reflect and give feedback on their
performance
Total marks: 160 ÷ 8 = 40 marks

Term 4 Formal assessment: Written examination

End-of-year examination (20 marks)

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week 8 (CAPS) content
Resources Content, knowledge and skills covered in Terms 1 to 4.
copy of examination
paper pages Background
318–320 of this
The end-of-year examination focuses on all material covered during
Teacher’s Guide
the year. All questions are compulsory and they require short, direct
answers that range from one word to a sentence in length.

Outlining the task with the learners

• At the beginning of Term 4, spend some time discussing with
the learners what material will need to be covered by them in the
examination.
• In Week 7 of Term 4, spend some time reminding learners about
the format of the examination, including how much time they
will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.

The task
You will find an end-of-year examination that you could use on
page 324–326 of this Teacher’s Guide. You may photocopy this
examination.

Assessing the task

You will find a photocopiable memorandum for the end-of-year
examination on page 339 of this guide.
Record your assessment on the Drama Assessment Record Sheet
(page 310).

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 Creative Arts: Music
FORM 3

Term 1 Formal assessment: Practical assessment

Perform and create music (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 3: Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 1, Weeks (CAPS) content
9–10
Includes all the CAPS content covered in Term 3.
Resources
Learner’s Book page Outlining the task with the learners
70; all instruments
that are available: • Read through the assessment criteria in the Learner’s Book so that
drums, piano, self-
learners have a clear understanding of how their performance will
made and found be assessed.
instruments; music; • Read through Units 1–7 again in preparation for the Formal
music score; or Assessment Activity.
graphic score • This assessment is done during ‘normal’ class time.
• Learners should work on this activity in small groups.
• The group should perform some parts together. In addition, each
learner should have a few seconds to create a part of the music and
perform it solo. Make sure learners have included all the music
elements from the assessment criteria below.
• When learners have practised their sounds a few times, you
could conclude the activity by giving learners the opportunity to
perform their sound for the whole class.
• You can conclude the lesson by allowing learners to discuss their
performances with their classmates using the assessment criteria in the
Learner’s Book, and to get constructive criticism about their work.

The task
You will find the task on page 70 in the Learner’s Book.

Assessment guidance
Use the rubric below to assess the learners’ performances as described
in Unit 8, Activity 1.
Record your assessment on the Music Assessment Record Sheet
(page 310).

Assessment criteria Possible Learner Learner Learner

mark 1 2 3
1. Posture, breathing and warming up
• Shows good standing posture for singing 2
• Does breathing exercises properly 2
• Improves resonance using warms-up of the voice 2

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 Assessment criteria Possible Learner Learner Learner
mark 1 2 3
2. Singing
• Sings in tune (at the right pitch) 2
• Sings pitches from written music or graphic score
accurately 2
3. Percussion
• Uses body percussion to effectively accompany a song 2
• Claps or drums the rhythm from written score
accurately 2
4. Performing music
• Performs music with sensitivity in group context 2
• Performs music effectively in solo context 2
• Performs music successfuly 2
Total (20 ÷ 2) 10
* Give 2 marks for each point that each learner can demonstrate
successfully, and 1 mark for each point that each learner can
demonstrate, but still needs more practice.

Term 2 Formal assessment: Written

Mid-year examination  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 1: Music literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 9 (CAPS) content
Content, knowledge and skills covered in Terms 1 and 2.
Resources
Learner’s Book Background
page 146; copy The mid-year examination focuses on all material covered in Terms
of examination
1 and 2. All questions are compulsory and they require short, direct
paper on page 327
of this Teacher's
answers that range from one word to a sentence in length (10 marks)
Guide
Outlining the task with the learners
• At the beginning of Term 2, discuss with the learners what
material will need to be covered by them in the examination.
• In Week 8 of Term 2, spend some time discussing the format of
the examination with the learners, including how much time they
will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.

The task
You will find a mid-year examination (Formal Assessment Task 2) that you
could use on page 327 of this guide. You may photocopy this examination.

Assessing the task

You will find a photocopiable memorandum for the mid-year
examination on page 340 of this guide. Record your assessment on
the Music Assessment Record Sheet (page 310).

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 Term 2 Formal assessment: Practical
Create your own music  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 3: Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 2, Week 10 (CAPS) content
Includes all the CAPS content covered in Terms 1 and 2.
Resources
Learner’s Book Outlining the task with the learners
page 147; all
instruments that
• Read through the assessment criteria in the Learner’s Book so that
learners have a clear understanding of how their performance will
are available:
drums, piano, self-
be assessed.
made and found • You will need most of the lessons in Term 2 for this activity.
instruments • This assessment is done during ‘normal’ class time.
• Learners should work on this activity in groups.
• Each person should get a chance to play a solo.
• When learners have practised their sounds a few times, you
could conclude the activity by giving learners the opportunity to
perform their sound for the whole class.
• You can conclude the lesson by allowing learners to discuss their
performances with their classmates using the assessment criteria in the
Learner’s Book, and to get constructive criticism about their work.
The task
You will find the task on page 147 in the Learner’s Book.
Assessment guidance
Use the rubric below to assess the learners’ group/solo work.
Record your assessment on the Music Assessment Record Sheet
(page 310).
Assessment criteria Possible Group 1 Group 2 Group 3
mark
1. Posture, breathing and warming up
• Shows good standing posture 2
• Does breathing exercises 2
• Warms-up the voice 2
2. Playing music
• Creates instrumental/vocal music in group 2
• Creates instrumental/vocal music in solo context 2
• Shows originality in creation 2
3. Percussion
• Uses rhythmic repetition (vocal or instrumental) 2
effectively
• Creates rhythmic question and answer 2
4. Group work
• Works as a group 4
Total (20 ÷ 2) 10

* Give 1 mark for each point that each learner can demonstrate successfully.

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 Term 3 Formal assessment: Practical
Perform your own vocal and instrumental music  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 3: Performing and creating music

Term and week/s Curriculum and Assessment Policy Statement

Term 3, Week 10 (CAPS) content
Resources Includes all the CAPS content covered in Term 3.
Learner’s Book
page 211; all Outlining the task with the learners
instruments that
are available:
• Read through the assessment criteria in the Learner’s Book so that
drums, piano, self-
learners have a clear understanding of how their performance will
made and found be assessed.
instruments • In this unit, learners focus on performing a vocal and
instrumental piece created in Unit 5 for Formal assessment.
• This assessment is done during ‘normal’ class time.
• Learners should work on this activity in groups.
• The group must perform as a whole, but each person should have
a short time to perform a solo.
• When learners have practiced their own vocal and instrumental
music a few times, you must conclude the activity by giving learners
the opportunity to perform their music for the whole class.
• Conclude the lesson by allowing learners to discuss their
performances with their classmates using the assessment criteria in the
Learner’s Book, and to get constructive criticism about their work.

The task
You will find the task on page 211 in the Learner’s Book.

Assessment guidance
Use the rubric below to assess the learners’ performances.
Record your assessment on the Music Assessment Record Sheet
(page 310).

Assessment criteria Possible Group 1 Group 2 Group 3

mark
1. Role in ensemble
• The learner has his/her specific role (melody,
harmony, bass or percussion) and fulfils it effectively 2
2. Group and solo work
• The group performs effectively as a whole 2
• Each person performs a solo 2
3. Music elements
The music includes:
• Melodic repetition 2
• Melodic question and answer 2
• Rhythmic improvisation on an ostinato or riff by
clapping or drumming 2
• Vocal or melodic improvisation on an ostinato or riff 2
• Lyrics based on a story or poem 2

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 Assessment criteria Possible Group 1 Group 2 Group 3
mark
4. Score
• There is graphic score/sound picture based on the
story or poem used, using the voice or instrument 2
5. Drumming
• African drumming is included 2
Total (20 ÷ 2) 10

* Give 2 marks for each point that each learner can demonstrate
successfully, and 1 mark for each point that each learner can
demonstrate, but still needs more practice.

Term 4 Formal assessment: Practical examination

Playing and improvising  (40 marks)

Creative Arts topic

Topic 3: Performing and creating music

Curriculum and Assessment Policy Statement

Term and week/s
Term 4, Week 9 (CAPS) content

Resources Includes all the CAPS content covered in Term 4.

Learner’s Book
page 265; space Outlining the task with the learners
to perform in; • Read through the assessment criteria in the Learner’s Book so that
CD player or an learners have a clear understanding of how their performance will
instrument to be assessed.
perform on a choice
of two short pieces,
• Make sure that learners had enough time to prepare the performance.
either on CD or • Make sure that they know what is expected from them during
to be performed the practical.
by teacher on an • In this unit, learners focus on performing their own four-line song
instrument and melody created in Unit 5 for Formal assessment.
• This assessment is done during ‘normal’ class time.
• Learners should work on this activity on their own and in a group.
• When learners have practiced their songs and melody a few times,
you could conclude the activity by giving learners the opportunity
to perform their song and melody for the whole class.
• You can conclude the lesson by allowing learners to discuss their
performances with their classmates using the assessment criteria in the
Learner’s Book, and to get constructive criticism about their work.

The task
You will find the task on page 265 in the Learner’s Book.

Assessment guidance
Use the rubric on the next page to assess the learners’ solo/group
performances.
Record your assessment on the Music Assessment Record Sheet
(page 310).

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 Assessment criteria Possible

Group 2

Group 3
Group 1
mark

1. Warm-up
• Demonstrates good posture, breathing and vocal warm-up 6
2. Solo and group work
• Creates four-line vocal and instrumental piece based on a
social issue 8
• The group performs as a whole 2
• Each person performs a short solo 2
3. Playing and improvising
The music includes:
• Rhythmic and melodic repetition (vocal or instrumental) 2
• Melodic question and answer (vocal or instrumental) 2
• Rhythmic and melodic improvisation on an ostinato or riff 4
• Accompanies song with body percussion and/or instruments 4
4. Sound picture
• Creates a sound picture based on the four-line song using
voice or instruments 6
• Uses African drumming 4
Total 40

Term 4 Formal assessment: Written examination

End-of-year examination  (20 marks)

Creative Arts topic

Topic 1: Music literacy

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Weeks (CAPS) content
7–10
Content, knowledge and skills covered in Terms 1 to 4.
Resources
copy of Background
examination paper
The end-of-year examination focuses on all material covered during
pages 328–329 of
Teacher’s Guide
the year. All questions are compulsory and they require short, direct
answers that range from one word to a sentence in length. (20 marks)

Outlining the task with the learners

• At the beginning of Term 4, spend some time discussing with
the learners what material will need to be covered by them in the
examination.
• In Week 7 of Term 4, spend some time reminding learners about
the format of the examination, including how much time they
will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.

