MUSIC
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of THREE sections:
   SECTION A (Aural) (10)
   SECTION B (Recognition) (12)
   SECTION C (Form) (8)
2. QUESTION 1, QUESTION 2, QUESTION 3 and QUESTION 7 are  COMPULSORY. 
3. Answer QUESTION 4 (WESTERN ART MUSIC – WAM) OR QUESTION 5  (JAZZ) OR QUESTION 6 (INDIGENOUS AFRICAN MUSIC – IAM). 
4. Candidates must write their answers on this question paper. Use a pencil for  music notation and blue or black ink for the other answers.
5. This examination will be written while candidates listen to a CD.
6. The music teacher at the centre must conduct the examination in the presence  of the invigilator. 
7. The last page of the question paper is manuscript paper intended for rough  work. The candidate MAY NOT remove this page.
8. Candidates may NOT have access to any musical instrument for the duration  of this examination.
9. Candidates must take note of the mark allocation at each question to provide  enough information in their answers.
10. Write neatly and legibly. 

MARKING GRID

QUESTIONS 

SECTION A: AURAL 
QUESTION 1 (COMPULSORY) 
Play Track 1 FOUR times. Pause for 30 seconds after each repetition. 
1.1 Listen to the melodic and rhythmic phrase. Add the time signature. Notate  only the rhythm of the missing notes in bars 2 and 3 below. 
[4]

QUESTION 2 (COMPULSORY) 
Play Track 2 ONCE to provide a general overview. 
Listen to the extract from the first movement of Sonatina by F. Kuhlau. Answer the  questions that follow. 

2.1 Identify the non-harmonic note at 2.1. (1) 

2.2 Fill in the missing notation at 2.2. (3) 

2.3 Identify TWO compositional techniques used at 2.3. (2) 

2.4 What is the main key of this extract? (1) 
2.5 Which symbol could have been used to replace the small printed notes at  2.5? Make a cross (X) in the appropriate block. 
(1) 

2.6 Would you say that this extract is the concluding section of the Sonatina’s  first movement or not? Give TWO reasons to motivate your answer. (3) 
2.7 Identify the triad played by the left hand at 2.7, i.e. minor triad. (1) 

(12 ÷ 2) [6] 
TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY) 
Mark THREE items in COLUMN A in QUESTIONS 3.1–3.4 that relate to the music  that you hear. Make a cross (X) in THREE appropriate blocks. 
3.1 

(3) 
3.2 

(3) 
3.3 

(3) 
3.4 

(3) 
(12 ÷ 3) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 

4.1.1 Name the character and voice type of the vocalist in this extract.

Character: 
Voice type: (2)

4.1.2 Provide this extract with a suitable title. (1) 
4.1.3 Which term best describes the tempo of this extract? 
Make a cross (X) in the appropriate block. 

 (1)
4.1.4 With which style period do you associate this work? (1) 
4.2 

4.2.1 Name the composer and genre associated with this extract.

Composer: 
Genre: (2) 

4.2.2 Identify the woodwind instrument playing the triplet figures at the  beginning of this extract. (1) 

4.2.3 Mention TWO ways how tension is created in this extract. (2) 
4.2.4 Which natural phenomenon is portrayed in this extract? (1)
4.3 

4.3.1 This extract includes the exclusive use of repetitions and  sequences. Name ONE other compositional device used at the  beginning of the extract.  (1) 
4.3.2 What is the time signature for this extract? Make a cross (X) in the  appropriate block. (1) 

4.3.3 Comment on the use of tonality in this extract. (3) 

(16 ÷ 2) [8] 

OR

QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the keyboard instrument that you hear in this extract. (1) 
5.1.2 With which group do you associate this extract? (1) 
5.1.3 Identify the South African jazz style. Make a cross (X) in the  appropriate block.   (1) 

5.2 

5.2.1 Name TWO woodwind instruments used in this extract. (2) 

5.2.2 Identify the South African jazz style. (1) 
5.2.3 Give TWO reasons to motivate your answer in QUESTION 5.2.2. (2) 
5.3 

5.3.1 Identify the chordophone and aerophone instrument playing the  introduction of this extract. 

Chordophone: 
Aerophone: (2) 

5.3.2 This jive style is known as Kwela. Give TWO alternative names for  this style.  (2)
5.4

5.4.1 Name the female group performing this extract. (1) 

5.4.2 Choose ONE word below that best describes the use of drum  patterns in this extract. Make a cross (X) in the appropriate block.   (1) 

5.4.3 How is this style related to Indigenous African music? (2) 

(16 ÷ 2) [8] 

OR

QUESTION 6: IAM 
6.1 

6.1.1 With which South African style do you associate this extract?  (1) 
6.1.2 Name the artist performing this extract. (1) 
6.1.3 With which African tribe do you associate this type of music? Make a cross (X) in the appropriate block. (1) 

6.2 Play Track 20 TWICE. 
6.2.1 With which ONE of the following artists do you associate this  extract? Make a cross (X) in the appropriate block.  (1) 

6.2.2 Name the style associated with the artist mentioned in QUESTION 6.2.1 above. (1) 
6.2.3 Give ONE term that best describes the use of rhythms between the  vocals and instruments in this extract. (1) 
6.2.4 Except for the use of vocals, name any other TWO instruments that  you hear in this extract. (2)
6.3 

6.3.1 Name the South African style and group associated with this extract.

Style: 
Group: (2) 

6.3.2 Which traditional dance influenced the basic rhythm for this song  and style of music? (1) 

6.3.3 Name TWO other South African styles that are fused in this  particular style.  (2) 
6.4 Play Track 22 TWICE. 
Mark THREE items in COLUMN A that is related to Track 22. Make a  cross (X) in THREE appropriate blocks.   (3) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7 (COMPULSORY)

7.1 During which style period was this piece composed? (1) 
7.2 Identify and name the form of this piece. (1) 
7.3 Give a schematic analysis of the form mentioned in QUESTION 7.2 above.  Use LETTERS only to indicate the different sections.  (3) 
7.4 Which term is used when the full orchestra is playing the main melody with  the soloist? Make a cross (X) in the appropriate block.   (1) 

7.5 Is the bass line played legato or detached?  (1) 
7.6 Say whether the following statement is TRUE or FALSE.  

There is no change in the tonality of this piece.  (1)

TOTAL SECTION C: 8 
GRAND TOTAL: 30

ROUGH WORK:

MUSIC
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of THREE sections:
   SECTION A (Aural) (10)
   SECTION B (Recognition) (12)
   SECTION C (Form) (8) 
2. QUESTION 1, QUESTION 2, QUESTION 3 and QUESTION 7 are  COMPULSORY. 
3. Answer QUESTION 4 (WESTERN ART MUSIC – WAM) OR QUESTION 5  (JAZZ) OR QUESTION 6 (INDIGENOUS AFRICAN MUSIC – IAM). 
4. Candidates must write their answers on this question paper. Use a pencil for  music notation and blue or black ink for the other answers. 
5. This examination will be written while candidates listen to a CD. 
6. The music teacher at the centre must conduct the examination in the presence  of the invigilator.
7. The last page of the question paper is manuscript paper intended for rough  work. The candidate MAY NOT remove this page.
8. Candidates may NOT have access to any musical instrument for the duration  of this examination.
9. Candidates must take note of the mark allocation at each question to provide  enough information in their answers.
10. Write neatly and legibly. 

SUMMARY OF MARKS

MEMORANDUM 

SECTION A: AURAL 
QUESTION 1 (COMPULSORY) 

1.1 Listen to the melodic and rhythmic phrase. Add the time signature. Notate  only the rhythm of the missing notes in bars 2 and 3 below. 

• Correct time signature: 1 mark
• Correct rhythms: 12 notes ÷ 4 = 3 marks [4]

QUESTION 2 (COMPULSORY) 

Listen to the extract from the first movement of Sonatina by F. Kuhlau. Answer the  questions that follow. 

2.1 Identify the non-harmonic note at 2.1. 
Answer:

• Passing note (1) 

2.2 Fill in the missing notation at 2.2. 
Answer: 

6 notes x ½ mark each (both pitch and rhythm should be correct) (3)

2.3 Identify TWO compositional techniques used at 2.3. 
Answer:

• Diminution and Sequence (2)

2.4 What is the main key of this extract? 
Answer:

• G major (1) 

2.5 Which symbol could have been used to replace the small printed notes at  2.5? Make a cross (X) in the appropriate block. 
(1) 
2.6 Would you say that this extract is the concluding section of the Sonatina’s  first movement or not? Give TWO reasons to motivate your answer. 
Answer: No (1 mark) 
Reasons: (Any TWO) 

• There is no modulation/change of key to a relative key.
• The extract ends with a perfect cadence (V7 – I).
• There is a final double bar line at the end of the extract. (2 marks) (3)

2.7 Identify the triad played by the left hand at 2.7, i.e. minor triad. 
Answer:

• Diminished (1)

(12 ÷ 2) [6] 
TOTAL SECTION A: 10 

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY) 
Mark THREE items in COLUMN A in QUESTIONS 3.1–3.4 that relate to the music  that you hear. Make a cross (X) in THREE appropriate blocks. 
3.1 

(3) 
3.2 

(3) 
3.3 

(3) 
3.4 

(3) 

(12 ÷ 3) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 

4.1.1 Name the character and voice type of the vocalist in this extract. 
Answer: 

• Character: Sarastro (1 mark)
• Voice type: Bass (1 mark) (2)

4.1.2 Provide this extract with a suitable title. 
Answer:

• O Isis und Osiris (1) 

4.1.3 Which term best describes the tempo of this extract? 
Make a cross (X) in the appropriate block. 
(1)
4.1.4 With which style period do you associate this work? 
Answer:

• Classical period (1)

4.2

4.2.1 Name the composer and genre associated with this extract. 

• Composer: Beethoven (1 mark)
• Genre: Symphony (1 mark) (2) 

4.2.2 Identify the woodwind instrument playing the triplet figures at the  beginning of this extract. 
Answer:

• Clarinet (1) 

4.2.3 Mention TWO ways how tension is created in this extract. 
Answer: (Any TWO) 

• The use of timpani/drum rolls.
• Quintoplets in the cellos and quadruplets in the bass.
• Suspenseful crescendo build-up to tutti ff-chords.
• The use of dissonant chords. (2)

4.2.4 Which natural phenomenon is portrayed in this extract? 
Answer:

• A (thunder)storm (1)

4.3 

4.3.1 This extract includes the exclusive use of repetitions and  sequences. Name ONE other compositional device used at the  beginning of the extract.  
Answer:

• Inverted dominant pedal (1) 

4.3.2 What is the time signature for this extract? Make a cross (X) in the  appropriate block. 
(1) 

4.3.3 Comment on the use of tonality in this extract. 
Answer: 

• B minor ✔ to D major ✔ back to B minor ✔
  OR
• Minor key ✔ to Relative major key ✔ back to the Minor key ✔
  OR
• Mainly minor (home key) ✔ with a short modulation to the  relative major key ✔ and back to the home key ✔ (3)

(16 ÷ 2) [8] 

OR
QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the keyboard instrument that you hear in this extract.
Answer:

• Electric organ (1)

5.1.2 With which group do you associate this extract? 
Answer:

• Soul Brothers (1) 

5.1.3 Identify the South African jazz style. Make a cross (X) in the  appropriate block. 
 (1)
5.2 

5.2.1 Name TWO woodwind instruments used in this extract. 
Answer:

• Flute and saxophone (2) 

5.2.2 Identify the South African jazz style. 
Answer:

• Cape Jazz (1)

5.2.3 Give TWO reasons to motivate your answer in QUESTION 5.2.2. 
Answer:  

• The melody is derived from a Ghoema (Kaapse Klopse)  song, “Daar kom die Alibama”.
• Featuring Robbie Jansen, a Cape Jazz saxophonist. (2) 5.3 Play Track 17 TWICE. 

