Section A: Answers

Question Answer 21 D
1 C 22 D
2 B 23 B
3 D 24 B
4 A 25 C
5 B 26 D
6 C 27 C
7 C 28 B
8 C 29 C
9 B 30 B
10 A 31 C
11 B 32 B
12 C 33 C
13 B 34 C
14 C 35 C
15 C 36 B
16 B 37 B
17 C 38 B
18 C 39 C
19 B 40 A
20 B
SECTION B: STRUCTURED QUESTIONS (60 Marks)

PART 1: PERFORMING ARTS (20 Marks)

41. Mr. Juma, the music teacher at Namanga Primary School, has challenged his Grade 9 students to compose a
𝟐
four-bar rhythmic pattern in 𝟒 time signature. He emphasizes the importance of using a variety of note values

and rests to make their composition interesting.

2
a) Draw a four-bar rhythmic pattern in 4 time signature using crotchets, quavers, and their corresponding rests. (4 Marks)

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

Bar 1: Crotchet (♩), Crotchet (♩)

Bar 2: Quaver ( eighth note) - Quaver (eighth note) (joined), Crotchet Rest (♮)

Bar 3: Crotchet Rest (♮), Two Quavers (eighth notes) (joined)

Bar 4: Two Quavers (eighth notes) (joined), Crotchet (♩)

2
b) Explain the meaning of the top and bottom numbers in a 4 time signature. (2 Marks)

i. Top Number (2): This indicates that there are two beats in each bar.
ii. Bottom Number (4): This indicates that a crotchet (quarter note) receives one beat.

c) Besides rhythmic variation, state two other methods a composer could use to make a simple melody more interesting.
(2 Marks)

i) Melodic contour/shape: Varying the direction of the melody (e.g., ascending, descending, wavy, static) and the size
of the intervals between notes.

ii) Dynamics: Introducing changes in loudness or softness (e.g., crescendo, diminuendo, forte, piano).

iii) Tempo: Varying the speed of the music (e.g., accelerando, ritardando).

iv) Harmony/accompaniment: Adding chords or other instrumental parts to support the melody.

v) Timbre/Instrumentation: Using different instruments or vocal qualities to change the sound.

vi) Articulation: How notes are played or sung (e.g., legato - smooth and connected, staccato - short and detached).

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

42. The Grade 9 drama class at Marsabit Junior School is embarking on writing their own original play for the
school's annual drama festival. Ms. Akinyi, the drama teacher, first reminds them of the essential elements of
play that make up any good theatrical production.

a) Identify any three elements of play that Ms. Akinyi would likely discuss with her students. (3 Marks)

i) Plot: The sequence of events in the play, including the exposition, rising action, climax, falling action, and resolution.

ii) Characters: The individuals (or entities) who perform the actions and dialogue in the play.

iii) Theme: The central idea or underlying message of the play.

iv) Setting: The time and place where the play's events occur.

v) Dialogue: The spoken words exchanged between characters.

vi) Spectacle: All the visual elements of a production, such as scenery, costumes, props, lighting, and special effects.

b) Describe the process of writing a play from conception to a basic script, highlighting at least two key stages. (4
Marks)

i) Conception/Brainstorming: This initial stage involves generating ideas, developing a central theme, identifying
potential characters, and outlining a basic plot. It often includes brainstorming sessions, mind mapping, and free-writing
to explore different possibilities.

ii) Character Development: Creating detailed backstories, motivations, personalities, and relationships for each
character. This helps to ensure characters are believable and their actions are consistent.

iii) Plot Outline/Story Arc: Structuring the narrative, typically following a dramatic arc (exposition, rising action,
climax, falling action, resolution). This involves deciding on major plot points, conflicts, and turning points.

iv) Dialogue Writing: Crafting the spoken lines for each character, ensuring they sound natural, advance the plot, reveal
character, and convey the play's themes.

v) Scene Breakdown/Blocking: Dividing the play into scenes and acts, and considering basic stage movements and
interactions between characters (blocking).

c) The students decide to incorporate a traditional Kenyan folk song into their play. Name two classes of Kenyan folk
songs they could consider for inclusion. (2 Marks)

i) Work songs: Songs sung during various forms of labor (e.g., farming, grinding, building).
GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……
ii) Lullabies: Songs sung to soothe and put children to sleep.

iii) Ceremonial songs: Songs used during rituals, rites of passage, or other significant community events (e.g., initiation
songs, marriage songs).

iv) Love songs: Songs expressing affection, admiration, or longing.

v) Worship songs: Songs used in religious contexts.