The task
You will find an end-of-year examination that you could use on
pages 328–329 of this guide. You may photocopy this examination.

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 Assessing the task
You will find a photocopiable memorandum for the end-of-year
examination on page 341 of this guide.

Creative Arts: Visual Arts

FORM 4

Term 1 Formal assessment: Practical

Create in 3D: Earthenware figures  (10 marks)

Creative Arts topic

Topic 2: Create in 3D

Term and week/s

Curriculum and Assessment Policy Statement
Term 1, Weeks (CAPS) content
8–10 Includes all the CAPS content covered in Term 1.

Resources Outlining the task with the learners

Learner’s Book
page 88; A4 sketch
• Familiarise yourself with the material in this unit by reading
through the information and activities in the Learner’s Book and
paper; pencils;
earthenware clay; Teacher’s Guide.
containers for • If you have any examples of sculptures in clay, or sculptures that
water; newspaper include human and animal figures, bring them to school.
or plastic to cover • Allow learners to walk around the classroom and look at the other
desks with; plastic learners’ work. They should offer constructive criticism when
knives, forks, asked for it.
toothpicks or blunt
pencils for creating
• After this peer review process, learners can make further
textures on clay;
improvements to their work if they wish to.
scraps of cloth, • Learners should spend this lesson completing their clay group of
plastic bags and musicians.
tape to keep partly • When they have finished sculpting, they should put their
finished figures completed work in a warm, sunny place to dry.
damp • You can conclude the activity and the lesson by asking learners
to arrange their finished musicians in a group, in such a way that
they tell an interesting story.

The task
You will find the task on page 88 in the Learner’s Book.

Assessment guidance
Use the rubric below to assess the learners’ earthenware figures.
Record your assessment on the Visual Arts Assessment Record
Sheet (page 310).

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 Assessment criteria Possible Learner Learner Learner
mark 1 2 3
1. Art elements
• Uses shape and form 1
• Uses texture 1
2. Design principles
Pays attention to:
• balance 1
• proportion 1
• emphasis 1
• contrast 1
3. Modelling techniques
The music includes:
• Uses pinching 1
• Uses rolling 1
• Uses joining 1
• Uses surface texture/decoration 1
Total 10

* Give 1 mark for each point that each learner can demonstrate
successfully.

Term 2 Formal assessment: Essay/presentation

Investigate a local crafter (20 marks)

Creative Arts topic

Topic 3: Visual literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks (CAPS) content
9–10
Includes all the CAPS content covered in Term 2.
Resources
Learner’s Book Outlining the task with the learners
pages 155–156
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Organise with your local crafters/craft centre for your learners to
visit them.
• If your learners are not going to do an actual interview and you
want them to use the library, make sure that there are enough
books in your local or school library for your learners to use.
• Decide if you want your learners to work individually or in pairs.
• Make sure that they understand what a craft is, that they have
someone to interview or that they know where to go to do research.
• Go through the questions and interviewing techniques with learners.
• Remind your learners that this will be assessed and that they need
to provide drawings or photographs of the craft that they have
investigated.

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 • As part of the presentation, they should prepare a written report
on their interview. The writing should include full sentences with
full stops, capital letters and correct spelling.

The task
You will find the task on page 156 in the Learner’s Book.

Assessment guidance
• Use the assessment criteria below to assess the learners’ investigation.
• Record your assessment on the Visual Arts Assessment Record
Sheet (page 310).
Assessment criteria Marks
1
1. A
 local or South African crafter is interviewed or researched. ​ __
2​
2. The written presentation includes the following information.
1
• The name of the crafter (​ __
2 ​) 1
• The kind of work he/she does (​ __ ​)
__1 2
• The materials that are used (​ 2 ​)
1
• How the person learnt the craft (​ __ 2 ​) __1
• What the craft means to the person (​ 2 ​)
1
• The steps the crafter uses to create the craft work (​ __
2 ​)
__1 1
• Where the crafter sells or advertises the craft (​ 2 ​) 3​ __
2​
3. D
 rawings done by the learner or photographs taken by the
learner of the craft work are included. 4
4. A
 rt elements in the craft work are described; how they are
used is explained; examples are provided. 4
5. Design principles in the craft work are described; how they
are used is explained; examples are provided. 4
6. A presentation about the crafter and his/her work is given
to the class. 4
Total 20

* Give 1 mark for each point that each learner can demonstrate
successfully.

Term 2 Formal assessment: Written test

Mid-year examination  (20 ÷ 2 = 10 marks)

Creative Arts topic

Topic 3: Visual literacy

Term and week/s

Curriculum and Assessment Policy Statement
Term 2, Weeks 10 (CAPS) content
Resources Content, knowledge and skills covered in Terms 1 and 2.
Learner’s Book
pages 155– Background
156; copy of The mid-year examination focuses on all material covered in Terms
examination paper
1 and 2. All questions are compulsory and they require short, direct
page 330 of this
Teacher’s Guide answers that range from one word to a sentence in length. (10 marks)

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 Outlining the task with the learners
• At the beginning of Term 2, spend some time discussing with
the learners what material will need to be covered by them in the
examination.
• In Week 7/8 of Term 2, spend some time discussing the format of
the examination with the learners, including how much time they
will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.

The task
You will find a mid-year examination that you could use on page 330
of this guide. You may photocopy this examination.

Assessing the task

You will find a photocopiable memorandum for the mid-year
examination on page 342 of this guide.

Term 3 Formal assessment: Practical

Create in 2D a paper cut collage  (10 marks)

Creative Arts topic

Topic 1: Create in 2D

Term and week/s

Curriculum and Assessment Policy Statement
Term 3, Weeks 6–8 (CAPS) content
Includes all the CAPS content covered in Term 3.
Resources
Learner’s Book Outlining the task with the learners
pages 218–219
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.
• Make sure that you have enough equipment and that it is ready
before the lesson begins.
• Cut the paper before the lesson begins. Each learner should have
a large sheet of paper/card and a selection of recycled paper (you
can use brown paper, paper off cuts, newspaper, newsprint, pieces
of cardboard boxes).
• Hand out white paper and pencils. Give learners about 30 minutes to
do some planning sketches. Remind them to add interesting details.
• Once the planning sketches are completed, learners can begin the
paper cut. Remind them that they need to start with the largest
shape first and then stick smaller shapes on top of the larger shape.
It is important that learners understand this before they begin, so
that they do not start with the smaller shapes and details.

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 • Remind your learners that they are cutting and sticking and not
drawing. You may wish to collect the pencils before they begin
with the paper cut.
• Encourage your learners to fill the page with their design, to use
their imagination and to add as much detail as possible.
• Demonstrate glue techniques so that learners do not use too
much glue.

Assessment guidance
• Use the assessment criteria below to assess the learners’ collage of
buildings as heritage.
• Record your assessment on the Visual Arts Assessment Record
Sheet (page 310).
Assessment criteria Possible mark Learner 1 Learner 2 Learner 3
1. Artwork piece
• Creates a paper cutout/collage of a
building 2
• Uses pattern making and repeat
methods 2
• Uses materials creatively 2
1. Art elements
• Uses shape (geometric and/or organic),
line, tone and texture 2
2. Design principles
• Pays attention to balance, contrast,
proportion and unity 2
Total 10

Term 4 Formal assessment: Practical examination

Create in 2D a life drawing  (40 marks)

Creative Arts topic

Topic 1: Create in 2D

Term and week/s Curriculum and Assessment Policy Statement

Term 4, Week/s (CAPS) content
7–10
Includes all the CAPS content covered in Term 4.
Resources
Learner’s Book Outlining the task with the learners
pages 275;
newspaper,
• Make sure that there is enough equipment for everyone to use.
recyclable materials, • You may want to ask your learners to collect recyclable materials
tape, string, scissors, for this activity. They can bring string, buttons, feathers, ribbons,
craft knives, glue boxes, egg boxes, etc.
• Make sure that you know how to roll a stick and have experimented
with creating your own stick creature before this activity begins.
• Read through the unit and familiarise yourself with the content
that you will need to teach. Think about what learners may
already know about the topics, what skills they already have and
any areas of difficulty that you think they might encounter.

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 • Demonstrate to your learners how to roll a solid, well-constructed stick.
• Demonstrate a couple of different joining and construction techniques
so that your learners understand how to begin their stick creature.
• Ask your learners to create a basic body shape. Everything should
be well joined and firmly constructed.
• Once the basic body shape has been created remind your learners
about various body parts they could add – ears, nose, trunk,
horns, wings, legs, scales, tails, claws, paws, fangs. Encourage as
much variety and creative thought as possible.

The task
You will find the task on page 275 in the Learner’s Book.

Assessment guidance
Use the assessment criteria on the next page to assess the learners’ life
drawings and paintings.
Record your assessment on the Visual Arts Assessment Record
Sheet (page 310).