5.3.1 Identify the chordophone and aerophone instrument playing the  introduction of this extract. 

• Chordophone: Double bass OR String bass (1 mark)
• Aerophone: Penny whistle (1 mark) (2) 

5.3.2 This jive style is known as Kwela. Give TWO alternative names for  this style.  
Answer:

• Whistle jive and Sax jive (2)

5.4 

5.4.1 Name the female group performing this extract. 
Answer:

• Mahotella Queens (1) 

5.4.2 Choose ONE word below that best describes the use of drum  patterns in this extract. Make a cross (X) in the appropriate block. 
(1)
5.4.3 How is this style related to Indigenous African music? 
Answer: 

• Make use of simple triads/chords that are repeated as a  harmonic cycle. (1 mark)
• Repeated melody reflects the cyclic and ostinato style of  indigenous African origins. (1 mark) (2)

(16 ÷ 2) [8] 

OR
QUESTION 6: IAM 
6.1 

6.1.1 With which South African style do you associate this extract? 
Answer:

• Malombo jazz (1)

6.1.2 Name the artist performing this extract. 
Answer:

• Philip Tabane (1) 

6.1.3 With which African tribe do you associate this type of music? Make a cross (X) in the appropriate block. 
 (1)
6.2 

6.2.1 With which ONE of the following artists do you associate this  extract? Make a cross (X) in the appropriate block. 
(1) 
6.2.2 Name the style associated with the artist mentioned in QUESTION 6.2.1 above. 
Answer:

• Free Kiba (1) 

6.2.3 Give ONE term that best describes the use of rhythms between the  vocals and instruments in this extract. 
Answer:

• Polyrhythm (1) 

6.2.4 Except for the use of vocals, name any other TWO instruments that  you hear in this extract. 
Answer: 

• Piano, drums, electric guitar, bass guitar, saxophone, acoustic  guitar, percussion (Any TWO) (2)

6.3 

6.3.1 Name the South African style and group associated with this extract. 
Answer: 

• Style: Mbaqanga (1 mark)
• Group: The Cool Crooners (1 mark) (2) 

6.3.2 Which traditional dance influenced the basic rhythm for this song  and style of music? 
Answer:

• Zulu indlamu dance (1)

6.3.3 Name TWO other South African styles that are fused in this  particular style.  
Answer:

• Marabi and Kwela (2)

6.4

Mark THREE items in COLUMN A that is related to Track 22. Make a  cross (X) in THREE appropriate blocks.  

(3) 
(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7 (COMPULSORY)

7.1 During which style period was this piece composed? 
Answer:

• Baroque period (1)

7.2 Identify and name the form of this piece. 
Answer:

• Rondo (1) 

7.3 Give a schematic analysis of the form mentioned in QUESTION 7.2 above.  Use LETTERS only to indicate the different sections.  
Answer:

• ABACADAEA
  1 mark for each section (order should be correct) (9 ÷ 3) (3) 

7.4 Which term is used when the full orchestra is playing the main melody with  the soloist? Make a cross (X) in the appropriate block. 
(1) 7.5 Is the bass line played legato or detached?  

Answer:

• Detached (1)

7.6 Say whether the following statement is TRUE or FALSE.  
There is no change in the tonality of this piece. 
Answer:

• False (1)

TOTAL SECTION C: 8 
GRAND TOTAL: 30

MUSIC
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1.  This question paper consists of FIVE sections, namely SECTIONS A, B, C, D  and E. 
2. SECTIONS A and B are COMPULSORY. 
3. SECTION C: WESTERN ART MUSIC (WAM), SECTION D: JAZZ and SECTION  E: INDIGENOUS AFRICAN MUSIC (IAM) are choice questions. 
   Answer only ONE of these sections (SECTION C or D or E). 
4. Write all music notation in SECTION A in pencil and all written text in blue or  black ink. Answer in the spaces provided on this question paper. 
5. Answer SECTION B and SECTION C or D or E in blue or black ink in the  ANSWER BOOK provided. 
6. Number the answers correctly according to the numbering system used in this  question paper. 
7. The last page of this question paper is manuscript paper intended for rough work.  It may be removed by the candidate. 
8. Use the table on the next page as a guide for mark and time allocation when  answering each question.
9. Write neatly and legibly.

MARKING GRID 

MEMORANDUM 

SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes) 
Answer QUESTION 1 
AND QUESTION 2.1 OR 2.2 
AND QUESTION 3.1 OR 3.2 
AND QUESTION 4.1 OR 4.2 
Answer all the questions in the spaces provided on this question paper. 
1. Study the Prelude from Op.28. No. 4 by Chopin below and answer the  questions that follow. 

1.1 Name the relative key of the piece. 
Answer: 

• G major/G  (1) 

1.2 What does the abbreviation “Op.” stand for? 
Answer: 

• Opus (1)

1.3 Give the English meaning for the term “Largo”. 
Answer: 

• In a very slow tempo and with great dignity/very slow and dignified. (1) 

1.4 Identify the intervals marked (i) and (ii) complete according to type and  distance. 
Answer: 

1. Diminished 5t^h 
2. Augmented 2^nd   (2) 

1.5 Invert the interval at (i) and write its correct description underneath it.  

Answer:

• Augmented 4th (2)

1.6 Name the triad marked (iii) according to type and inversion. Re-write it in  root position, using semibreves. 
Answer: 

• Minor triad  (3) 
  

1.7
1.7.1 Transpose the violin part of bar 17 for Clarinet in B-flat. Insert the  new key signature. 
Answer: 

•   (2)

1.7.2 Rewrite the violin part of bar 18 in double the note values. Insert  the new time signature. 
Answer: 

 (3) 

1.8 Identify the compositional technique used to change (iv).  

Answer: 
(1)

1.9 1
9.1 Write the E Blues scale ascending, without key signature, in the  tenor clef.  
Answer: 
(2)

1.9.2 Write the G wholetone scale descending in the alto clef. 
Answer: 
(2) 

[20]

QUESTION 2 (25 minutes) Answer EITHER QUESTION 2.1 OR QUESTION 2.2. 
2.1 Using the opening motif, complete a twelve-bar melody in ternary form  for any single-line melodic instrument of your choice. Indicate the  instrument for which you are writing, adding dynamics, tempo indication  and articulation marks. 
Instrument: Flute/ Recorder/Violin/Guitar/Saxophone/Clarinet/Trumpet (Any suitable instrument NOT PIANO.) 
 Concept answer: 

OR
2.2 Use the opening motif below to complete a twelve-bar melody in ternary form for any  single-line melodic instrument of your choice. Indicate the instrument for which you  are writing and add tempo, dynamic and articulation marks. 
Instrument: Cello/Double Bass/Trombone 
 (Any suitable instrument NOT PIANO.) 
Concept answer: 

The melody will be marked according to the following criteria:

QUESTION 3 (10 minutes)
ANSWER EITHER QUESTION 3.1 OR QUESTION 3.2. 
3.1 Study the extract Der Span auf den Wellen from Op. 17 No. 7 by Jean  Sibelius below and answer the questions that follow. 
Answer: 


3.1.1 Name the key of the first section of the piece. 
Answer: 

• A^b major/A^b (1)  

3.1.2 Name the relative key of the second section of the piece. 
Answer: 

• d minor/d  (1) 

3.1.3 Identify the cadence on which the piece ends and write the chords of  the cadence, e.g. Interrupted cadence: V – VI. 
Answer: 

• Perfect cadence: V – I  (2) 

3.1.4 Choose the correct answer for the compositional technique that  appears regularly in the melody. 
Answer: 
(1) 
3.1.5 Figure the chords at (a), (b) and (c) complete using Roman  numbers, e.g. G: V (or Va) OR chord symbols, e.g. D. 
Answer: 

1.  F: I 6/4 or F/C (1)
2. F: V or C (1)
3. F: vi or Dm (1)

3.1.6 Name the type of non-chordal notes at (d) and (e): 
Answer: 

(d) Accented passing note (1)
(e) Unaccented passing note (1)  

[10] 

OR
3.2 Study the extract below from 15 Easy Pieces for Piano by D. Valeras  and answer the questions that follow. 

3.2.1 Name the key of the piece. 
Answer: 

• F major/F  (1) 

3.2.2 Identify the chords (a) to (e) and number them correctly below. Use  chord symbols, e.g. C/E. 
Answer: 

1. B^b9 
2. D^m7
3. C¹³
4. A^m7
5. A^b                    (5 x 1) (5) 

3.2.3 Name the type of non-chordal notes at (i) and (ii). 
Answer: 

1. (Unaccented) upper auxiliary note 
2. (Accented) lower auxiliary note (2) 

3.2.4 Name the cadence at the end of the piece. Identify the cadence by  adding the correct chord symbols.  
Answer: 

• Perfect cadence
• C^13(b9) − F               (2)  

[10]

QUESTION 4 (30 minutes)
ANSWER EITHER QUESTION 4.1 OR QUESTION 4.2. 
4.1 Complete the four-part vocal harmonisation below by adding the alto, tenor and bass  parts. Use at least ONE non-chordal note in the added parts. 
 Concept answer:

The harmonisation will be marked according to the following criteria: 

Candidates must be credited for a different/creative and correct harmonisation not given  in the memorandum. The figuring serves as a guide for the marker, but no marks are  allocated for the symbols as such. 