vi) Play songs/Children's songs: Songs associated with games and childhood activities. vii) War songs: Songs related
to battles, bravery, and historical conflicts.

viii) Praise songs: Songs that celebrate individuals, groups, or achievements.

d) Explain how the performance of a Kenyan folk dance (incorporating local music and movement) contributes
to the cultural identity of the community in Narok. (3 Marks)

i) Preservation and Transmission of Heritage: Folk dances and music act as a living library, preserving historical
narratives, traditional values, and customs across generations. They ensure that the unique cultural heritage of the Narok
community is not lost but continually passed down.

ii) Reinforcement of Community Bonds: Participating in or witnessing folk dances fosters a sense of unity and
belonging among community members. It provides a shared cultural experience that strengthens social cohesion and
collective identity.

iii) Expression of Identity and Pride: The unique movements, costumes, musical instruments, and lyrical themes in a
folk dance from Narok allow the community to express its distinct identity and take pride in its cultural uniqueness. It
serves as a powerful symbol of who they are.

PART II: SPORTS (20 Marks)

Answer questions 43 and 44. For question 45 and 46, answer only ONE of them.

43. During the school's Sports Day in Turkana, Grade 9 students are preparing for the 1500 meters race. The
starter explains the importance of lane discipline and the sequence of commands before the race begins.

(a) Give the reason why athletes in a 1500 meters race typically do not start in staggered lanes. (2 marks)

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

Athletes in a 1500 meters race do not start in staggered lanes because it is a middle-distance race that involves running
multiple laps on the track. Staggered starts are used in shorter races (like 200m or 400m) to ensure that all athletes run
the same distance around the curves. In a 1500m race, after a short initial straight, runners are allowed to break from
their lanes and move to the inside lane, making staggered starts unnecessary for fair distance.

(b) Outline two commands the runners would be given by the starter before the race begins. (2 marks)

i) On your marks! - This command instructs the runners to take their positions at the starting line.

ii) Set! - This command tells the runners to assume a ready, balanced position, preparing for the start.

iii) (Gunshot/Whistle) - The sound signals the immediate start of the race.

✓ Starting clappers
✓ Starting boards
✓ Signal blocks or starter’s blocks

44. Grade 7 learners at a local school are playing a friendly game of Netball. Their teacher emphasizes the
importance of respecting teammates, opponents, and especially the umpire to ensure fair play. Identify four ways
they would show respect to the umpire. (4 marks)

i) Listening attentively: Pay close attention to the umpire's calls and instructions without interruption or argument.

ii) Accepting decisions: Abide by the umpire's decisions without questioning them, even if you disagree.

iii) Avoiding arguing or back-chatting: Do not verbally dispute calls or engage in disrespectful conversation with the
umpire.

iv) Using appropriate language: Communicate respectfully and avoid offensive or confrontational language.

v) Acknowledging calls: A simple nod or verbal okay can show acknowledgement of a call.

vi) Maintaining composure: Do not show excessive frustration or anger towards the umpire's decisions.

Choose ONE of the following questions (45 or 46) to answer. (Since the prompt asks for all possible answers, I
will provide both.)

45. A physical education teacher introduces learners to different strokes in swimming. She explains the key
differences in arm and leg movements for each.

i. What is the main objective of using different swimming strokes? (2 marks)

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

The main objective of using different swimming strokes is to improve overall aquatic proficiency, efficiency, and
versatility in the water. Different strokes utilize different muscle groups and provide varying levels of speed,
endurance, and comfort, making a swimmer well-rounded and capable in various water situations.

ii. Describe the key arm actions involved in performing the freestyle (crawl) swimming stroke. (4 marks)

The key arm actions in freestyle (crawl) involve a continuous, alternating motion:

i. Catch: As one arm extends forward, the hand enters the water fingers first, slightly angled downwards.
ii. Pull (Downward Sweep): The hand and forearm catch the water, and the swimmer pulls downwards and
slightly backward, initiating propulsion.
iii. Pull (Inward/Outward Sweep): The hand then sweeps inwards or outwards, creating a powerful propulsive
force as the arm bends at the elbow.
iv. Push: The arm continues to push the water past the hip, fully extending at the end of the stroke.
v. Recovery: The arm then recovers out of the water, elbow leading, in a relaxed, high-elbow position, swinging
forward to re-enter the water at the front. This is done alternately with the other arm.

iii. Describe how the breaststroke swimming style is performed, focusing on the leg and arm actions. (4 marks)

Breaststroke is performed with a simultaneous and symmetrical action of both arms and legs:

A. Arm Action:
i. Outward Sweep: From an extended position in front, the hands sweep outwards, pulling water towards
the sides.
ii. Inward Sweep (Pull): The elbows bend, and the hands sweep inwards and downwards, coming together
under the chest.
iii. Recovery: The hands then push forward in a streamlined motion back to the starting extended position.
B. Leg Action (Frog Kick):
i. Preparation: The knees bend and draw up towards the body, with the feet flexed and pointing outwards
(heels towards buttocks).
ii. Drive: The legs then powerfully push outwards and backward in a circular motion, driving water for
propulsion.
iii. Glide: The legs come together, extended fully, and remain streamlined for a brief glide before the next
kick.