Assessment criteria Possible

Learner 2

Learner 3
Learner 1
mark

1. Composition
• Conscious use of space and composition (life drawing on a large scale) 4
• Demonstrates observation and interpretation (tone and tonal
range of colour within the format of the life drawing) 4
• Explores the use of different media (e.g. charcoal, pencil, pencil crayons) 4
2. Art elements
• Uses line and shape creatively to create a life drawing 6
• Uses tone in Block 1 creatively 2
• Uses texture in Block 2 creatively 2
• Uses tonal range of colour in Block 3 creatively 2
3. Design principles
• Uses contrast, proportion, balance, emphasis and direction in the
life drawing (in line only) 10
• Uses contrast, balance, emphasis in Block 1 2
• Uses contrast, balance, emphasis in Block 2 2
• Uses contrast, balance, emphasis in Block 3 2
Total 40

Term 4 Formal assessment: Written examination

Term and week/s End-of-year examination  (20 marks)
Term 4, Week/s
7–10 Creative Arts topic
Topic 3: Visual literacy
Resources
copy of examination
paper pages Curriculum and Assessment Policy Statement
331–332 of this (CAPS) content
Teacher’s Guide
Content, knowledge and skills covered in Terms 1 to 4.

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 Background
The end-of-year examination focuses on all material covered during
the year. All questions are compulsory and they require short, direct
answers that range from one word to a sentence in length. (20 marks)
Outlining the task with the learners
• At the beginning of Term 4, spend some time discussing with
learners what material they need to cover in the examination.
• In Week 7 of Term 4, remind learners about the format of the
examination, including the time they will be given to complete it.
• Explain that the way that the examination is structured means
that they will not be able to leave out any sections of work as they
prepare for it.
The task
You will find an end-of-year examination (Formal Assessment Task 6)
that you could use on pages 331–332 of this guide. You may
photocopy this examination.
Assessing the task
You will find a photocopiable memorandum for the end-of-year
examination on page 343 of this guide.

4. Recording and reporting

The results of all Formal assessment tasks should be recorded and used
for reporting on learners’ performance each term. The Programme of
assessment (pages 269–271) details how learner’s Creative Arts mark
for each term is arrived at.
The following photocopiable assessment recording tools are
provided in this guide:
• Record sheet for Creative Arts Form 1: Formal assessment tasks
Terms 1, 2, 3 and 4.
• Record sheet for Creative Arts Form 2: Formal assessment tasks
Terms 1, 2, 3 and 4
• Creative Arts annual Recording Schedule
Reporting on learners’ progress in Creative Arts should be done using
the following rating codes and descriptors:

Rating code Description of competence Percentage

7 Outstanding achievement 80–100
6 Meritorious achievement 70–79
5 Substantial achievement 60–69
4 Adequate achievement 50–59
3 Moderate achievement 40–49
2 Elementary achievement 30–39
1 Not achieved 0–29

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CA (7ENG).indb 310
Creative Arts Form 1:________________________________

310
Record sheet for Formal Assessment Tasks Terms 1, 2, 3 and 4
Class:
Term 1 Term 2 Term3 Term 4
Learners’ names Practical Written Practical Practical Practical Written Total
assessment assessment or assignment: test assessment assessment examination 100 marksS
10 marks (5%) test 10 marks (5%) 10 marks (5%) 40 marks (20%) 20 marks (10%) (50%)
10 marks (5%)

FORMAL ASSESSMENT
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CA (7ENG).indb 311
Creative Arts Form 2:________________________________
Record sheet for Formal Assessment Tasks Terms 1, 2, 3 and 4
Class:
Term 1 Term 2 Term 3 Term 4
Learners’ names Practical Written Practical Practical Practical Written Total
assessment assignment/test assignment/test assessment 40 marks (20%) examination 100 marks
10 marks (5%) 10 marks (5%) 10 marks (5%) 10 marks (5%) 20 marks (10%) (50%)

FORMAL ASSESSMENT
311
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FORMAL ASSESSMENT 312
© You may photocopy this page for use with Study & Master Creative Arts Grade 7.
Class:

Maximum marks

Learners’ names
10

Term 1
Practical
Creative Arts Annual Recording Schedule

10

Term 2
Practical
10

Term 3
Practical
40

Term 4
Practical
Year:

20

Term 4
Written
100

Total: Arts
form 1
10

Term 1
20

Term 2
10

Term 3
40

Term 4
Practical
20
Term 4
Written

100
Total: Arts
form 2

÷2
Creative

200
Arts Total
 5. Photocopiable assessment resources

The following assessment resources may be photocopied for use in

the classroom.

Term 2: Mid-year written examination

CREATIVE ARTS: DANCE

Instructions: Work on your own. Make a dance poster.

Memorandum on
Equipment: a big sheet of cardboard, poster size; old magazines; koki
page 335
pens; glue; scissors

1. Make a poster which describes what each dance term below

means.
a. warm-up
b. elements of dance
c. force
d. posture
e. relationships
f. core muscles
g. cool-down
h. locomotor movements
i. spotting
j. safe landing

2. In your poster, make sure you do the following:

a. Use each term as a heading, for example, Warm-up.
b. Keep your description short and to the point (no more than
three sentences each).
c. Give examples of each term.
d. Draw or cut out pictures from old magazines to show
the terms.
[Total: 10 marks]

Assessment criteria
Your teacher will assess your work in the following way:
• You will get __​ 12 ​point for each term that you describe correctly.
• ​ 12 ​point for each example of each term you provide.
You will get __

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 Term 4: End-of-year written
examination
CREATIVE ARTS: DANCE

Time: 40 minutes Marks: 20 marks – counts 10% towards year mark

Memorandum on
Instructions: Work on your own. Answer all the questions.
pages 336–337
1. Give four reasons why it is important to warm up before
you dance. (4)

2. Give four reasons why it is important to cool down after

you dance.  (4)

3. Give four ways in which good posture and alignment help

dancers.  (4)

4. Give three examples of how to show energy in dance

movements. (3)

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 5. What is the correct dance terminology for the following:
a. the way in which your body uses the space around it; the
patterns, lines or curves that you can make with your body
___________________________________________________

b. how you use the area in which you are dancing____________

c. balance and imbalance_______________________________

d. how you put together short dance sequences to create a

whole story_______________________________________

e. to identify, separate out and give each body part equal

attention during warm-up_________________________ (5)

6. Fill in the gaps.

a. _________ ________ is about shifting your weight from side
to side, or forward and backward.
b. _________ ______ movements keep you moving, but in the
same place.
c. Dance helps you to express your ________ which include the
characteristics or features through which a person or group are
recognised.
d. _________ refers to how you place your movements during
your dance – close to the floor, normal walking level, or on tip
toe or jumping.
e. A series of short and related dance movements is called a
______ ________.  (5)

7. On the table below:

a. List five exercises which can be used to warm up different
muscle groups and body parts. (2​ __12 ​)
b. Explain which body parts and/or muscles each exercise warms
up. (2​ __12 ​)  (5)

Warm-up exercises Body parts/muscles targeted

8. Write a paragraph explaining how dance can help you express

your identify and help to unite people. Give examples. (10)
(40 ÷ 2 = 20)
[Total: 20 marks]
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 Creative Arts: Drama
FORM 2

Term 1 Practical Drama formal assessment

instrument

Classroom improvisation – Process and performance (Group work)

Assessment criteria Learner 1 Learner 2 Learner 3 Learner 4 Learner 5
1. Vocal development and
physical development
Does vocal and physical
warm-up
2. Develops an improvised
drama
The drama has a beginning,
middle and an end, and an
exciting climax
3. Group dynamics
Works well together
Listens to others,
concentrates, acts and reacts
4. Theme, message, structure
and plot
Answers the questions: who,
what, where and when
5. Physical relationships in
space
Creates interesting pictures,
using different levels and
points of focus
6. Spatial arrangements
Arranges and uses the stage/
space well
Considers where/how the
audience will view the picture
7. Characters
Well-developed and acted
8. Scenes
Well-developed and shaped
Sub-total (100 ÷ 5 = 20)
Total (20 marks ÷ 2 =
10 marks)

* Refer to the rubric on page 288 of this Teacher’s Guide to allocate marks for each learner.

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 Term 2 Practical Drama formal assessment
instrument
Performance: Folktale (group work)
Assessment criteria Learner 1 Learner 2 Learner 3 Learner 4 Learner 5
1. Group dynamics
Works well together
2. Spatial arrangements
Arranges and uses the space/
stage well
3. Physical relationships
Have points of focus in the
main scenes
4. The structure of the
folktale
There is a beginning, middle
and end
Answers the questions: who,
what, where and when
5. Narrative and dialogue
Narrative is interesting and
clear
Dialogue helps to tell the
story
6. Vocal characterisation
Uses vocal modulation and
expression
7. Physical characterisation
Uses physical characterisation
8. Vocal sound effects
Uses vocal sound effects
Sub-total (100 ÷ 5 = 20)
Total (20 marks ÷ 2 =
10 marks)

* Refer to the rubric on page 292 of this Teacher’s Guide to allocate marks for each learner.

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 Term 3 Practical Drama formal assessment
instrument
Polished performance: Short improvised drama (group work)
Assessment criteria Learner 1 Learner 2 Learner 3 Learner 4 Learner 5
1. Actors
Makes characters clear (voice
and body)
2. Audience
Participates in the event
3. Spatial arrangements
Uses the space/stage well
4. Time
Keeps to the 10 minute time
limit
5. Costumes, hair and
make-up
Suits the characters played
6. Props
Significance understood by
the audience
7. Special effects
Uses special effects
technology well
8. Music or accompaniment
Well-arranged/performed
9. Movement or
choreography
Creates interesting pictures
10. Dialogue, chants, call and
response
Seems natural and real
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)

* Refer to the rubric on pages 293–294 of this Teacher’s Guide to allocate marks for each
learner.