 [15]

OR
4.2 Complete the piece below by adding suitable harmonic material in the  bass clef. Ensure that you continue to write in the given style. 
 Concept answer:

15 marks for correctness
15 marks for progression
The harmonisation will be marked according to the following criteria: 

Candidates must be credited for a different/ creative and correct harmonisation not given  in the memorandum. The figuring serves as a guide for the marker, but no marks are  allocated for the symbols as such. 

[15] 
TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes) 
Answer SECTION B  
AND SECTION C (Western Art Music) 
OR SECTION D (Jazz) 
OR SECTION E (Indigenous African Music) 
Answer these in the ANSWER BOOK provided. 

SECTION B: GENERAL KNOWLEDGE (COMPULSORY) 
QUESTION 5 
5.1 Four options are provided as possible answers to the following questions.  Choose the correct answer and write only the letter (A–D) next to the  question number in the ANSWER BOOK, e.g. 5.1.12 E. 

5.1.1 C 
5.1.2 A 
5.1.3 C 
5.1.4 D 
5.1.5 D 
5.1.6 A 
5.1.7 D 
5.1.8 B 
5.1.9 C 
5.1.10 B   (10)

5.2 Answer the following questions. 
5.2.1 Describe shortly what the music industry entails.  

• The music industry entails various steps that are followed to  get the product from the producer to the consumer. (1) 

5.2.2 Define needletime rights. 

• It is royalties paid to recording artists when a song is used. 
  These are the people who help in the recording of music – such as backing vocalists, musicians, etc. These royalties  are paid when a song is played/recorded/performed.  (1) 

5.2.3 Give a short description on how music royalties work.  

• Songwriters register their work/songs at SAMRO. SAMRO has  licenses over those works/songs that can be sold to people in  order to collect money for songwriters. People that buy  licenses from SAMRO include TV stations, radio stations,  Internet websites, restaurants, stores, etc. The money  collected from these businesses, is distributed between all  members of SAMRO, depending on the airtime they attained.  SAMRO determines airtime by requesting written information  from live venues, television stations and radio stations.  (2) 

5.2.4 How many years must lapse after the death of a composer, for  his/her works to become public domain, unless the copyright is  renewed by family?  

• 50 years  (1)

5.3 Give the Italian term for the following description: 
5.3.1 To play a specific passage of music with fire and vehement  energy. 

• Con fuoco  (1) 

5.4 Name TWO very specific style characteristics of the music of Beethoven. 

• He was the master of thematic material and he used the following 2  types: 1st themes were broken up into short motives – 1st movement  of Symphony no. 6; Cantabile melodies were found in the last  movement of Symphony No. 6. He used the old contrapuntal  practices and was a master of this. 
  In Form, he was a master at using thematic development, he  expanded the sonata form. He used Free Fantasy in the 1st movement  of Moonlight Sonata. He exceeded the limits of the choral idiom,  treating his chorus as additional instrumental colour – Symphony no. 9. He developed the use of harmony by using heavy thick chords and  modulations to other keys than subdominant and dominant keys. (2) 

5.5 Describe the difference between sonata and sonata form.  

• The sonata has 3 sections: exposition, development and  recapitulation. The sonata usually ends on a coda (Italian for “tail”).  Although it has a breakdown into what looks like three movements; it is actually a single movement structure.  (2) 
  Do not confuse it with a sonata, which is a complete composition  made up of different movements. 

TOTAL SECTION B: 20

Answer SECTION C (WAM) 
OR SECTION D (JAZZ) 
OR SECTION E (IAM). 
QUESTION 6 
6.1 Define the following: 
6.1.1 Grand opera  

• It is a spectacular opera, with the plots based on or around  dramatic historic events. It involved royalty, heroism, ballet  scenes and are long, normally four or five acts. It is  characterised by large-scale casts and orchestras. (2) 

6.1.2 The development of instrumentation in the Romantic era.  

• A huge accent on broadening the range of instrumental  colour and diversity. The string section was lengthened. The  instruments played deep expressive melodies. Orchestral  players had to adapt tone colour to individual composer’s  style. Technical virtuosity was improved to meet the demand  of the music and the public.   (2) 

6.1.3 Alberti bass  

• The bass line was now only the accompaniment, called  the Alberti bass – the breaking of the chords into a simple  pattern and it is then repeated. Albert bass is a type of  broken chord or arpeggiated accompaniment. (1) 

6.2 What is the significance of the number three in Mozart’s opera, Die Zauberflöte? 

• It was as a result of the influence of the Freemasons.  (1)

6.3 Name TWO examples which feature the number three in Die Zauberflöte. 

• It represents the 3 knocks on the door by entering the Masonic  meetings: 3 ladies; 3 youths; 3 geniis; 3 temples; 3 trials; Home key  (E flat major with its 3 flats); Repeated idea – short-long-long – in  overture and 2nd Act; 3 heavy chords that open overture, again  repeated in temple scene when Tamino’s trials begin; Setting in Egypt  – rites of Freemasonry.  (2) 

6.4 Describe ONE technique used to change the theme when composing in  Theme and Variation style.  

• Composers removed notes, added notes, changed key, harmony,  rhythm, repeat with different accompaniment patterns. Composers  often improvised on given theme during concert – impress them with  their skills – a person from audience would suggest theme,  composer would then improvise in as many ways as possible.  (1) 

6.5 Why is Beethoven’s Symphony No. 6 Opus 68 in F major different to  other symphonies? 

• It has 5 movements, instead of the normal 4 movements.
• The last 3 movements are played without a break.
• It contains explicitly programmatic content.
• The 6th Symphony is one of only two symphonies Beethoven  intentionally named.  (1) 

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QUESTION 7 
7.1 Name THREE characteristics of the opera music of the Florentine  Camerata.  

• The Camerata wanted to develop a new vocal style modelled on the  music of the ancient Greek tragedy, who based their theories on  literary accounts that survived. The music was more important than  the text. The Camerata stated that music should always be the  servant of the text. They avoided any polyphonic treatment and made  little use of the aria and chorus. They composed short vocal pieces  called monodies – the singer was given a melodic setting of text  supported by instrument that provided a simple chordal bass  accompaniment and singer could sing the rhythm of the text in  accordance with natural rhythms of the text. The vocal line followed  the rhythms and pitch fluctuations of speech – this later became  known as recitative (recited). The recitative was sung by a soloist  with a simple chordal accompaniment. The texture of the music was  homophonic.  (3) 

7.2 One of the most important opera composers was Monteverdi. Explain th  meaning of this statement. 

• Along with the Camerata was one of the greatest opera composers, known as the founder of the opera, namely Claudio Monteverdi  (1567−1643). His 1st great true opera, L’Orfeo, set the standard for  other European composers and helped to establish their national  traditions in the 17th century. His opera contained recitatives, choral  works, instrumental dances, interludes (later known as ritornelli).  Monteverdi expanded the function of the orchestra, using a larger  variety of instruments and also more singers than his predecessors.  Monteverdi captured the meaning of the text in the music. He became  master of the new homophonic dramatic style.  (2) 

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QUESTION 8
8.1 Compare Singspiel with Music Drama. Name TWO differences and ONE similarity regarding the style types. 
Similarities: 

• Both Singspiel and Music Drama are sub-genres of the opera.
• Both are a form of opera. 

Differences: 

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QUESTION 9 
9.1 Write a short description about the significant elements of the second theme  of “Fingal’s Cave” regarding the instrumentation.  

• The second theme, meanwhile, depicts movement at sea and  “rolling waves”. 
• It is written in D major and scored for bassoons and cellos.
• The theme is first played by the cellos and bassoons in D major. 
• The change from minor to major create a sunnier mood.
• The theme is accompanied by strings playing soft semiquavers  and this repetition of the semiquavers create the idea of a calm sea. (5) 

QUESTION 10 
Write an extensive article for your school newspaper regarding the FOURTH and  FIFTH movements of Beethoven’s Symphony No 6, opus 68. Discuss, amongst  other facts, the use of the instruments to show the events taking place in nature. 

• The FOURTH movement is called “Thunderstorm” and the pace is Allegro  and a punctuated half-note = 80. It is written in F minor, the time signature  is 4/4 and is in free single-form, comparable to program music with  interesting orchestral colors. In this movement Beethoven adds the  following instruments to the "classical" orchestra – a piccolo, flute, Clarinet  in Bb, bassoon, Horn in F, trombone (alto and tenor), timpani and other  stringed instruments. Beethoven also creates an ongoing music flow by  moving sections and motives from one instrument or instrument group to  another. In this way, timbre has started to play an important role.
  The movement depicts a violent thunderstorm with painstaking realism,  building from just a few drops of rain to a great climax with thunder,  lightning, high winds, and sheets of rain. The storm eventually passes, with  an occasional peal of thunder still heard in the distance.
  The role of the instruments is very important. The violins play pp staccato quavers give effect of first raindrops. The drums represent the 1st big roll of  thunder with low quintuplets in the cellos and quadruplets in the bass,  giving a rumbling effect. When the piccolo enters in Bar 82, it strengthens  the storm. 2 Trombones in bar 106 give additional strength to the climax of  the storm. Upper strings play ff tremolos, giving the feeling of intense  excitement. The storm reaches its climax with drum rolls and tremolos. The  music gradually becomes softer after the storm when the quavers re-appear  as dolce minims in the oboe over a dominant pedal point in tonic key. The  thunder is still heard in the distance.
  This movement has many romantic elements – dynamic contrasts, harmonic  colours, melodic continuity, and freer form structure. There is a seamless  transition into the final movement. This movement parallels Mozart's  procedure in his String Quintet in G minor K. 516 of (1787). The tempo  indication is Allegro and a dotted minim = 80. It is composed in F minor. The  time signature is 4/4. The form is Programme music (or free on-part form)  with interesting orchestral colours. Beethoven added new instruments – Piccolo, Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trombones (alto  and tenor), Timpani and strings.
  The FIFTH movement is the finale and is called the ‘”Shepherd’s song – Happy and grateful feelings after the storm.” The pace is Allegretto and a  punctured quarternote = 60. It is written in F major and is in sonate round  form (7-leaf round shape). The main theme is in the tonic key at the  beginning of the development, as well as in the exposition and  recapitulation.
  This movement is the final. Like many classical finales, this movement  emphasises a symmetrical eight-bar theme, in this case representing the  shepherds' song of thanksgiving. As the storm moves away, there is a  feeling of relief and all the animals emerge.
  The 5th movement starts with a yodel “Ranz des Vanches” (a simple melody played by the horn of the Swiss Alpine herdsmen when they drove their cattle  to or from the pasture), played by the clarinet and imitated by the horn over  dominant and tonic harmonies, softly played together by the strings.  Beethoven uses the same "extra" instruments as for the fourth movement,  leaving out only the piccolo.
  The coda starts quietly and gradually builds to an ecstatic culmination for the  full orchestra (minus "storm instruments"), with the first violins playing very  rapid forte triplet tremolo on a high F. There follows a fervent passage  suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most  conductors slow the tempo for this passage. After a brief period of afterglow,  the work ends with two emphatic F major chords. 
  The key is F major and the time signature is 6/8. The form is sonata rondo  form, meaning that the main theme is in tonic key at the beginning of the  development as well as the exposition and the recapitulation. Beethoven  used the same instruments as for the Thunderstorm, except for the piccolo −  Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trombone, and Strings. (15) 

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The essay will be marked according to the following criteria: 

TOTAL SECTION C: 40 

OR
SECTION D: JAZZ 
QUESTION 11 
11.1 Choose the correct answer from COLUMN B to match the  statement/name in COLUMN A. Write only the correct matching letter  (A–F) next to the question number in the ANSWER BOOK, e.g. 11.1.7 G. 