The arm and leg actions are coordinated: the pull of the arms usually coincides with the recovery of the legs, and the
power phase of the kick coincides with the recovery/glide of the arms, creating a smooth, powerful, and efficient stroke.

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

46. During a sports lesson, learners are introduced to catching games, which involve throwing, and receiving a
ball or object within a designated area, often with a scoring system.

i. What is a catching game? (2 Marks)

A catching game is a type of recreational or competitive activity that primarily involves the skills of throwing an object
(typically a ball) and receiving it (catching) from another player or against a surface, often within defined boundaries
and with rules for scoring or progression.

ii. Describe fundamental catching techniques. (4 Marks)

A. Eyes on the Ball: Always keep your eyes focused on the ball from the moment it leaves the thrower's hand until
it is securely in your grasp.
B. Soft Hands/Giving with the Ball: As the ball approaches, extend your arms towards it and then give or absorb
the impact by bending your elbows and bringing the ball towards your body. This cushions the catch and reduces
the chance of the ball bouncing off.
C. Hand Position:
i. Above the Waist: If the ball is thrown above the waist, point your thumbs together and your fingers
upwards, forming a W shape with your hands.
ii. Below the Waist: If the ball is thrown below the waist, point your pinky fingers together and your
fingers downwards.
D. Secure the Ball: Once caught, immediately bring the ball close to your body and tuck it securely, using both
hands to prevent it from being dropped or dislodged.

PART III: VISUAL ARTS

47. As a curator at an art gallery, you are preparing for an exhibition of paintings. Part of your role involves
ensuring each artwork is properly displayed to maximize its visual impact, including mounting.

(a) In the reproduction below of a painting, use dotted lines to mark how the artwork would look like when
mounted. (2 marks)

The dotted lines would typically indicate the border of the mount board or mat board that surrounds the artwork,
providing a visual buffer between the artwork and the frame or wall.

+----------------------------------------+
| |
| .................................... |
| . . |
| . +----------------------------+ . |
| . | | . |
| . | (The Artwork) | . |
| . | | . |
| . +----------------------------+ . |
| . . |
| .................................... |

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……

| |
+----------------------------------------+

Description: The inner rectangle with the solid border represents the painting itself. The outer dotted rectangle
represents the mount board or mat board, typically a neutral color, creating a border around the artwork, and then the
outermost solid rectangle could represent a frame or simply the edge of the display area. The dotted lines specifically
show the addition of the mount around the original artwork.

(b) Learners displayed their artworks during an open day, and visitors were impressed at the way the exhibition
space was used to create an engaging experience. Describe two ways of making an art display space exciting. (2
marks)

i. Creative Lighting and Spotlighting: Using varied lighting techniques, such as spotlights to highlight individual
artworks or colored lighting to set a mood, can draw attention and create dramatic effects. Varying light intensity
and direction can emphasize textures and details, making the artworks pop.
ii. Interactive Elements and Technology: Incorporating interactive displays, QR codes linking to artist interviews
or background information, touch screens, or augmented reality (AR) experiences can engage visitors beyond
passive viewing. This allows for deeper exploration and a more personal connection with the art.
iii. Thoughtful Layout and Flow: Arranging artworks in a thematic or chronological order, creating clear
pathways, and varying wall heights or display methods (e.g., pedestals, hanging from ceiling) can guide visitors
through the exhibition and prevent monotony. Unique arrangements, like clusters or negative space, can also add
visual interest.
iv. Use of Color and Texture in the Space: The choice of wall colors, floor materials, or even temporary
installations within the gallery space can complement the artworks, enhance their presence, or create a specific
atmosphere that makes the overall experience more immersive and exciting.
v. Soundscapes or Music: Carefully chosen background music or ambient sound effects that relate to the theme of
the exhibition or the artworks can create an immersive auditory experience, adding another dimension to the
visual display.