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 Term 4 Practical Drama formal assessment
instrument
Practical examination: Folktale (group work)
Dress rehearsal

Learner 4

Learner 5
Learner 2

Learner 3
Learner 1
Assessment criteria

1. Group dynamics
The group works well together
2. Preparation
All learners are involved in preparing for the dress
rehearsal
3. Participation
All learners contribute to the success of the dress
rehearsal
4. Reflection and feedback
The group is able to reflect on the rehearsal and give
feedback to each other
Final performance
Assessment criteria
5. Focus and concentration
The actors focus and concentrate while performing
6. Confidence and preparation
The actors are confident and it is clear they have spent
time preparing and rehearsing
7. Use of space
The actors use the performance space well
8. Relationship with audience
The actors establish a relationship with the audience
9. Group dynamics
The actors work well as a group
10. Vocal characterisation
The actors show good vocal interpretation
11. Physical characterisation
The actors show good physical interpretation
12. Storytelling techniques
The story is told effectively and has a beginning, middle,
end and climax
13. Narrative and dialogue
Narrative and dialogues are used well to tell the story
14. Movement
Actors use the body as a tool to tell the story through
movement, body language, facial expressions and eye
contact
15. Voice and vocal sound effects
Actors use voice modulation techniques (pitch, pace,
volume, tone-colour, pause, emphasis) and vocal sound
effects successfully
16. Reflection and feedback
The group is able to reflect and give feedback on their
performance
Total (160 marks ÷ 8 = 40 marks)
* Refer to the rubric on pages 295–296 of this Teacher’s Guide to allocate marks for each learner.
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 Term 2: Unit 8
Test: Write an advertisement
This example of a job advertisement for a producer shows you how
you can set out your advertisement for a position in the creative team.

Producer
A theatre company wishes to employ a
• Communicate with and support
everyone involved in the production
highly-motivated producer for a new musical.
The production is to be staged in Durban and
• Manage the writing of a new script and
musical score
at the National Arts Festival in Grahamstown.
• Manage the budget and source
additional funding (if necessary)
The producer will manage the entire
production from script/music creation to
• Develop a marketing and advertising
strategy
final closure.
• Arrange performance venues, dates and
times
Experience and qualifications:
• Set ticket prices
A degree in the performing arts or theatre/
production management. A proven track-
• Manage local and tour logistics such as
travel and accommodation
record in live theatre productions. (Previous
• Solve problems as they arise
experience in musical productions will be an
advantage.) Business, financial budgeting
• Prepare financial statements after the
production
and fundraising experience. Excellent
organisational and marketing skills and the
• Complete all arrangements after the
production.
ability to manage and support a large team.
Interested applicants should send a covering
Role and responsibilities: letter and detailed CV to manager@dramatix.
• Oversee all aspects of the production co.za.
• Employ and manage the creative team,
marketing team and administrative staff

Term 3: Unit 3: Mime cards

Who: a big dog Who: a baby boy
Doing: eating Doing: playing with his fingers
Thinking: food at last! Thinking: this is fun
Feeling: cold and wet Feeling: amused and happy
Where: outside in the rain Where: in a car seat
When: early evening in winter When: summer morning
Who: a teenage girl Who: a fire fighter
Doing: waiting for a friend Doing: getting the hose to put out a fire
Thinking: this chewing gum is great Thinking: I hope there is no one inside
Feeling: bored Feeling: brave and tough
Where: outside the school Where: outside a burning house
When: late afternoon When: late at night
Who: a parent Who: a very old cat
Doing: packing school lunch boxes Doing: stretching
Thinking: I hope the kids are ready Thinking: I love this place
Feeling: late and stressed Feeling: safe and warm
Where: in the kitchen Where: on a bed in the sun
When: early summer morning When: Sunday afternoon

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 Who: a young boy Who: an actor
Doing: herding cattle into a kraal Doing: waiting to go on stage
Thinking: the cows are crazy today Thinking: I hope I don’t get stage fright
Feeling: cold, wet and nervous Feeling: excited and nervous
Where: in a storm with lightening Where: in the wings
When: afternoon When: evening in winter
Who: a race horse Who: a child
Doing: about to run a race Doing: running in the waves
Thinking: I hate racing Thinking: I love the beach
Feeling: cross and grumpy Feeling: excited and happy
Where: outside and in the starting cage Where: at the edge of the sea
When: cloudy day When: summer day
Who: a beggar Who: a monkey
Doing: asking for food or money Doing: watching and acting for everyone
Thinking: I am hungry Thinking: People are so silly and funny
Feeling: sad and miserable Feeling: happy and amused and silly
Where: outside a shop Where: in a big cage
When: a cold afternoon When: spring morning
Who: an old man Who: a middle aged man
Doing: checking his vegetable garden Doing: checking email on a laptop
Thinking: who stole my carrots Thinking: This is very bad news
Feeling: angry and upset Feeling: disappointed and worried
Where: in his garden Where: in his office
When: autumn morning When: early morning
Who: a teenage boy Who: a toddler
Doing: playing a bass guitar Doing: banging on everything like a drum
Thinking: I am so good at this Thinking: It is great to make a noise
Feeling: proud and excited Feeling: happy
Where: in his bedroom Where: in the kitchen
When: early summer evening When: early evening in winter
Who: a model Who: a scientist
Doing: modelling designer clothes Doing: a science experiment
Thinking: I feel so beautiful Thinking: I’ve discovered something new
Feeling: attractive and confident Feeling: amazed and excited
Where: on a runway Where: in a laboratory
When: winter When: late on a summer night
Who: a surgeon Who: a blind person
Doing: an operation Doing: walking to the library
Thinking: Oh no, I can’t save his life Thinking: I know this route very well
Feeling: upset and worried Feeling: confident and happy
Where: in the theatre Where: on the pavement
When: winter When: early morning
Who: a trader Who: a chef
Doing: selling goods Doing: grilling burgers and steaks
Thinking: that guy stole something Thinking: Oh, the orders are piling up
Feeling: angry Feeling: rushed and stressed
Where: at a stall on the side of the road Where: in a restaurant kitchen
When: lunch time When: evening
Who: a teenager Who: a teenager
Doing: speaking on a cell phone Doing: listening to music on MP3 player
Thinking: She is really cross with me Thinking: This is my favourite song
Feeling: sorry for what you did Feeling: scared of getting into trouble
Where: on a train Where: in school hall during assembly
When: winter evening When: spring morning

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FORMAL ASSESSMENT 321

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 Term 1: Unit 8
Performing careers worksheet
Match the different kinds of actors with the definitions.

Kind of actor Definition

1. Main, lead, starring,

a. Acts in dangerous or risky scenes.
principal actor

b. Acts in a non-speaking role, usually in the

2. Co-star
background or as part of a crowd.

c. Acts in a role that is fairly important but is

3. Supporting actor
not the most important role.

d. Acts as one of the main actors in a

4. Understudy, stand-in
production.

e. Acts in a very small role with no spoken

5. Bit player
lines.

6. Walk-on actor f. Acts in advertisements.

7. Background artist, g. Acts in a very small role with no more than

extra six spoken lines (also called ‘under sixes’).

8. Voice actor, voice h. Acts in productions used for training and

artist educating others.

i. Acts in scenes that need special skills such

9. Commercial actor as dancing, skating or playing the piano.
Can also act in scenes requiring nudity.

j. Acts in the most important role in a

10. Educational actor
production.

k. Acts using only movement, gestures and

11. Mime actor facial expressions. Does not speak and
often has few or no props.
l. Acts when a main or supporting actor
12. Photo double cannot perform because he/she is ill or
injured.
m. Acts when setting up scenes in films and
13. Stunt actor, stunt
to speed up filming. Also acts in scenes
double
with twins.

n. Provides voices for animated characters,

14. Body double radio dramas, advertisements, dubbed
foreign language films and video games.

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322 FORMAL ASSESSMENT

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 Term 2: Mid-year written examination
CREATIVE ARTS: DRAMA

Time: 30 minutes.
Memorandum on
Marks: 10 marks – counts 5% towards year mark.
page 338
Instructions: Work on your own. Answer all the questions.
1. What does improvisation mean?

(1)
2. What are two voice modulation techniques that actors can use?
Explain each one and give examples to show how it can be used.
Modulation technique Explanation and examples

(2)
3. How can actors use different levels?

(2)
4. Select one type of theatre layout.
a. Sketch the theatre and the stage area.
b. Write a heading for the type of stage you have drawn and label
the different areas.
Heading:

(4)
c. Explain how the audience views this type of stage and what
this means for the actors.

(1)
[Total marks: 10]

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FORMAL ASSESSMENT 323

CA (7ENG).indb 323 6/5/13 8:01:55 PM

 Term 4: End-of-year written
examination
CREATIVE ARTS: DRAMA

Time: 40 minutes
Memorandum on
Marks: 20 marks – counts 20% towards year mark.
page 339
Instructions: Work on your own. Answer all the questions.

Section 1: Drama elements

1. Give examples of four warm-ups that are aimed at physical
development.

(2)

2. What does characterisation mean in drama?

(2)

3. Name two voice modulation and expression techniques you have

used. Explain why you used these techniques.

(2)

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324 FORMAL ASSESSMENT

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 4. Explain two ways in which you have used your body to tell the
story in Drama.

(2)
5. Explain a storytelling technique you used in Drama. How
successful were you and how could you improve in future
performances?

(2)
[Total: 10 marks]

Section 2: Careers
1. Write a short paragraph explaining what the following people do:
a. Master-of-ceremonies

(2)
b. drama therapist

(2)

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FORMAL ASSESSMENT 325

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 c. radio or television presenter

(2)
[Total: 6 marks]

2. Explain the role of either the director OR the producer in a

production. (Just choose one!)

(4)
[10 marks]
[Total: 20 marks]

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326 FORMAL ASSESSMENT

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 Term 2: Mid-year written
assignment/examination
CREATIVE ARTS: MUSIC

Marks: 10 marks
Memorandum on
Instructions: Work on your own. Answer all the questions.
page 340

1. Complete the table below. (5)

Table 1: Duration
Name of note Note value Symbol
Crotchet
Minim
Semibreve
Quaver
Semiquaver

2. What is a dotted note? (1)

3. Complete the table below. (6)

Table 2: Dotted notes
Name of note Note value Same as:
Dotted minim
Dotted quaver
Dotted semibreve

4. How many crotchets are there in a dotted minim? (1)

5. How many semiquavers are there in a dotted quaver? (1)

6. Draw the pitches of A, B, C, D, E, F and G on a musical stave

with a treble clef and quadruple meter. (5)
7. Give the correct musical terms for the following: softly; at a
medium volume. (1)
(20 ÷ 2 = 10 marks)
[Total: 10 marks]

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FORMAL ASSESSMENT 327

CA (7ENG).indb 327 6/5/13 8:01:55 PM

 Term 4: End-of-year written
examination
CREATIVE ARTS: MUSIC

Time: 40 minutes
Memorandum on
Marks: 20 marks – counts 10% towards year mark
page 341
Instructions: Work on your own. Answer all the questions.