11.1.1 E 
11.1.2 D 
11.1.3 F 
11.1.4 B 
11.1.5 A 
11.1.6 C (6) 

11.2 Name TWO similarities between Mbaqanga and Marabi.

• Swing and Kwela (2) 

11.3 With which instrument is Marabi associated? 

• Pedal organ (1) 

11.4 The “Merry Blackbirds” enjoyed playing the music of American  ragtime, as well as written jazz arrangements. Name ONE artist  whose arrangements they played. 

• Louis Armstrong, Duke Ellington, Count Bassie, Sy Oliver (1) 

[10]

QUESTION 12 
12.1 Write a paragraph, describing the Marabi style of The Jazz Maniacs and  their influence and contribution of Solomon Cele in the development of the  style.  

• It reflected political goals in the USA and SA. It was developed in  Sophiatown and District Six. The band consisted of the self-taught  pianist, Solomon Cele. He listened and imitated the shebeen music.  The band started with 4 members and increased to 13. The other  instruments were saxophone, guitar, and trombone. Cele said the  swing-sound was ideal to transfer his music ideas and they  combined jazz, swing and local melodies. All of this led to the  development of Marabi. The band would take musical ideas of some  American bands and made it their own instead of just copying it.  Their music was influenced by Louis Armstrong, Buck Clayton and  Harry James.  (3) 

12.2 Describe New Jazz in a short paragraph and name ONE important artist  of this style.  

• The New Jazz style refers to the development of South African Jazz  after the 1950’s. It was not derived from Marabi or Kwela and did not  fit in to the Mbaqanga category. The musicians developed their own  highly individualistic/independent styles.
  Artists: Todd Matshikiza, Gideon Nxumalo, The Jazz Epistles,(2) 
  Philip Tabane 

[5]

QUESTION 13 
13.1 What was the origin of Kwela music? How did Kwela influence the music  scene in South Africa?  

• Kwela is a South African jive style, derived from Marabi. The most  significant instrument is the pennywhistle, which was later replaced  by the saxophone. The music was played on the streets by township  youths. This was the birth of new, lively music that did not require  much money. Pennywhistle kwela or Kwela is a historical turning  point in the development of popular African music and jazz in South  Africa. The pennywhistle was a small instrument and thus easy to  carry around. As shepherd boys moved from the rural areas to the  cities, they took their pennywhistles with, but later replaced them with  a German produced one. Typical instruments for Kwela music is the  pennywhistle, homemade guitar (isingci), rattles made from empty  milk tins and a one-snare teabus bass. Kwela consists of a vamp on  the Snare bass and guitar (ostinato pattern), filled on with the rattles,  shakers and drums. Young African men would play this music on the  street corners, while keeping an eye open at the same time for the  police, named kwela-kwela.
  Kwela music was also popular with the “Boere” musicians and Fred  Woodridge’s “Penniefluitjie Kwela” was very popular. This was the  first truly indigenous music from South Africa and it spoke to the  people. But it was the African musicians that elevated this style to  international status. 
  Years later the saxophone replaced the pennywhistle and the electric  guitar replaced the acoustic one. By the end of the 1950’s the  pennywhistle completely disappeared from the band and Kwela was  now known as Sax Jive and would later be known as Mbaqanga and  would dominate the South African music scene for the next 20 years.  (5) 

QUESTION 14 
14.1 How did Jazz in exile influence the development of the music of South  African musicians?  

• In the 1960’s, the African jazz musicians had 2 choices – fight or leave.  The majority that left the country, were politicians and artistically  professionals. Although not all of them had successful music careers  overseas, they still had this yearning to express themselves through  the music of their country of origin. It also helped develop their talent  and to work as professional musicians. To leave the country would be  the last option, as travel permits to perform overseas, have been  continuously declined. It was almost impossible to be a musician in  South Africa, due to the “nagklok” rule and that concert venues could  not accommodate Black and white performers at the same time. It was  a real difficult time. Jazz musicians consciously promoted multi-racial  co-operation through their music and it helped to keep the  professional music in jazz going in our country. (5) 

QUESTION 15 
Write a comprehensive essay on the music of ONE of the following South African  artists: 

• Miriam Makeba
• Josephine ‘Dolly’ Rathebe
• Thandi Klaassen 

You will be credited for the logical presentation of facts and the structure of your  essay. 
Miriam Makeba 

She was born in 1932 in Johannesburg. Her full names were Zenzile Miriam  Makeba and was nicknamed Mama Africa, She was a South African singer and  civil rights activist, and was the 1st artist from Africa who popularised African music around the world. She sang in the choir of the Kilnerton Institute,  Pretoria. Her 1st solo performance was at 15 before King George VI of England.  Miriam had a daughter with her then first husband. She started her  professional in the 1950’s with the Manhattan Brothers. Then she formed her  own all- woman group, The Skylarks, and they sang a blend of jazz and  traditional melodies. In 1956, she released the well-known “Pata Pata”. In 1959,  she had a short-lived second marriage to Sonny Pillay. She starred in the anti apartheid document, Come back, Africa and this gave her a big break. It helped  her win the female singing lead role in King Kong in 1959. It got her into hot  water with the SA authorities when the director wanted her to present the film  at the Venice Film Festival in 1959. Her incredible voice earned her the  nickname, The Empress of African Song. She did not return to South Africa  and took refuge in London, where she met Harry Belafonte and he helped her  immigrate to America. In 1960, she wanted to attend her mother’s funeral, only  to find out that her SA passport was cancelled. In the same year, she signed  with RCA Victor and released her album “Miriam Makeba”. In 1962, Makeba  and Belafonte sang at the birthday party of JF Kennedy. In 1963, she released  her second album, “The world of Miriam Makeba”. During the latter part of  1963, Miriam testified against apartheid in SA before the UN and her music was  banned in South Africa and her SA citizenship and her right to return to SA,  was revoked. She stayed in the USA, but also had international passports from  Guinea, Belgium and Ghana and so became a citizen of the world. She married  Hugh Masakela in 1964, divorcing in 1966. She received a Grammy Award for  Best Folk Song Recording with Belafonte in 1966 and the album was titled, An  Evening with Belafonte/Makeba. This album dealt with political plight of black  South Africans under apartheid. It presented traditional Zulu, Sotho and  Swahili songs in a unique setting. Her fame and reputation grew; She released  The Click Song (Qongqothwane) and Malaika. Her voice (tones, warmth) was  compared to Ella Fitzgerald and Frank Sinatra. She never wore make-up, never  curled her hair and this hairstyle became known as the Afro. In 1967, 10 years  after she wrote Pata Pata, it was recorded and released as a single in the USA  and became an international hit.
Her marriage in 1968 to Stokely Carmichael (civil rights activist) caused great  controversy. Her recording contracts and tours were cancelled and had her  flee to Guinea; Here she stayed for the next 15 years. She separated from  Carmichael in 1973 and continued to perform in Africa, Europe and Asia, but  not in the USA due to a boycott. She was one of the main entertainers in 1974  at the match between Muhammed Ali and George Foreman in Zaire. In 1975,  she addressed the UN for a 2nd time. In 1978, she divorced Carmichael and  married an airline executive in 1980. During 1985, her daughter died and she  moved to Belgium. She was Guinea’s official delegate to the UN and in 1986  won the Dag Hammerskjöld Peace Prize. In 1987, she returned to world  prominence when she performed with Paul Simon on his Graceland album  tour (thanks to Masakela). Warner Bros. Records signed her and she released  Sangoma as a tribute to her mother who was a sangoma. 
Her autobiography was published and also translated into Spanish, German,  Dutch, French, Italian and Japanese. In 1988, she participated in the Nelson  Mandela 70th Birthday Tribute at Wembley Stadium. This performance helped  pressurise the SA government to release Mandela. In 1990, Mandela was  released and during the same year, bans were reversed on the ANC and other  anti-apartheid organisations and announced that Mandela would soon be  released. In February 1990, he was released and Nelson Mandela persuaded  her to return to South Africa, which she did in June 1990. In 1991, Makeba  recorded Eyes on tomorrow, together with Gillespie, Nina Simone and  Masakela; combination of jazz, R&B, pop, African music. Makeba and  Masakela toured the world to promote the album. During 1991, she appeared  on an episode of The Cosby Show. In 1992, she played the role of Angelina,  the main character’s mother in Sarafina! In 1993, she released Sing me a Song.  In 1999, she was nominated Goodwill Ambassador of the UN’s Food and  Agricultural Organisation. In 2000, Homeland was nominated for a Grammy  Award; It was called a love letter to Africa. 
In 2001, the United Nations of Germany awarded her the Otto Hahn Peace  Medal in Gold; she received her prize for the King of Sweden, Carl XVI Gustaf  in 2002. Also in 2002, she participated in the documentary Amandla: A  Revolution in Four-Part Harmony. In 2004, Makeba was voted 38th in South  Africa’s Top 100. She started her worldwide farewell tour in 2005. She fell ill  after a performance in Italy in 2008 (singing Pata Pata), had a heart attack and  could not be revived at the hospital.