48. During a picture-making activity, learners made an artwork using the string printing technique, which
involves creating patterns by dipping string in paint and pressing it onto paper. Outline four steps they followed
in the process of creating a string print. (4 marks)

i. Preparation of Materials: Gather materials including paper (or fabric), various colors of paint, different
thicknesses/lengths of string, a tray or palette for paint, and possibly newspaper or a protective surface to work
on.
ii. Preparing the String: Dip the chosen string into the desired paint color, ensuring it is sufficiently coated but not
excessively dripping. Alternatively, the string can be laid out and paint applied directly onto it.
iii. Arranging the String on the Surface: Carefully place the paint-coated string onto the printing surface
(paper/fabric) in a desired pattern or design. This could involve arranging it in curves, zigzags, spirals, or random
placements. For more complex designs, a second piece of paper can be placed over the string, or the string can be
pulled from between two folded pieces of paper.
iv. Pressing and Lifting: Gently but firmly press down on the paper where the string is laid (or press a second piece
of paper over the string). Then, carefully lift the paper or pull the string away from the paper, revealing the
unique printed pattern left by the paint-coated string. Allow the print to dry.

49. Learners in an art appreciation lesson are analyzing a reproduction of a painting that depicts a vibrant
traditional market scene in Lamu, showing a clear arrangement of goods and people to create depth and focus.

Analyze the possible title for the painting and discuss how the elements of color and emphasis are applied in the
artwork. (10 marks)

i. Lamu Market Bustle

ii. Colors of Lamu
GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……
 iii. The Heart of Lamu's Trade
iv. Market Day in Lamu Old Town
v. Coastal Exchange
vi. Busy Lamu Market

Any title that evokes the location, activity, and vibrancy would be suitable. Lamu Market Bustle best captures the energy
and setting suggested by vibrant traditional market scene.

Discussion on the Elements of Color and Emphasis:

Application of Color: In a vibrant traditional market scene in Lamu, color would be utilized extensively to convey the
lively atmosphere and cultural richness.

i. Warm and Bright Hues: The artist would likely employ a dominant palette of warm and bright colors such as
reds, oranges, yellows, and earthy browns to depict the sun-drenched environment, the diverse array of fresh
produce, spices, fabrics, and the clothing of the people. These colors contribute directly to the vibrant quality of
the scene.
ii. Local Color: Specific colors would be used to represent the actual colors of objects in the market – the green of
fresh vegetables, the deep blues and whites of traditional Swahili attire (kanzus and buibuis), the browns of
wooden stalls, and the varied tones of fruits and crafts.
iii. Contrast and Harmony: The artist might use contrasting colors (e.g., complementary colors like red produce
against green leaves) to make certain items stand out and create visual excitement. Harmonious analogous colors
(e.g., various shades of yellow, orange, and red) could be used for backgrounds or clusters of similar goods to
create a sense of unity and visual flow.
iv. Creating Depth and Atmosphere: Cooler colors (blues, purples) might be subtly used in the background or
shadows to suggest distance, while warmer, more intense colors are brought to the foreground, contributing to
the sense of depth mentioned in the description. The overall color scheme would immerse the viewer in the
sensory experience of a bustling market.

Application of Emphasis: Emphasis (or focal point) would be crucial in a busy market scene to guide the viewer's eye
and highlight key aspects, creating focus as stated.

i. Contrast in Value/Brightness: The artist could use a significant difference in lightness and darkness (value) to
draw attention. For instance, a brightly lit stall or a person in a lighter garment against a darker background
would immediately become a focal point.
ii. Color Saturation/Intensity: Highly saturated or intense colors would likely be used on the most important
figures or goods to make them pop out. A particularly colorful display of fruits or a character in uniquely vibrant
clothing could be emphasized this way.
iii. Placement and Isolation: Key elements could be placed centrally or slightly off-center according to the rule of
thirds to naturally draw the eye. Placing a significant figure or object with more space around it (isolation) would
also bring it to the viewer's attention.
iv. Converging Lines/Arrangement: As the description mentions clear arrangement of goods and people to create
depth and focus, the artist would use leading lines (e.g., rows of stalls, paths, or the gaze of people) that converge
towards a specific point of interest, directing the viewer's attention to the main subject. This creates a strong
sense of depth leading to the emphasis.
v. Detail and Clarity: The emphasized areas would likely have more intricate details and sharper rendering
compared to less important background elements, making them visually richer and more captivating. For
example, the intricate patterns on a piece of cloth or the distinct facial features of a trader might be highly
detailed to draw focus.

THIS IS THE LAST PRINTED PAGE.

GRADE 9 CAS PAPER 2 911/2 ………EVERY LEARNER COUNTS……