1. a. Group the instruments in the list below into one of the

categories on the table, according to their normal role in an
ensemble. Some instruments might be able to perform more
than one role. (16)
b. Add one more instrument to each category. (4) (20)

Chord/strings Melody Bass Percussion

djembe drum; electric bass guitar; vibraphone; banjo; electric

keyboard; natural horn; piano; accordion; mouth organ; tuba;
marimba; harp; cymbals; guitar; voice; bass drum

2. Tick whether the statements below are True (T) or False (F). (10)

Statement True False

a. There are 12 octaves between the low G and the
high G.
b. A slur shows that two or more notes must be
played as separate notes.
3
c. ​ __
4 ​time is the most commonly used meter in
house music.
d. Polyrhythm is when more than one note is
played at the same time.
e. Texture describes the way that meter, tempo,
rhythm, melody, harmony, instrumentation and
dynamics are combined in a piece of music.

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328 FORMAL ASSESSMENT

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 Statement True False
f. Timbre describes the instruments in an
orchestra that play the loudest.
g. There are eight main voice types in singing
which represent the upper and lower pitch
ranges of the female and male voice.
h. Resonance is when you sing in tune at the
correct pitches.
i. A scale is made up of pitches put together in a
row.
j. Descant is the highest pitch sung in part singing.

3. Choose five false statements above to correct. (10)

(40 ÷ 2 = 20 marks)
(Total: 20 marks)

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FORMAL ASSESSMENT 329

CA (7ENG).indb 329 6/5/13 8:01:55 PM

 Term 2: Mid-year examination
CREATIVE ARTS: VISUAL ARTS

Marks: 10 marks
Memorandum on
Instructions: Work on your own. Make a Visual Arts poster.
page 342
Equipment: a big sheet of cardboard/paper, poster size; old
magazines; koki pens/ crayons/paints; glue; scissors

1. Make a poster which briefly describes and shows what these

terms mean:
a. Art elements, including line, tone, texture, shape, form, space,
colour (4)
b. Design principles, including balance, contrast, emphasis,
proportion, pattern, rhythm, unity and variety. (4½)

2. In your poster, make sure you do the following:

a. Draw or cut out pictures from old magazines to illustrate the
terms. (7½)
b. Use the headings, Art elements; and Design principles and
label each term. (2)
c. Be as creative, but as neat, as possible. (2)

(20 ÷ 2 = 10 marks)
[Total: 10 marks]

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330 FORMAL ASSESSMENT

CA (7ENG).indb 330 6/5/13 8:01:55 PM

 Term 4: End-of-year written
examination
CREATIVE ARTS: VISUAL ARTS

Time: 40 minutes
Memorandum on
Marks: 20 marks – counts 10% towards year mark
page 343
Instructions: Work on your own. Answer all the questions.

1. Choose the correct underlined word in the sentences.

a. A line drawing of a flat square is an example of a
two-dimensional/three-dimensional artwork piece.
________________________________________________
b. Light empty place in or around an image in a picture or a
work of art is called positive/negative space. ______________
c. Two primary colours and the secondary colour in-between are
called the tertiary/related colours. ______________________
d. The balance in an artwork that comes out from a central point
is called radial/focal point. ___________________________
e. A mask should be symmetrical/balanced. ________________
f. Monochromatic/tint is when you add white and black to a
single colour. __________________________________ (6)

2. You are asked to create a craft, such as a container. Explain two

techniques you could use.  (2)

3. The South African artist, George Pemba was known as a social

historian. Explain what a social historian is, and how Pemba used
his artwork as a social historian.  (2)

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FORMAL ASSESSMENT 331

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 4. Mention four modelling techniques used to create clay or
earthernware pieces.  (2)

5. Briefly explain these terms:

a. etching
b. symbolic language in art
c. good craftsmanship
d. wet drawing media
e. critical thinking  (5)

6. What does tonal range of colour mean? How do you create a

range from light to dark tones? (3)

[Total: 20 marks]

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332 FORMAL ASSESSMENT

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 4. Resources
1. CD: List of tracks 334
2. Memoranda for Examination papers 335
3. E
 xamples of generic assessment
tools  344
4. Lesson plan template  348
5. E
 xample lesson plans for each
Creative Arts art form  349
6. Other resources 353

333

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 1. CD: List of tracks

This Teacher’s Guide comes with a CD that provides music tracks for
some of the Music and Dance lessons.

Here is a summary list of the tracks on the CD.

Track number Track name or title of song

1. Gumboot dance music
2. African drumming music
3. Rap music
4. Orchestral music
5. Rock music
6. Classical chamber music
7. String quintet music
8. Hip hop music
9. Electronic music
10. Kwaito music
11. Rhythm & Blues
12. Kwassa kwassa music
13. Indian pop music
14. Western pop music: Give it Up
15. Siyahamba
16. Amazing Grace
17. Somagwaza
18. Hey Motswala
19. Reggae music
20. African jazz music
21. Music from a musical
22. Opera music
23. National Anthem
24. Shosholoza
25. Warm-up: high beat music
26. Warm-up: sequence 1
27. Warm-up: sequence 2
28. Cool-down: music 1
29. Cool-down: music 2
30. Cool-down: music 3
31. Pantsula dance music
32. Breakdance music
33. Kwela music
34. Zulu war dance music

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 2. Memoranda for Examination papers

Term 2 Written test: Memorandum

CREATIVE ARTS: DANCE

Examination on ​ 12 ​point for each term correctly described and __

Give learners __ ​ 12 ​point for
page 313 each example of each term provided.

Marking memorandum Marks

Learners may have mentioned one or more of the following points for Description Example
each dance term (in their own words):
1. Warm-up: Exercises which prepare the body and muscles to work
harder than normal; prevents injury; increases your heart rate; __1 __1
​ 2 ​ ​ 2 ​
provides the body with more oxygen; improves your posture
2. Elements of dance: The tools that are put together in different
ways to make up a dance. They include space, time, energy/force 1 __1
​ __
2​ ​ 2 ​
and relationship.
3. Force: The amount of energy you put into your movements to 1 __1
​ __
2​ ​ 2 ​
make them more alive, noticeable and beautiful.
4. Posture: The way you carry your body; it improves your balance;
gives you agility; protects the surfaces of your joints; helps you
carry your body in a way that does not put strain on your bones,
muscles and ligaments; helps you use your muscles properly so
that you use less energy and do not become tired so quickly; 1 __1
​ __
2​ ​ 2 ​
improves your appearance.
5. Relationships: The connection between the elements and how
they are put together to form a dance composition or a story with 1 __1
​ __
2​ ​ 2 ​
a beginning, middle and end.
6. Core muscles: The muscles in your abdomen or stomach, lower
back and pelvis. They keep your posture and alignment stable or 1 __1
​ __
2​ ​ 2 ​
balanced.
7. Cool-down: To do slower exercises to help your heart rate and
breathing slowly return to normal; it helps avoid fainting or
dizziness; it prepares your muscles for your next exercise session;
it removes any waste products from your muscles that may have 1 __1
​ __
2​ ​ 2 ​
accumulated during your work-out.
8. Locomotor movement: To move the body as a whole from one
place to another.
Examples: skipping, hopping, running, gliding, leaping, jumping 1 __1
​ __
2​ ​ 2 ​
and walking.
9. Spotting: To keep your eyes fixed on one spot during turning so
that you do not become dizzy but maintain control of your body.
You locate a spot in the distance and keep your eyes glued to that
spot as you turn. When you need to turn your head, turn it around 1 __1
​ __
2​ ​ 2 ​
quickly, and find the same spot again.
10. Safe landing: To land safely after doing jumps, in the order of —
toe, ball, heel and bend (knees). This prevents shock and injury to 1 __1
​ __
2​ ​ 2 ​
your feet, ankles, knees and spine.
Total 10
[Total: 10 marks]
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RESOURCES 335

CA (7ENG).indb 335 6/5/13 8:01:55 PM

 Term 4 End-of-year written
examination: Memorandum
CREATIVE ARTS: DANCE

Examination on Marking memorandum Marks

pages 314–315 1. Warm-up is important because:
• it prepares the muscles to work harder than
normal
• it improves your posture and alignment
• it prevents injuries
• it increases your heart rate and makes blood flow
quickly to your muscles
• it gives your muscles more oxygen for heavier or
harder movement
Give learners 1 mark for each reason mentioned (x 4); or
for other important reasons not listed here. 4

2. Cool-down is important because:

• it helps your heart rate and breathing return to
normal
• it can prevent fainting or dizziness, which can happen
if you suddenly stop exercising
• it prepares your muscles for your next exercise
session
• it removes waste products from your muscles that
may have collected there during your work-out.
Give learners 1 mark for each reason mentioned (x 4); or
for other important reasons not listed here. 4

3. Good posture and alignment:

• protect the surface of your joints and stop them
from wearing out
• help you carry your body in a way that does not
put strain on your bones, muscles and ligaments
• help you use your muscles properly so that you
use less energy and do not become tired quickly
• improve your appearance.
Give learners 1 mark for each reason mentioned (x 4); or
for other important reasons not listed here. 4

4. a. Strong movements use high energy and show off

your physical build and strength.
b. Heavy movements are bold, confident and big
movements, e.g. stamping the feet or banging on
the floor.
c. Free flow movements are easy movements that
allow the smooth transitions from one movement
to something completely different without anyone
even noticing.
Give learners 1 mark for each movment mentioned (x 3). 3

5. a. shape
b. space
c. symmetrical and asymmetrical
d. composition
e. body-part isolation 5