Her style, characteristics and contribution: 

She listened to traditional Xhosa and Zulu songs and quicly picked up on  the languages. She also listened to music on the radio and gramophone  records. She loved the music of Ella Fitzgerald. Her music was joyous,  uplifting, soft-spoken and had a serious political message. She is a pioneer  who blended styles such as blues, gospel, contemporary jazz, folk and  traditional Xhosa. In 1987, her autobiography, Makeba: My Story, was  published and translated into German, Dutch, French, Italian, Spanish and  Japanese. She showed a great versatility in many languages and settings,  such as jazz and blues, yet she became known for singing in her native  tongue and became known for the distinguishable explosive clicks. 
She used many different styles in her music – English ballades, Portuguese  fados, Brazilian bossa novas, Hebrew and Yiddish melodies, Italian chants  and other folk and popular styles from around the world. She also received  credit for bringing rhythm and spiritual sounds of Africa to the west. Her  music is a mix of soulful jazz, blues and traditional African folk songs that  had political overtones. The album, Eyes on tomorrow, had a commercial  mix of pop, blues and jazz. Musicians on this album – Jazz trumpeter Dizzy  Gillespie, Rhythm and blues singer Nina Simone, Hugh Masakela  

Albums: Miriam Makeba, The Voice of Africa, Eyes on Tomorrow,   Homeland (2000), Reflections (2004)  
Hits: Pata Pata, The Click Song (Qongqothwane), Malaika, Mbube  (Wimoweh)  

OR 

Josephine “Dolly” Rathebe (1928 – 2004) 

She was born in 1928 in Randfontein and grew up in Sophiatown. Her career  started when a talent scout for Gallo heard her sing. She was only 21 when  she was the star of the film, “Jim comes to Joburg”. Her photoshoot in 1956  – posing in a bikini – added to her star status. She joined the African  Inkspots group as singer, but her reputation preceded her and any group  she sang with. She was a mentor for many a young musician, including  Miriam Makeba, Thandi Klaassen and Dorothy Masuka. She never left the  country during the “apartheid” years, even though the “aandklok” rule made  it almost impossible for her to appear in public, especially when she was  lead singer for The Elite Swingsters. Her association with this elite group  secured her international reputation. They sang at Nelson Mandela’s  inauguration as South Africa’s first 
democratically elected president. They also performed at Westminster Abby  to celebrate South Africa’s return to the Commonwealth. She was awarded  the South African “staatsorde” Ikhamanya in Silver for her amazing  contribution to music and the performing arts and her dedication to the  ideals of justice, freedom and democracy. Even though Rathebe was very  successful, her family did not have the money to put a headstone on her  grave. This was done in 2015 when a learner form Johannesburg started a  project to honour her legacy.  

OR

Thandi Klaassen (b. 1931) 

Thandi Klaassen is a South African legend. Her career stretches over more  than 50 years. She grew up in Sophiatown. Her longing to be a singer started  when she attended a concert at her school by The Jazz Maniacs and Emily  Kwenane. She started to sing in local churches and started her own quartet,  The Quad Sisters. They were also the first female group to record in South  Africa.  
She was injured during her teenage years when acid was thrown in her face.  She was in hospital for a year and her face was permanently maimed and it  looked like her career as performer was doomed. She gained her confidence  and carried on singing with Dolly Rathebe, Miriam Makeba and Dorothy  Masuka. She was one of the role players when King Kong was performed  and she even performed in London. After the play ended in London, she did  not return to South Africa, but started performing internationally with Patti  LaBelle and Roberta Flack. At the same time, she was building her reputation  as an excellent jazz singer. She is now retired, but still performs at special  occasions. While she was overseas, Thandi participated in anti-apartheid  campaigns and continued with music that addressed the situation in her  country. She received many awards, including “The Woman of Distinction”  award in Canada (1999) and a “Lifetime Achievement Award” (12th MTN  SAMA). She also received the “staatsorde” Boabab in Gold. She is well known for her Mbaqanga interpretations. As acknowledgement of her  heritage, she also sings in e’Kasi, the folk dialect spoken in Sophiatown.  
Thandi Klaassen suffered from pancreatic cancer and passed away on  15 January 2017, aged 86. She was given a state funeral. (15)

The essay will be marked according to the following criteria: 

TOTAL SECTION D: 40 

OR
SECTION E: INDIGENUOUS AFRICAN MUSIC 
QUESTION 16 
16.1 Choose the correct answer from COLUMN B to match the item in  COLUMN A. Write only the correct matching letter (A–F) next  to the question number in the ANSWER BOOK, e.g. 16.1.6 F. 

16.1.1 E 
16.1.2 C 
16.1.3 A 
16.1.4 B 
16.1.5 D  (5) 

16.2 What was the origin of the word “mbaqanga” and the symbolic meaning of  it under musicians? 

• Mbaqanga is a Zulu word for steamed mealie bread. The symbolic  meaning under musicians was “music bread”.  (2) 

16.3 From which word is “Maskandi/Maskanda” derived? 

• It is derived from the Afrikaans word “musikante” (musicians).  (1)  

16.4 Explain the goal of Isicathamiya. 

• The goal is to reach a harmonious mix of voices (and not the roar of  the lion).  (1)  

16.5 What is the nickname of Philip Tabane? 

• Dr Malombo (1) 

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QUESTION 17 
17.1 The saxophonist of the Makgona Tsohle Band, West Nkosi, played a  different instrument and a different style at the start of his music career.  Name the instrument and style. Also describe his path in music until 1963  when he and his band were stranded in Northern Rhodesia for 6 months. 

• Nkosi first played the pennywhistle and the style of music he played  at first, was kwela. He played his kwela music outside sport centres  and on the street corners. During one of these street performances he  met some of his band members, Joseph Makwela and Lucky Monama.  In 1962 they were appointed by Gallo record company as session  musicians for Reggie Msomi’s Hollywood Jazz Band. Nkosi played  saxophone, Monama the drums and Makwela the electric bass guitar  (he was the 1st black electric bass guitar player in South Africa). In  1963 they toured with Msomi to Northern Rhodesia and was stranded  there for 6 months due to political unrest. (5) 

QUESTION 18 
18.1 Discuss the elements of music used by The Cool Crooners as part of their  mix of Mbaqanga, as well as a short overview about the group. 

• The group was known for their unique mix of jazz, Ndebele, Zulu and  KiSwahili elements in their music. The language, rhythm and electric  guitars showed a strong African influence, which became made it their  own style. 
  The group was founded by Albert Sithole and other members were  Lucky Thodhlana and the deceased Ben Gumbo. Gumbo was replaced  with Timothy Mkandla. They are a vocal group from Bulawayo,  Zimbabwe. One distinct trademark was the white suits they wore when  performing. They are seen / known as one of the best jazz groups and  have performed locally and internationally. They have performed with  the likes of Bob Nyabinde, Dudu Manhanga, Jazz Invitation and Tanga  WekwaSando. They have released 3 albums − Blue Sky, Ihulugwe  Lami and Isatilo. (5) 

QUESTION 19 

19.1 There are two specific musical styles and structures in  Maskandi/Maskanda music. The first is Izihlabo. Identify and describe the  second style and its characteristics. 

• 2nd style: Izibongo 
  Contains quick, spoken Zulu parts and is comparable to the style used  by the praise singers. The content is similar to storytelling and often  tells the story of the modern travelling worker.  (3) 

19.2 How was the original Kiba style of music style changed to Free Kiba? 

• Sello Galane blended the Kiba monody with lullabies, storytelling,  wedding songs, church songs, toyi toyi, post initiation repertoire (to  name but a few). Kiba was thus freed from being just Bapedi and  northern Ndebele to become a style of music that was sophisticated  enough and open enough to expression and interpretation through all  good musicians any place in the world.  (2) 

[5]

QUESTION 20 
Isicathamiya is one of the oldest South African choir styles. Write a  comprehensive essay on Isicathamiya, explaining this statement. 
You will be credited for the logical presentation of facts and the structure of your  essay. 

Isicathamiya does not have a literal meaning, but is derived from the Zulu verb  – cathama, which means to move or step carefully. Its tight choreographed  dance moves include careful steps by walking on the toes. Traditionally it is  an a cappella style of singing that developed from mbube, which is another  style of singing associated with unaccompanied Zulu male choirs. Mbube  means lion and this style is known for its deep, powerful male voices and loud  singing. The goal is to reach a harmonious mix of voices (and not the roar of  the lion). One of the most important mbube singers was Solomon Linda  Ntsele. Together with his group, The Evening Stars, they received  international recognition for the song “In the Jungle”/ The lion sleeps  tonight.” This song cemented the close 4-part harmonic style associated with  Isicathamiya.  
Instruments: it is traditionally a cappella. As part of its commercialising, the  groups started singing as pop music groups and would be accompanied by  orchestral instruments and synthesisers. Due to the many renewing features  of Ladysmith Black Mambazo and their international exposure, Isicathamiya  is no longer just a local way of relaxing.  
Musical style and structure: traditionally the lyrics are in Zulu and were  nostalgic love songs. The songs were sung by the roaming workers, far from  their own homes, families and loved ones. Themes of the texts started  changing to actual every day realities like Aids, drugs and crime. The lyrics  are also now being sung in English and Xhosa. Some musicians receive new  songs in dreams from their forefathers. 

Performance: consists of 3 elements:  

• Preparation: the competitive aspect of the music is high from the  start and can be seen as part of the traditional Zulu culture where  competitiveness is very important. Many competitions are organized  to identify the best performers. As part of the actual performance, the  performers “cook” or prepare the song. The aural and visual parts  are of equal importance. During the preparation, the group form a  circle around their leader and sing in harmony like the sound of bees  or a waterfall (isihomuhomu). Choreography is shaped during this  time. Individual groups wear clothing that is not always traditional.  The choir wears identical suits, shirts, shoes and socks and the  leader wears something different, but that will match theirs. Some  groups change their clothes to match the text, e.g. Ladysmith Black  Mambazo. 
• Walking onto the stage: off stage the group hold hands for moral  support, but as they enter onto the stage one by one, they let go of  each other’s hands. It can be compared to a trusted leader leading  his group on an unknown path – indlela. Sometimes the group  members will hold their hands over their right ears to help keep them  on pitch. 
• Real performance on stage: some characteristics are mock fighting  (ukungcweka) which imitates stick fights and walking on their toes  (cothoza). These are part of the Zulu tradition and culture. The leader  starts the song and the rest are supporting parts through their voice  groups.  

Many isicathamiya groups have their music recorded for commercial  purposes. Video recordings are also made and the choreography stays an  important part of the performance.  
Musicians: A very important group is Ladysmith Black Mambazo. Before the  emergence of this group, competitions were held where 2 songs could be  performed according to the competition rules. There was no money  involved in the amateur competitions. Then Ladysmith Black Mambazo  were formed, had the opportunity to perform with Paul Simon and received  international recognition. This they used to focus the international attention  on the local cultural product. Then Shabalala, Bongani Mthethwa and  Paulos Msimango founded the South African Traditional Music Association  to enhance isicathamiya as traditional music. After this, the nature of the  competition changed. Better venues were used and there were financial  prizes for the winners.  
Ladysmith Black Mambazo’s members are all born-again Christians and  they therefore became involved in Gospel music and even here they carried  over the style of isicathamiya in their style of worship music. A good  example of this shift/ change is “Knocking on Heaven’s Door”, which they  recorded with Dolly Parton. Today isicathamiya is a well-recognised and  performed South African style of music.  
Other artists: The King Star Brothers, African Music Bombers, Dlamini  King Brothers. 

The essay will be marked according to the following criteria: 

TOTAL SECTION E: 40 
GRAND TOTAL 120

DRAMATIC ARTS
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

GENERAL COMMENT FOR EXAMINERS/EDUCATORS: 

1. Candidate must refer to the Dramatic Arts theory and contextualising within the play  studied. Full marks cannot be awarded unless the candidate shows an  understanding of the theories of the subject. The answers must be discipline  specific. Use What, Why and How with pointed references to examples in the text.
2. Tick clearly to indicate the learning which is being assessed. Markers should  engage actively with the answers.
3. Chief markers should facilitate the rubric with markers. The level descriptors of  Dramatic Arts must be used to guide the marking.
4. Have regular rounds of consultation to ensure marking is standardised.
5. In the case where a candidate writes more than the suggested number of words – do  not penalise (essay question).
6. The answers in the marking guideline are a suggestion and do not offer all the  answers for a question. Markers should take this into account and be open to  candidate’s responses and make sure that different teaching styles do not  disadvantage the learner.
7. Spend the first day to unpack the quality and quantity of the evidence in the marking  guideline and standardise and find common definitions and concepts.
8. Markers to align Broad Topics and Topics with the questions.
9. The suggested answers are often beyond what most candidates at Grade 12 level  can manage and should be regarded as a learning tool for markers.

MEMORANDUM 

SECTION A: 20TH CENTURY THEATRE MOVEMENTS (-ISMS)
This question is COMPULSORY. 
QUESTION 1: 20TH CENTURY THEATRE MOVEMENTS (-ISM) 
The candidate must answer this question in the form of an essay and use the play  text he/she has studied as an example. Theatre of the Absurd, Epic Theatre OR  Postmodern Theatre. 
Candidate should choose any THREE of the sub topics suggested in the question. 
The essays should be marked using the rubric grid and the notes provided below.  Take into consideration the candidates’ approach to the topic. Motivated, original  answers that show insight should be given credit.

The following are notes based on the conventions of the 20th century theatre  movements. Candidate has to show this knowledge in their response regarding the  instructions of the question. This knowledge must also be demonstrated in relation  to the text of study as prescribed by the Department of Education. 
EPIC THEATRE 
Along with Constantin Stanislavski, Bertolt Brecht was one of the two most influential  figures of 20th century theatre and the most significant practitioner since  World War II. Brecht’s theories for the stage, including his well-known epic theatre  form and distancing techniques, made him a force to be reckoned with. 
Although it is well documented Brecht had a team of workers around him to ease the  load, his creative output was nothing short of prolific. He was a theorist, poet,  playwright of over fifty plays, an essayist, and above all a practitioner who  painstakingly applied his theories to the works of one of the great theatre companies  of the world, the Berliner Ensemble. 
Unlike Grotowski, Brecht preferred to demonstrate his concepts for epic theatre in  performances instead of acting exercises. Unlike Artaud, Brecht’s ideas were  concrete and translatable for actors for generations to come. A staunch Marxist,  Brecht’s plays often had a political and social message for those viewing them.  Accordingly, his works included songs that drummed home the message of the play,  storytellers and narrators, projection, placards, and actors directly addressing the  audience. 
THEORY 

• Brecht loathed the theatre of realism
• He likened the realistic theatre to the effects of a drug, in that a realistic  performance pacified its audience
• Brecht’s plays were didactic and aimed to teach or instruct their audience ∙ Brecht used the term ‘Lehrstück’, meaning ‘learning-play’. Social activist theatre  wanting the spectators to make change in their own world outside the theatre  walls
• In 1926 Brecht embraced Marxism and his theatre techniques after this point  served his Marxist beliefs
• Brecht’s umbrella title for a range of non-realistic techniques is  ‘verfremdungseffekt’
• Verfremdungseffekt, or V-effekt (German)/A-effect (English), short for ‘alienation effect’ misleadingly translated over the decades as ‘distancing effect’ recent and  more accepted translation is ‘to make the familiar, strange’ or ‘estrangement’ 
• Epic’ borrowed from the great poems of literature (The Iliad, The Odyssey, The  Mahabharata, Ramayana)
• Brecht was influenced by (German) expressionism and had an interest in the  cabaret scene in Berlin

FORM 

• Brecht’s form of theatre was known as ‘epic theatre’, most likely coined by  collaborator, Erwin Piscator.
• Some scholars argue the term ‘epic theatre’ was already in use in European  experimental theatre
• Epic plays employed a large narrative (as opposed to a smaller plot), spanning  many locations and time frame
• Brecht called scenes ‘episodes’, with each scene being relatively self-contained  in the story
• Epic plays used non-linear, fractured plots, where the events of an episode were  not necessarily a result of the preceding episode
• This juxtaposition of scenes employing multiple locations and time frames  created a montage effect
• He used his acting troupe at the Berliner Ensemble to perfect his theories on  acting and the theatre
• Focus was always on the society being presented in the play, not individual  characters
• Events in plays were sometimes told from the viewpoint of a single storyteller  (alienation device)
• Brecht wrote his plays with no act or scene divisions; these were added later
• Long scenes told the main events of the story and were interspersed with  occasional short(er) scenes 
• Short(er) scenes normally involved parables, used to emotionally detach the  audience marginally
• Parable scenes often involved the use of song, an alienation device employed by  Brecht to help deliver the (Marxist) message of the play
• ‘Historification’/’Historicisation’ was a Brecht term defining the technique of  setting the action of a play in the past to draw parallels with contemporary events
• ‘Historification’/’Historicisation’ enabled spectators to view the events of the play  with emotional detachment and garner a thinking response
• Brecht crushed Aristotle’s model of the three unites of time, place and action (one  location, single day) 

MOVEMENT AND GESTURES 

• Mix of realistic and non-realistic movement
• Movement was at times graceful, but at other times forceful
• Brecht used the Latin word ‘gestus’ to describe both individual gestures and  whole body postures
• Character gestus denoted one’s social attitude and human relationships with  others (linked to Marxist principles)
• Some Oriental gesture used (Brecht’s influence of a Balinese dance showing)
• Groups of characters often positioned on the stage for functional and not  aesthetic reasons
• Characters grouped according to their social relationships in the play (Marxist)

SPACE AND ACTOR AUDIENCE RELATIONSHIP 

• Brecht’s plays were performed in traditional proscenium arch theatre houses
• However, the stage curtain was often dispensed with or a half curtain used  instead of a full one
• Brecht preferred to call the audience ‘spectators’
• Direct address by actors/characters to audience was a strong and  unconventional technique used by performers
• Direct address broke the (invisible) ‘fourth wall’ and crushed traditional  realistic/naturalistic conventions 
• The narrator was a common figure in Brechtian dramas (Brecht was probably the  father of the modern narrator) 

STAGECRAFT 

• Costume was not individually identifiable e.g. the farmer’s costume represented  ‘a (typical) farmer’
• Costume was sometimes incomplete and fragmentary e.g. tie and briefcase for  the businessman
• Costume often denoted the character’s role or function in society (plus  wealth/class)
• Sets were sometimes non-existent or fragmentary (either partial sets or one  object representing many of the same)
• At other times sets were industrial e.g. ramps, treadmills (influence of  Meyerhold’s constructivist set design)
• Some makeup and mask use, but non-realistic and ‘theatrical’ e.g. grotesque  and/or caricatured
• Makeup and costume used to depict a character’s social role in the play, not that  of his/her everyday appearance
• Signs/placards used to show audience a range of information
• Screen projection used to reinforce play’s theme/s (to garner an intellectual  response, not emotional)
• Open white light only (as colour would generate an emotional response from the  audience)
• If the house lights were left on during a performance, open white light also  allowed for the spectators and performers to share a single same-lit space
• Lighting instruments in full view of audience (no attempt to hide them, but rather  remind the audience they were watching a play)
• Music and song used to express the play’s themes independent of the main  spoken text in the play (in parable scenes)
• Music was used to neutralise emotion, rather than intensify it (opposite to a  modern-day musical) 

ACTING AND CHARACTERISATION 

• Actor was never to fully become the character, as in the realistic/naturalistic  theatre
• Actor was asked to demonstrate the character at arm’s length with a sense of  detachment
• Often characters tended to be somewhat oversimplified and stereotyped yet  other characters were sometimes complex historical, real-life characters in some  Brecht plays some (but not all) character names were generic e.g. the worker,  the peasant, the teacher
• Mix of presentational and representational acting modes

ABSURD THEATRE 
The theatre of the absurd was a short-lived yet significant theatrical movement,  centred in Paris in the 1950s. Unusual in this instance was the absence of a single  practitioner spearheading the form. Largely based on the philosophy of  existentialism, absurdism was implemented by a small number of European  playwrights. Common elements included illogical plots inhabited by characters who  appeared out of harmony with their own existence. The typical playgoer had never  seen anything like this on the stage before. The theatre of the absurd will be  remembered in history for many things, the most significant of these being Samuel  Beckett’s masterpiece Waiting for Godot, one of the great plays of the 20th century.  Absurdism is commonly studied in senior high school and university drama and  theatre courses. Below are the main conventions of the theatre of the absurd. 