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 Marking memorandum Marks
6. a. weight transfer
b. non-locomotor
c. identity
d. level
e. dance sequence 5

7. Answers will differ. Make sure that learners:

a. Give examples of different kinds of warm up
exercises, such as spinal rolls, side bends, arm
swings and rotations, locomotor and non-
locomotor movements, twists, bends, curls, leg
strengthening and knee mobilisations, floor work.
1
(2​ __
2 ​)
b. Explain the body part or muscle groups each
exercise targets, e.g. legs, spine, core muscles,
1
joints, hips, feet, ankles, arms. (2​ __
2 ​) 5
8. Answers will differ, but should include the following
points about dance:
– it helps you to tell your story and history
– it helps you to explore your identity
– it helps you to express your feelings
– it can unite people who come from different
groups
– it can help people create a new identify and sense
of belonging
– it can remind you of where you come from, your
home, family and culture.
Examples could include (among others): gumboot dance,
‘Spirit of Unity’, ‘Toyi Toyi’, ‘pantsula’. 10

Total 40
(40 ÷ 2 = 20 marks)
(Total: 20 marks)

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RESOURCES 337

CA (7ENG).indb 337 6/5/13 8:01:55 PM

 Term 2 Mid-year assignment (Part 2):
Memorandum
CREATIVE ARTS: DRAMA

Examination on Marking memorandum Marks

page 323 Question 1
The answer shows that the learner understands that improvisation
is when you make up your own story to act out or that there is little
planning, preparation or rehearsal.
1
Give learners 0 marks for no or incorrect understanding, __
​  ​mark for
2
some understanding, 1 mark for an excellent answer. 1
Question 2
Accept any two of these voice modulation techniques with a good
explanation and/or relevant example of how it can be used:
pace (speed), pitch (high, medium, low), volume (loudness, softness),
inflection (rising, falling), pause (break or silence), emphasis (stress
or highlight), tone-colour (emotion, mood or attitude).
Refer to pages 124—125 in the Learner’s Book for more detailed
explanations and relevant examples.
Give learners 1 mark for each aspect with a clear explanation OR
relevant example. 2
Question 3
Answer indicates an understanding that ‘level’ refers to the height
of the actors in relation to the floor or in relation to other actors,
e.g. actors can sit or lie on the floor, kneel, sit on chairs of various
heights, stand or be raised on other set pieces or furniture. The
learner could also say that levels can be used to:
• show the relationships between characters, e.g. power
• show emotions
• make interesting visual pictures for the audience
• create a focal point.
Give learners 0 marks for no understanding, 1 mark for a reasonable
answer, 2 marks for an excellent answer. 2
Question 4
a) Sketch
Learners can sketch a proscenium (end-on stage), a thrust stage, a
combination proscenium/thrust stage, an arena stage (theatre-in-
the-round) OR a flexible stage.
Give learners 0 marks for unrecognisable sketch, 1 mark for
incomplete/inaccurate sketch, 2 marks for excellent sketch.
b) Heading and labels
Appropriate heading
Labels can include: house/audience, stage/performance space/area,
positions on the stage, apron, curtains, wings, orchestra pit, light
and sound booth, crossover
1
Give learners __
​ 4 ​mark for the heading and per label up to 2 marks.
c) Audience view of the stage
Explanation of how the audience views the stage (e.g. from one side,
from three sides, from all sides, from various sides, etc.) and what this
means for the actors (e.g. facing or with their backs to some of the
audience, exits and entrances, use of the stage, creating focal points, etc.).
1
Give learners 0 marks for no or incorrect answer, __ ​  ​mark for some
2
understanding, 1 mark for excellent answer. 5
Total marks for Part 2 10
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 Term 4 End-of-year written
examination: Memorandum
CREATIVE ARTS: DRAMA

Marking memorandum Marks

Examination
Section 1: Drama elements
on pages
Question 1
324–326 Learners should mention four physical warm-ups done during the year, e.g. mirror work,
lead and follow, imagery, reach for the stars, spinal curl, rag-doll, march/stroll, body
swings, wedding march etc.
1
Give learners __
​  ​mark for each warm-up given.
2 2
Question 2
Answers should mention both physical and vocal characterisation, building the voice
and movements of the character.
Give learners 0 marks for little, no or incorrect understanding, 1 mark for some
understanding and 2 marks for excellent understanding. 2
Question 3
Learners should name two of the following: pitch, pace, volume, inflection, emphasis,
tone-colour. Accept answers that do not use the term but still describe the technique, e.g.
speed, loudness/softness. They should also explain why they chose to use each technique.
1 1
Give learners __
​  ​mark for each technique given __
2
​  ​mark for each explanation of their choice.
2 2
Question 4
Learners can explain any two of the following: movement, body language, gestures,
facial expressions or eye contact.
Give learners 1 mark each. 2
Question 5
Learners should explain a storytelling technique they used, e.g. structure (beginning/
middle/end), climax, dramatic tension, narrative, dialogue, etc.
1 1
Give learners 1 mark for technique mentioned and context, __​  ​mark for self-evaluation, __
2
​  ​
2
2
mark for ideas for improvement. [10]
Section 2: Careers
Question 1
Learners should write three short paragraphs to explain what each career entails.
Give learners 2 marks per paragraph – 0 marks for little or no understanding, 1 mark for
some understanding and 2 marks for an excellent understanding.
Question 2
Learners must write on one career only.
Role of the director
Learners can mention some of these roles: Oversee the actual stage production,
interpret the drama, lead the members of the creative team to develop the artistic
vision for the drama, work with the writer on developing the script, instruct the actors
on their expression and blocking, manage rehearsals, etc. OR
Role of the producer
Learners can mention some of these roles: Manage the production from script creation
to final closure; oversee all aspects of the production; employ and manage the creative
team, marketing team and administrative staff; communicate with and support
everyone involved in the production; manage the writing of a new script and musical
score; manage the budget and source additional funding (if necessary); develop a
marketing and advertising strategy; arrange performance venues, dates and times; set
ticket prices; manage local and tour logistics such as travel and accommodation; solve
problems as they arise; prepare financial statements after the production; complete all
arrangements after the production.
Give learners 0 marks for no understanding, 1 mark for poor understanding, 2 marks for fair 4
understanding, 3 marks for good understanding and 4 marks for excellent understanding. [10]
Total marks 20
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RESOURCES 339

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 Term 2 Mid-year examination:
Memorandum
CREATIVE ARTS: MUSIC

CAG7p305 number 1
Marking memorandum Marks
Examination
1. Table 1: Duration
on page 327
Name of note
CAG7p305 number 1
Note value Symbol
Crotchet 1
CAG7p305 number 1     
Minim CAG7p305 number 1 2


CAG7p305 number 1
       
Semibreve

Quaver
  
4

__1
​ 2 ​beat
 
   
Semiquaver

Give learners __
1
__1
​ 4 ​beat  
​ 2 ​mark for each correct note value and symbol given.

 
2. A note that makes any note longer by half or that you old 50% longer than you
normally would.
Give learners 1 mark for the correct answer.
5

3. Table 2: Dotted notes

Name of note Note value Symbol

 Name of note
Dotted minim
Dotted quaver
Note value
1
1​ __
2 ​minims (3 beats)
1
1​ __
3
__
Same as (note):
3 crotchets
3 semiquavers
2 ​quavers (​ 4 ​beats)
1
Dotted semibreve 1​ __ 3 minims
1
CAG7p305 number 6
2 ​semibreves (6 beats)

Give learners ​ __

2 ​mark for each correct answer. 1
4. 3 crotchets 1
5. 3 semiquavers
6.

4              1

C D E F G A B C D E F G A
1 1 4 1
Give learners __
​ 2 ​mark for the treble clef; __ ​ 2 ​mark for the __
​ 4 ​time; and __
​ 2 ​mark for each
1 __1
of the 7 pitches (3​ __)
​
2 2 ; ​  ​ mark for the musical stave. 5
7. piano (p); mezzo forte (mf) 1
1
Give learners __
​ 2 ​mark for each correct answer.
Total 20


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(20 ÷ 2 = 10 marks)
(Total: 10 marks)

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 Term 4 End-of-year examination:
Memorandum
CREATIVE ARTS: MUSIC

Examination on
pages 328–329

Marking memorandum Marks

1. a. Give learners 1 mark for each instrument correctly listed in one of the
categories on the table. (16)
b. Give learners 1 mark for each example of their own they list. (4)

Chord/Chordal Melody Bass /rhythm Percussion

electric natural horn electric bass djembe drum
keyboard guitar
piano guitar tuba marimba
banjo voice bass drum cymbals
guitar harp vibraphone
accordion mouth organ
20
2. a. F; b. F; c. F; d. F; e. T; f. F; g. F; h. F; i. T; j. T
Give learners 1 mark for each correct answer. 10
3. Learners could choose any five of the seven False statements to correct.
Give 2 marks for each statement they correct, correctly.

a. There are 12 semitones between the low G and the high G/ between any two
of the same notes.
b. A slur shows that two or more notes must be played in a smooth, connect way
and not as separate notes.
4
c. ​ __ ​time is the most commonly used meter in house music.
4
d. Polyrhythm is when two or more different rhythms are played at the same
meter, at the same time.
f. Timbre describes the kind of instruments playing and what they sound like/
the tone or ‘colour’ of a sound.
g. There are seven main voice types in singing which represent the upper and
lower pitch ranges of the female and male voice.
h. Resonance are the vibrations or buzzing you feel in different body parts when
you use your voice, e.g. in the roof of your mouth, teeth, lips, nose, forehead,
cheeks. 10
Total 40
(40 ÷ 2 = 20 marks)
[Total: 20 marks]

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 Term 2 Mid-year examination:
Memorandum
CREATIVE ARTS: VISUAL ARTS