BACKGROUND 

• NOT a conscious movement
• EXPONENTS of the form were a disconnected group of playwrights
• THE term theatre of the absurd was first coined by scholar Martin Esslin in his  1961 text The Theatre of the Absurd
• TRUE absurdist playwrights are few in number: Samuel Beckett, Eugene Ionesco  and Jean Genet (with some scholars including Arthur Adamov)
• OTHER playwrights whose selected works have been labelled absurdist by  others include Harold Pinter, Edward Albee, Tom Stoppard, Fernando Arrabal,  and Peter Weiss (though most deny the label of absurdist playwright) 
• THE beginnings of absurdism lie in avant-garde experiments of the 1920s and  30s, while some argue absurdist elements exist in plays such as Alfred Jarry’s  Ubu Roi (1896) and even in ancient Greek dramas 

THEORY 

• THEATRE of the absurd is otherwise referred to as absurdism ∙ ABSURD originally means ‘out of harmony’ (in a musical context) – its meaning  in the theatre of the absurd is different to the everyday meaning of the word as  ‘ridiculous’
• ABSURD in the context of absurdism can mean:
  • Without purpose
  • Illogical
  • Out of harmony
  • Useless
  • Devoid of reason
  • Meaningless 
  • Hopeless
  • Chaotic
  • Lacking order
  • Uncertain
• LYING in the background to absurdism is the notion of existentialism
• EXISTENTIALIST philosophers who influenced absurdist playwrights were  Frenchmen Jean-Paul Sartre (1905–1980) and Albert Camus (1913–1960) – both also playwrights themselves
• Existentialism refers to a particular view of the nature of man’s existence. The  existentialist believes that man starts life with nothing. His life is made up of acts;  through the process of acting man becomes conscious of his original  nothingness. By choosing to act, man passes into the arena of human  responsibility which makes him the creator of his own existence. However, the  existence inevitably ends with death. Man returns to his original state of  nothingness. This existential notion eliminates the Western concept of man’s  exalted nature. Life becomes meaningless and useless – a condition which is in  essence ‘absurd’. Man’s only freedom in this condition is the exercise of his  conscious mind. However, consciousness means conflict – between man’s  awareness of the absurdity of his existence and his need for justification of his  human action. (J.L. Crawford: Acting In Person and in Style)
• THE atrocities of World War II are considered influential events to the movement,  highlighting the precariousness of human existence
• Sartre denied the existence of a God, seeing humans with no choice but to  create their own standards and moral code in life (instead of accepting standards  offered by the Church, the State, or society)
• Camus’ book-length essay The Myth of Sisyphus sees Sisyphus endlessly  pushing a boulder to the top of a mountain, only to see it roll to the bottom again  – this futile labour is an analogy for man’s meaningless existence, a quality seen  in many characters and plots of absurdist plays
• For Camus, the legendary figure of Sisyphus was the prototype of an ‘absurd’  hero, condemned by the gods forever to roll a rock to the top of a mountain, only  to have it roll back down again by its own weight. He represented the epitome of  futile labour and pointless existence. Although Camus denied any connection  with Sartre’s existentialism, the book (Sartre’s The Myth of Sisyphus) became a  manifesto for the new existentialist drama, and later for the theatre of the absurd.  In it, Camus asserted that it was legitimate and necessary to wonder whether life  had any meaning. He described how man felt himself to be a stranger in an alien  world, and believed that this divorce between man and life was properly  ‘le sentiment de l’absurdite’, the feeling of absurdity 

PLOT AND STRUCTURE 

• Anti-realistic, going against many of the accepted norms of conventional theatre
• Labelled by some critics as ‘anti-theatre’
• Often characterised by a deliberate absence of the cause and effect relationship  between scenes
• Non-linear plot developments, sometimes cyclical – ending where they began
• Occasionally appearing as though there is no plot at all to speak of deliberate  lack of conflict

ACTING AND CHARACTERISATION 

• Both presentational and representational modes of acting 
• Sometimes stereotypical
• Often an absence of character development
• Absurd characters lack the motivation found in characters of realistic dramas,  highlighting their purposelessness
• Time, place and identity are frequently blurred with characters often unsure about  who or where they are
• Characters are often out of harmony or out of sync with the world in which they  live 

MOVEMENT 

• Mixture of realistic and non-realistic
• Elements of circus, vaudeville and acrobatics
• Ritualistic
• Slow
• Illogical
• Repetitive
• Action sometimes defies logic or easy understanding
• The absurdists, while for the most part accepting Sartre’s philosophical outlook,  tended to concentrate upon the irrationality of human experience without  suggesting any path beyond. By employing a succession of episodes unified  merely by theme or mood instead of a cause-to-effect arrangement, they arrived  at a structure paralleling the chaos which was their usual dramatic subject. The  sense of absurdity was heightened by the juxtaposition of incongruous events  producing seriocomic and ironic effects
• One extreme to the other without notice
• Often sombre and serious, then highly comical 

DIALOGUE 

• Language was devalued as a communication tool (unreliable and distrusted)
• Often illogical
• Sometimes telegraphic and clipped
• Long pauses 
• Clichéd
• Repetitive
• Rhythmical
• Frequent use of silence
• Monotone
• Slow dialogue sometimes accompanied by a frenzied, fast-paced monologue  (extremes) 

STAGECRAFT 
Often simple and minimalist use of stagecraft 
Barren set pieces barely denoting a location (e.g. a tree and a country road in  Waiting for Godot)

POSTMODERN THEATRE 
Postmodern Western theatre responds to the multi-cultural, ironic, cynical, and  chaotic social, political, philosophical and artistic developments of the last quarter of  the 20th century and the first decade of the 21st century. It does not view the world  as an absurd, meaningless place of existence teetering on the edge of absolute  destruction, but rather as a place where meaning and truth are relative and subject  to different understandings and interpretations. In this world, the apocalypse has  already occurred. Postmodern theatre suggests that existence can only be properly  conceptualised by living and thinking outside the standard dynamics of human  relations and perceptions of space and time. 
The playwrights and directors Tom Stoppard, David Mamet, Sam Shepard and Eric  Bogosian are considered the most popular and prominent practitioners of  Postmodern Western theatre. Tom Stoppard’s meta-fictional plays often offer  pastiches of different literary and historical sources in order to provide a new  perspective on seemingly disparate ideas and historical events. David Mamet’s  plays tend to focus on the ways in which people relate to, assault, and manipulate  one another through language and the complicated dynamics that exist between  different genders, ideologies, sexual orientations, ethnicities, and social classes.  Meanwhile, Sam Shepard’s plays tend to examine clashes between different  generations and social classes and the subtleties of communication and meaning  that exists within the American language. Eric Bogosian’s decidedly self-conscious  plays consider influence of mass media on postmodern American life and the social  effects of resisting conformity to social norms and standards of behaviour. 
Contemporary drama critics debate when the Postmodern age of Western theatre  can be said to have begun. Some critics argue that Postmodern theatre began with  Samuel Beckett, while others argue that Beckett’s plays represent the ultimate  conclusion of the Modern theatrical movement. While these debates continue, it is  generally accepted that the Western world remains in the midst of the age of  Postmodern theatre. 
Postmodern Western theatre serves, mainly, to attack and deconstructs (takes  apart) a number of the central ideas often presented in Modernist theatrical  productions while highlighting the Postmodern notion of ‘truth’ as ultimately unverifiable. It suggests that it is up to the audience to decide what is and is not  ‘true’ in terms of the drama being presented on the stage. 
It is generally accepted that the Western world remains in the midst of the age of  Postmodern theatre. 

• It is hard to fix it in time or space, because it is not clear exactly when  Modernism ends or Postmodernism begins. 
• The movement of Postmodernism began with architecture, as a reactionary  movement against the seeming dullness and hostility present in the Modern  movement. 

Postmodern Western theatre responds to the multi-cultural, ironic, cynical, and  chaotic social, political, philosophical and artistic developments of the last quarter of  the 20th century and the first decade of the 21st century. It does not view the world  as an absurd, meaningless place of existence on the edge of destruction, but rather as a place where meaning and truth are relative and subject to different  understandings and interpretations. 

CHARACTERISTICS 

• The accepted norms of seeing and representing the world are challenged and  disregarded
• A pastiche of different texts and media forms is used, including the simultaneous  use of multiple art or media forms
• The narrative needs not be complete but can be broken. Uses non-linear  storytelling conventions. A postmodern play proceeds in almost any order the  playwright wishes to construct, and such time warping no longer seems  surprising
• Characters are fragmented
• Each new performance of a theatrical piece is a new Gestalt, a unique spectacle
• The audience is central to the shared meaning making of the performance  process and its members are included in the dialogue of the play.
• The production exists only in the viewer’s mind as what the viewer interprets – nothing more and nothing less. Acknowledgement of a play’s fictionality
• The rehearsal process in a theatrical production is driven more by shared  meaning-making and improvisation, rather than the scripted text
• The play steps back from reality to create its own self-conscious atmosphere.  This is sometimes referred to as meta-theatre
• Radical experimentations in language and thought
• The abandonment of any attempt to replicate reality
• The deliberate combination of wild humour with terrible tragedy
• A postmodern play proceeds in almost any order the playwright wishes to  construct, and such time warping
• An audience can expect cross-association and is able to keep several ideas  and chronologies in mind at the same time, blending them into a satisfying  dramatic experience 

STYLISTIC ELEMENTS 
Objective is to bring attention to the medium and message. Not random and  arbitrary but sophisticated rationale/thinking for choices. 

• Design – no prescribed rules on how it should look e.g. sergeant could use cup  that look like a gun from which he drinks. 
• Setting – use architecture of existing spaces and buildings as context for  performance
• Costume – does not have to reflect an era that is presented- it could be defied,  an interpretation (sergeant doesn’t have to wear stereotypical costume but a  medal could signify his status, wearing underpants could show his vulnerability ∙ Lighting – multi-media
• Use of language – several genres from tragic to comic, from Elisabethan to rap  in the same performance. Inter-textual, may have beginning, middle and end but  not necessarily in that order
• Characterisation – it could be deliberate cross-gender casting

STAGING 
Actors played scenery and props, and played themselves using story and character  merely as vehicles for direct interactions with audiences. 

• De-familiarising the familiar: Rejected conventional notions of where theatre  should be presented. It could be in restaurants, in a restroom, in an abandoned  railway station, etc.
• Set: It is no longer in a building
• site-created e.g. at a cemetery and create play using gravestone, epitaphs,  existing landscape, etc. to create performance
• site-specific – rehearse performance and perform in venue different to rehearsal  space
• Performance, instead of conventional presenting of lines, could be done as rap
• Character, time, space does not have to be from same era. Can be pastiche  (collage) of different streams 

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE (1960–1994) 
QUESTION 2: WOZA ALBERT! BY BARNEY SIMONS, PERCY MTWA AND  MBONGENI NGEMA 
2.1
2.1.1 Candidate may discuss any TWO styles evident in the play Woza  Albert! As discussed in class. The following are the possible styles  evident in the play: 

Jerzy Grotowski’s Poor Theatre:  
Martin Esslin’s Theatre the Absurd: 
Or Bertolt Brecht’s Epic Theatre: 

Award ONE mark for the style and ONE mark for the correct name of  the practitioner. (4) 
2.1.2 The following are suggestions regarding how the styles mentioned in  QUESTION 2.1.1 have been applied in the play Woza Albert! 