Examination on
page 330

Marking memorandum Marks

1. a. Art elements: the tools used to create artwork.
– Line: A continuous mark on the page.
– Tone: The lightness or darkness of a colour.
– Texture: How something feels.
– Shape: A 2D flat space enclosed by a line.
– Form: A 3D shape that has height, width and thickness.
– Space: The area around, between and within the images of your pictures.
– Colour: Created when light strikes an object and the image and light is
reflected back to the eye.
1 __1
Give learners ​ __
2 ​point for the description of art elements; and ​ 2 ​point for each of the
elements mentioned and briefly described. 4
b. Design principles: the basic units that make up any artwork.
– Balance: using line, shape and colour
– Contrast: To put different elements next to each other to make something
easier to see.
– Emphasis: To make certain parts of the artwork stand out.
– Proportion: The size or position of one object in relation to another.
– Pattern: Repetition of a line, shape of colour.
– Rhythm: Repeated art elements and patterns.
– Unity: When the different parts of an artwork come together as a whole.
– Variety: To make something in the artwork look different to the rest.
1 1
Give learners __
​ 2 ​point for the description of design principles; and __
​ 2 ​point for each of
1
the principles mentioned and briefly described. 4​ __
2​
1
 ive learners __
2. a. G ​ 2 ​point for each illustration/picture of the seven art elements
1
and eight design principles. 7​ __
2​
b. Give learners 2 points for the use of headings and labels. 2
c. Give learners 2 points for neatness and creativity. 2
Total 20
(20 ÷ 2 = 20 marks)
[Total: 10 marks]

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 Term 4 End-of-year written
examination: Memorandum
CREATIVE ARTS: VISUAL ARTS

Examination on
pages 331–332

Marking memorandum Marks

1. a. two-dimensional
b. positive
c. related colours
d. radial
e. symmetrical
f. monochromatic
Give learners 1 mark for each correct word. 6
2. Craft techniques:
a. Construction: building, creating and assembling pieces together.
b. Pasting: gluing pieces together.
c. Wrapping: covering something with various materials
d. Tying: fastening pieces securely together.
e. Joining: connecting or linking pieces.
1
Give learners ​ __
2 ​mark for any two techniques mentioned and correctly described. 2
3. A social historian is someone who documents what is happening at a particular
time and place and how he/she experiences these events. George Pemba used
his art as a way of recording and expressing what he thought and felt about what
was happing in South Africa, especially during the Apartheid era.
Give learners 1 mark for explaining social historian; and 1 mark for explaining how
Pemba used his artwork as a social historian. 2
4. Modelling techniques: rolling, pinching, surface texture/decoration, joining
1
Give learners __
​ 2 ​mark for each technique mentioned. 2
5. a. etching: to scratch, scrape or engrave out a design
b. symbolic language in art: how the artist has included meaning in the work
through the use of art elements, or design principles, or symbolic objects
included in the piece
c. good craftsmanship: working neatly and carefully, using tools safely and
sharing resources
d. wet drawing media: drawing materials that are wet, such as paints, inks, dyes,
food colouring
e. critical thinking: to reflect on something, gather information about it, analyse
the information, interpret and assess something, come to a fair conclusion or
solution, communicate the solution or conclusion
Give learners 1 mark for each correctly explained term. 5
6. Tonal range of colour means a range from light to dark tones. For lighter tones,
add white to each colour (to create tints); and for darker shades, add black to
each colour.
1 1
Give learners ​ __
2 ​mark for the explanation of tonal range of colour; __
​ 2 ​mark for
1__ 3
creating tints/lighter tones; and ​ 2 ​mark for creating shades or darker tones.
Total 20
[Total: 20 marks]

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 3. Examples of generic assessment tools

On the pages which follow are examples of practical assessment tools

or instruments which you can adapt and use for particular tasks in the
various art forms.

Example 1: Observation Form

Assessment criteria Learner 1 Learner 2 Learner 3 Learner 4

1. Terminology and literacy
Understands and uses terminology and
concepts appropriately
Demonstrates importance of concepts and
content
Shows concern for others, and for the
environment
2. Group work
Works well with others in a group
Develops communication skills — listens,
focuses, participates in discussions
3. Performance
Improvises/composes/designs
Explores own skills, knowledge and values
Explores use of different elements and/or
media/instruments
Performs solo
Performs as part of a group
4. Critical reflection
Critically reflects on own and others work,
using appropriate terminology
Reflects and provides feedback about own and
others work with sensitivity
Overall comments
(good ideas, things to improve)

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 Example 2: Observation Form

Assessment criteria Learner 1 Learner 2 Learner 3 Learner 4

1. Develops own talent/aptitude/enthusiasm for
art form
2. Develops an awareness of arts across diverse
cultures
3. D
 evelops an understanding of a range of
careers in the arts
4. Develops arts literacy and appreciation
5. Develops life skills through the arts
6. Learns new concepts and skills
7. Increases vocabulary in the arts form
8. Increases the ability to listen well, respond to
instructions and work with others
9. Increases skill in the arts form
10. Increases confidence, self-discipline, focus
and creativity

Example 3: Practical assessment instrument

Assessment criteria Possible Learner 1 Learner 2 Learner 3

marks
1. Classwork
• Memory of exercises 2
• Safe use of space/environment/tools/
equipment 4
• Level of complexity reached 2
2. Group work
• Works well as part of a team 2
• Develops communication skills 2
• Listens and focuses 2
3. Performance
• Practices/rehearses 2
• Uses art form elements and structures 2
• Confidence in performing 2
Total 20

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 Example 4: Rubric for a performance and
corresponding assessment instrument

Assessment criteria 10—8 6—7 4—5 1—3

1. Art form development Outstanding Good Average Poor
Does vocal/physical warm-up/
uses elements or principles of
art form/rehearses/practises
2. Develops creativity Extremely Interesting, Fairly Not very
Shows creativity, originality and interesting, clear interesting, interesting,
innovation clear clear clear
Gives personal interpretation Extremely Interesting, Fairly Not very
(using appropriate terminology) interesting, clear interesting, interesting,
clear and well- clear clear
and well- structured and well- and well-
structured structured structured
3. Communication skills Excellent Good Fair Poor
Listens to others, concentrates,
acts and reacts
4. Art work piece/performance Exceeds Meets Partially Does not
Follows brief; work is delivered expectations expectations meets meet
confidently, with good expectations expectations
techniques
6. Reflection and feedback Excellent Good Fair Poor
Critically reflects on own and
others work, using appropriate
terminology
Reflects on and provides Excellent Good Fair Poor
feedback about own and others
work with sensitivity
7. Performance Exceeds Meets Partially Does not
Explores own skills, expectations expectations meets meet
knowledge and values through expectations expectations
improvisation/performance/work
Works on own/solo Outstanding Good Fair Poor
Works well as part of a group Exceeds Meets Partially Does not
and contributes to the success expectations expectations meets meet
of the group work expectations expectations
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)
* Use the rubric to allocate marks for each learner.

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 Example 5: Assessment instrument to go with
Example 4 (for individual learners)

Assessment criteria

Learner 4

Learner 5
Learner 2

Learner 3
Learner 1
1. Art form development
Does vocal/physical warm-up/uses elements or principles of art
form/rehearses/practises
2. Develops creativity
Shows creativity, originality and innovation
Gives personal interpretation (using appropriate terminology)
3. Group dynamics
Works well as part of a group and contributes to the success of the
group work
Listens to others, concentrates, acts and reacts
4. Art work piece/performance
Follows brief; work is delivered confidently, with good techniques
5. Reflection and feedback
Critically reflects on own and others work, using appropriate
terminology
Reflects on and provides feedback about own and others work with
sensitivity
6. Performance
Explores own skills, knowledge and values through improvisation/
performance/work
Works on own/solo
Sub-total (100 ÷ 5 = 20)
Total (20 ÷ 2 = 10 marks)

* Refer to the rubric to allocate marks for each learner.

Example 6: Checklist for teacher or peer assessment

Criteria Yes Maybe/ No

sometimes
Was the brief followed?
Was the purpose of the work clear?
Were elements/principles used appropriately?
Was the quality of work good?
Did the learner work well with others?
Did the learner work well alone?
Did the learner work safely?
Did the learner show sensitivity to others and towards the
environment?
Was the learner confident?

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 4. Lesson plan template

Topic of lesson:

Time:

CAPS Annual Teaching

Plan content:

Resources:

The lesson
Introduction

Main part of lesson:

Conclusion

Informal assessment:

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 5. Example lesson plans for each Creative Arts art form

Sample lesson plan for Grade 7 Drama

Topic of lesson: Drama elements in cultural and social events

Time: Term 3: Week 5: 1 hour
CAPS Annual Topic 1: Dramatic skills development
Teaching Plan Teacher-devised warm-up routine. Build on the warm-up routine of Term 2 adding new
content: exercises in each area
Vocal development
• Relaxation exercises, breathing exercises, resonance exercises, articulation exercises
Physical development
• Physical loosening up and energising of the body
• Trust exercises in partners and small groups
• Mirror work (using slow, controlled mirroring of narrative mime sequences)
• Lead and follow movements in pairs, small groups and as a class
Topic 2: Drama elements in playmaking
Focus on drama elements in cultural and social events, compared to their use in theatre, and
create a drama using a cultural or social event as stimulus:
• Actors (the people involved in the activity, who have specific roles to fulfil)
• Audience (the people watching or participating from the sidelines)
• Space (arrangement of the space to accommodate all the participants/audience)
• Time (certain times only; of a particular duration)
Resources: • Board and chalk: write up seven parts of forest story: forest; key; container; water; dog; hut;
bridge
• Tense and relax and Forest scene story (TG p. 201)
Plans for inclusivity and diversity:
• Groups to have an equal spread of boys and girls.
• Jacob to be in the same group as his buddy Janine.
The lesson
Introduction: Check everyone has completed the career tasks from Unit 4.
Take in learner’s writing from Unit 4, Activity 1 and let learners share their career information
from Unit 4, Activity 2. (15 minutes)

Read and discuss first paragraph on p. 187 of Learner’s Book

Warm-up, Activity 1: Imagine a forest… (15 minutes)
Main part of the Explain South Africa’s rich cultural heritage (2 minutes)
lesson: Activity 2: Select a cultural or social event (10 minutes)
Make sure each group has agreed on an event to perform.
Discuss drama elements used in cultural/social events (3 minutes)
Activity 3: Identify the dramatic elements in a cultural/social event (15 minutes)
Check all groups are on track and ask them to complete the table in rehearsal time this week.
Activity 4: Compare the drama elements in an event and theatre performance (10 minutes)
Explain the activity clearly. Let groups do the first three examples. Check that they know what
to do and ask them to complete table in rehearsal time this week.
Conclusion: Summarise the lesson: (2 minutes)
Reiterate that South Africa has a rich cultural and social heritage. Remind learners that
cultural/social events are not drama but that they have some of the same elements as those
used in drama.
Summarise tasks: (3 minutes)
Learners are to complete Activity 3 and 4 this week. Check if any learners have questions on
how to complete the table.
Any learners who did not complete Unit 4, Activities 1 and 2 should do so this week.
Informal Activity 1: Observe learners to check they are doing all seven parts of the forest scene warm-up.
assessment: Activity 2: Check all learners are participating in the group discussion and in the selection of a
cultural/social event to perform.
Activities 3 and 4: Check that all groups are managing to complete the table and understand
what to do to complete it in their rehearsal time this week.

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 Sample lesson plan for Grade 7 Dance

Topic of lesson: Unit 6 Jump, turn, spot

Time: Term 2: Week 6: 1 hour
CAPS Annual Topic 1: Dance performance
Teaching Plan Warm-up exercises, focusing on posture and alignment
content: Floor work for core stability, strength and flexibility: flexing and stretching feet, inward and
outward rotation of the legs from the hip joints, strengthening and mobility exercises for feet,
legs and hips, strengthening exercises for abdominal and spinal muscles
Arm movements to develop mobility, co-ordination and control
Body-part isolations: head, shoulders, torso and hips
Transference of weight forward and backward
Small jumps off two feet, changing direction with emphasis on safe landings (toe–ball–heel–bend)
Introduction to principles of spotting during turning movements
Topic 3: Dance theory and literacy (integrated into Topics 1 and 2)
Dance terminology
Importance of spotting during turning movements
Resources: Music system with CD player/iPod; CDs or percussion instruments
Plans for inclusivity and diversity:
Groups to have an equal spread of boys and girls
The lesson
Introduction: Read and discuss the first two paragraphs on p. 100 of Learner’s Book.
Activity 1 Practise safe jumps and turns (15 minutes)
Remind the learners of the safe landing procedure they learnt in Term 1.
Let them practice their safe jumps and turns.
Watch that the learners are able to do the small jumps in different directions and that they are
able to land safely from these jumps.
Main part of the Explain the importance of spotting (2 minutes)
lesson:
Activity 2: Turn and spot
Learners do turns with spotting here. They need to ensure that they do not move their head
until the very last moment when they can no longer keep it fixed.
Activity 3: Learn a short movement sequence
This is where learners get to work on their own creating a short dance work using jumps, turns
spotting and the elements of space and time.
They will need to select some music that is appropriate and use it for their short
choreography.
Explain the activity clearly. Let groups do the first three examples.
Check that they know what to do and ask them to complete the table in rehearsal time
this week.
Conclusion: Summarise the lesson: (2 minutes)
Reiterate that their movement sequences should be smooth flowing from one movement to
another using jumps, turns and spots.
Summarise tasks: (3 minutes)
Learners are to complete Activity 3 and 4 this week. Check if any learners need help with
jumping, turning and spotting.
Informal Activity 1: Observe learners to check they are practise safe jumping and turning
assessment:
Activity 2: Check all learners are participating in the class activity in turning and spotting
Activity 3: Here you will watch for the following:
• creativity in the creation of movement
• turns using spotting
• use of the elements of space and time
• small jumps with change of direction.

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 Sample lesson plan for Grade 7 Music

Topic of lesson: Unit 4 African drumming

Time: Term 2: Week 7: 1 hour
CAPS Annual Topic 1: Music literacy
Teaching Plan • Letter names of notes on the treble clef
content: • Duration: Introduction of the dotted note
• Clapping or drumming short rhythmic phrases that use crotchets, minims, quavers dotted
minims and semibreves
• Pitch: Sight singing melodic phrases from known and unknown songs using tonic solfa
Topic 2: Music listening
• Active listening to a variety of recorded or live music by clapping or humming or moving
along
• Following simple musical scores while listening to music
• Listening to a variety of recorded or live music and describing the:
—— Meter of the music as duple (2 beats) or triple (3 beats) or quadruple (4 beats) time
—— Tempo (fast/slow; faster/slower)
—— Dynamics (soft/loud; softer/louder)
—— Meaning or story of the music
—— Lyrics of the music
Topic 3: Performing and creating music
• African drumming
• Creating own vocal and instrumental music in group and solo context:
—— Melodic repetition (vocal or instrumental)
—— Melodic question and answer (vocal or instrumental)
—— Rhythmic improvisation on African drums
Resources: Learner’s Book pages 142—145; any African drums, self-made drums or other objects to make
drum-sets with like desks, rulers or pencils
The lesson
Introduction: Do Activity 5 in Unit 1 (15 minutes)
Activity 5: Sing melodic phrases using tonic solfa
• Guide the learners in performing the solfa pattern accurately.
• Write D, R, M, S, DI on the board. Let learners sing the notes as you point to them.
• Let learners sing the patterns in the Learner’s Book.
Do Activity 4 no. 5 & 6 (15 minutes)
Activity 4: Compose and perform music that uses graphic scores
• Give them the opportunity to experiment freely and to be very creative.
• Learners do no. 5 and 6.
Main part of the Activity 1: Say and play the patterns (melodic repetition) (15 minutes)
lesson: • Set up the classroom by having the chairs in a circle.
• Familiarise and practise the three basic sounds on a drum.
• Make sure that the learners know which speaking sound goes with which sound on the drum.
• Now proceed to practise each rhythm pattern from a—f until all the learners know it well.
Activity 2: Drum melodic/rhythmic question and answer (15 minutes)
• Follow the instructions.
• Start off by doing easy question and answer patterns.
Conclusion: This lesson focuses on how to play the African djembe drums and the sounds you can make on
these drums.
Informal Activities 1—3: Learners can be assessed on their:
assessment: • skill of mastering the three drum techniques
• creativity of their question and answer rhythms
• solos that they play.

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 Sample lesson plan for Grade 7 Visual Arts

Topic of lesson: Unit 4 Create in 3D: Stick creatures

Time: Term 4, Weeks 7—9: 3 hours
CAPS Annual Topic 2: Create in 3D
Teaching Plan • Design: experiments with art elements and design principles in metamorphosis of a common
content: recyclable object
• Craft skills: good craftsmanship, unfamiliar and familiar techniques (pasting, cutting,
modelling, wrapping, tying, stitching, joining, scoring and other)
• Spatial awareness: conscious experience of working with shapes in the construction process
• Concern for the environment: use of recyclable materials
• Manipulation of a variety of materials
• Use of tools: safety, consideration of others, sharing resources
Resources: Learner’s Book pages 272—273; newspaper, recyclable materials, tape, string, scissors, craft
knives, glue
The lesson
Introduction: Activity 1: Create stick creatures (Week 7: 1 hour)
• Demonstrate how to roll a solid, well-constructed stick.
• Demonstrate a couple of different joining and construction techniques so that your learners
understand how to begin their stick creature.
Main part of the Activity 1: Create stick creatures (Week 8—9: 2 hours)
lesson: • Ask learners to create a basic body shape. Everything should be well joined and firmly
constructed.
• Once the basic body shape has been created remind your learners about various body
parts they could add — ears, nose, trunk, horns, wings, legs, scales, tails, claws, paws, fangs.
Encourage as much variety and creative thought as possible.
Conclusion: Learner create in 3D: Stick creatures
Informal • Display all the creatures.
assessment: • Ask learners to write down what they found easy in this activity, what they struggled with,
what they like about their work and what they would change next time. You can also ask
learners to give feedback about each others work, encourage positive, constructive feedback
at all times.

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 6. Other resources

You can use this section to file any additional resource material:
• List of useful websites
• Print outs of material from the Internet
• Copies of newspapers and magazines
• List of useful books

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 Formal Assessment Task 1: Answer sheet

5. Documents
You can use this section to file the Curriculum and Assessment Policy
Statement (CAPS) for Creative Arts (Grades 7—9) as well as other
documentation received from the Department of Basic Education.

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 Grade
Study & Master
7 Creative Arts
Study & Master Creative Arts has been especially developed by
an experienced author team for the Curriculum and Assessment
Policy Statement (CAPS). This new and easy-to-use course helps
learners to master essential content and skills in Creative Arts.

The comprehensive Learner’s Book:

• includes hundreds of good-quality illustrations, photographs
and diagrams in full-colour
• offers extended contents pages for easy daily planning
• explains key concepts as well as dance, drama, music and
visual arts terminology in accessible language
• includes a complete glossary
• provides for frequent consolidation in its Review and
Assessment tasks sections.

The innovative Teacher’s Guide includes:

• guidance on the teaching of each lesson of the year and on
assessment
• answers to all the activities in the Learner’s Book
• photocopiable tests and examinations
• photocopiable templates and resources for the teacher
• photocopiable consolidation, extension and revision activities
• a CD with recordings to support the Dance and Music topics.

Bernadia Virasamy attained MA Arts, Culture & Heritage Management and B Soc Sc (Hons). She has
lectured at Wits and University of Venda and is currently Director of Education at Moving into Dance
Mophatong, a training and development organisation. She was a member of the author panel for the
SAQA Level 5 dance teacher qualification. Gabby van Heerden FDE Education is HOD at Frank Joubert
Art Centre where she has been teaching Visual Arts for the last 15 years. She also writes children’s
books and educational text books. Joseph Bolton studied at UCT where he attained BMus Classical
Composition and PdM Jazz Performance. He does not only teach piano at Wynberg Girls’ High School
and to private students, but he also has extensive performance experience.

www.cup.co.za

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