Candidate may not be able to generate the same kind of thinking in  their response as the above, however, mark holistically and assess on  the basis of fact and consideration there-above. Award five marks per  style, well explained and examples thereof. (10)
2.1.3 The socio-political context of the play has to do with the life of the  society during a certain era as well as their political situation. The  following is an example in relation to Woza Albert! Consider this as  the basis of candidates’ response. 

• Woza Albert! is regarded as South Africa’s finest example of social  theatre, and the collaboration between Ngema and Mtwa, two  black playwrights, and Simon, a white producer, was a significant  relationship that crossed the colour barrier. Theatre served as a  vehicle for educating white audiences about the horrors of  apartheid and became a vehicle for black self-expression during  this period when other, more direct forms of social criticism were  banned.
• The play also provides different interpretations of the functions of  policemen serving the white South African government. 
• Mandela’s release from prison
• The struggle to find jobs in the city
• Homelessness
• Labour related issues or unfair treatment of employees by the  employers
• Overpopulation and desperation in the cities for the sake of a  better life
• The question of unfair political stance as stipulated in the law of  governance
• The play generally addresses oppression, labour, survival,  separation of families between South African homelands and the  cities, poverty and homelessness, police brutality, and political  imprisonment
• The need for South African black leaders in Apartheid South Africa
  Candidate may mention the above with examples from the play to  support their statements. ONE mark for the socio-political issue  mentioned and ONE mark for giving an example. (6)

2.2 Consider the following in candidates’ response: 
Protest can be defined as a moment where a person or a group of people  show disapproval for an unacceptable practice. The simplest form of informal  Protest Theatre can be one person lodging a complaint to another, where the  other person has the ability to intervene. It has most of the times been  referred to as Agit-prop, stands for Agitation and Propaganda. 
There are many instances in the play, especially, in the thematic structure of  the play where protest is being demonstrated. The characters are trapped in  the unfortunate situation in effect to the political situation of the time. Absence  of proper education, seen in the character of the barber, unbearable working  conditions at Coronation Brickyard, the space restrictions, small businesses,  uprising against the Calvinistic thinking, police brutality, etc. These stand at  the core of the big complaint that is launched by this production done in a  performance jam packed with protest energy. The audiences are  metaphorically summoned to rise against these problems and solve them head on through the symbolism of Albert Luthuli. They are figuratively  reminded of the revolutionary ethics of the Lilian Ngoyis and Albert Luthulii so  that they can be inspired to find strength in themselves to move forward and  be mobilised to take action against the backdrop of Apartheid South Africa. 
Consider candidates’ knowledge of the theatre term ‘protest’ and award marks  for identifying at least FOUR events in the play that are an example of this  kind of theatre. (8) 
2.3
2.3.1 Multi-functional props are props that can be used for many reasons  than one in a performance. The uses may vary from using the same  prop for literal use and even for symbolic purposes. Many  presentations use props for many functions than the actual role for  which the prop may be literally used. They use props to transform  roles, environment, time, mood and for the imagery of a performance  in total. 
In Woza Albert! the tea chests are used in many ways. The following  are some ways the tea chests has been used for many functions: 

• As the seats on a train
• As the stalls in the street-vendor scene
• As a chair for the barber
• As a dustbin in the Aunt Dudu scene
• As symbols of history of oppression by referring to colonialism (export  of tea by British), etc. 

Consider candidates response along these lines. (2) 
2.3.2 In Woza Albert! the performance technique applied in the  performance of the text is Poor Theatre as explained in the account of  how the collaborators came up with the play. The performance style  focuses on the technique of multi-functional props as stipulated in the  conventions thereof. 
The black boxes are used to portray the train, the jazz band stand, the  pink nose, the clothing rail to put up all the costumes for multi-roles. 
Award marks for the understanding of multi-functionality as portrayed  in the play. (6) 
2.3.3 Candidate either agrees or disagrees with the question. Award TWO marks per reason provided by candidate. (4)

[40] 

OR
QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 
3.1 The following are the common differences between Township Musical and  Community Theatre: 

Consider candidates’ understanding of the difference between the two, any  TWO relevant distinctions between the two must be awarded TWO marks per  difference discussed. (4) 
3.2 Sophiatown is a Township musical. For instance: 

• In a township musical there is usually a reflection of urban township  lifestyle that include vibrant scenes and an illicit drinking spots (shebeens)  like Mamaritil’s Diamond Shebeen where the rest of the production is set.
• There are usually pennywhistle players, a capellla singing and traditional  mbaqanga music, as well as a mixture of jazz and the blues styles. In  Sophiatown the characters usually engage in song and dance in a jazz  style and their form of entertainment is to go and listen to the blues of  Mariam Makeba and Dolly Rathebe and the jazz of Dollar Brand (Abdullah  Ibrahim) and bro Hugh Masikela, etc.
• The themes of a township musical include historical, social, political and  cultural aspects of township life. In Sophiatown we see this in the themes  of political nature of the time, the forced removals, the way the people  used to live, free-hold suburban lifestyle under the roof of Mamariti, the  gangs and the chinaman, the gong and the culture of music, bioscope,  literature and dance.
• The costumes are mostly reflective of the American styles like in  Sophiatown, the labels that Mingus and Charlie always wear and designer  suits, hats and shoes that they always brag about. 

Award ONE mark to candidate for explaining the township musical element  and TWO marks for giving relevant examples from the play. Candidate must  at least discuss THREE conventions of township musical and give an example  for each to achieve full marks. (9)
3.3
3.3.1 Forced Removals (2)
3.3.2 Candidate will be awarded for correct details of ONE of the following: 
A ‘Blackspot’ was an area of land in which blacks lived in freehold in  what the National Government regarded as white South Africa. The  Blackspots were bought legally by blacks, either as individuals or as  groups, before apartheid legislation made it illegal to do so, and many  had been bought as far back as before the Union Government of  South Africa in 1910. 
Examples of Blackspots were Charlestown, Besterspruit and  

• Kumalosville. In 1953 the black people of Charlestown were told  that they would have to move to Buffalo Flats, 40 miles away, and 18  miles from Newcastle, the nearest town. In 1963 people were forcibly  moved from Charlestown to another area, 6 miles from Newcastle,  called ‘Duck Ponds’. Their Charlestown houses were demolished,  and their goods were loaded onto lorries and moved to small  prefabricated huts. They were not allowed to take their livestock with  them. 
• The Liberal Party of South Africa (LPSA) was involved in the fight  against these policies, particularly Peter Brown, whose involvement  led to the founding of the Association for Rural Advancement (AFRA). 
• And the people of District Six were moved to Khayelitsha and  Gugulethu 

Award a mark per event mentioned. (2) 
3.4 Internal conflict usually sees a troubled character, mostly the protagonist  suffering from inner turmoil. 

• For instance: Jakes feels like he has been too much involved in writing about  boxing for Drum magazine and for that reason he feels like his creativity is  fading out into this repetitive style of journalism. He feels like he has not been  challenged a lot recently and thus wants to write about something different.  We see his character dealing with this issue from the beginning of the play  and this brings the inciting incidence of the play into action. He decides to  advertise on Drum magazine for a white lady to come and dwell in Softown  which becomes the point from which the plot of Sophiatown is triggered into a  different direction. 
  Consider this from candidates’ response even though it won’t be verbatim to  the guidelines above. (5) 

3.5 Candidate must demonstrate their understanding of theatre conventions as far  as Poor Theatre is concerned in their response. 
Candidate may agree or disagree for which and support their answer by  applying the conventions of drama and giving examples from the play. (10)
3.6 Award marks if candidate mentions the fact that Lulu is still a student  presented in uniform in the production. She is resistant against the education  system, Bantu Education, thus speaks on behalf of all the students in high  school at that time. She feels like the education system is not practical  enough to help her construct her life accordingly. This was a big issue in  apartheid South Africa and the climax of it all was the June 16 uprising in  Sharpeville. 
Award marks to candidate when they demonstrate the understanding of  history especially with regards to Bantu Education and how it was received by  the black youth of the time. (4) 
3.7 This is an open question and candidate has to be assessed on the  understanding of the value of drama to a community and is able to  substantiate their answer. 
Award marks for TWO well explained reasons. (4)

[40] 

OR 
QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
4.1 First, candidate has to demonstrate understanding and knowledge of the  concept: exposition 
For instance: 

• Exposition is a literary device used to introduce background information about  events, settings, characters, etc. to the audience. Exposition can be  presented through a variety of other modes of drama like monologues,  dialogues, prologues, a protagonists thought or narrator’s explanation of past  events. In drama this can also be presented through the stage directions and  didascalia.
• In this case of Siener in die Suburb assess if candidate knows and can  describe the setting of the play, the characters and the total environment of  the play and award marks in this regard; ONE mark for knowledge of concept  TWO marks for each example given in relevance to the play. (5) 

4.2 The following is a commonly held idea of what Archtype characters mean: 

• A common character found in a play and considered to be universal across  most cultures. Examples of which can be found in the world around us every  day, in our speech, our beliefs, media, sports, psychology, art and even our  dreams.
  For example:
  • The hero: the character of Tjokkie
  • The mentor: Ma can be seen as the mentor even though she’s presented as  the powerless in the play
  • The ordinary guy: Fe
  • The innocent: Tiemie, Tjokkie
  • The villain: Jakes and Giel 

Award marks for knowledge of concept and TWO marks for valid examples  taken from the play. (5) 
4.3 Consider the following information: 
Traverse is a form of catwalk – though in its purest form it does not have the  stage and back wall area that a fashion catwalk has – the purest form of  traverse is illustrated below where you have the audience on two sides of the  stage. 
 

Siener in die Subrub is set up in a yard with a garage and a hint of the house.  The setting presents a realistic view of the environment of the play. The set  gives an impression of a peep into the lives of the characters as far as the  story is concerned. There’s a fourth wall made invisible and the audience are  taken on a journey to follow the everyday lives of these characters. This type  of presentation is usually suited for a performance on a proscenium arch  stage. The proscenium arch stage is convenient because it is organised such  that the audience is on the one side of the stage. Award marks to candidate  for their understanding and knowledge of the stage types and explaining how  the play fits to be performed or not performed on it. (5) 
4.4 Conflict generally occurs when a character cannot achieve an objective due to  an obstacle. This obstacle may be internal or external – between characters  or between characters and their environment. Conflict can be shown in a  variety of ways, for example through physical, verbal or psychological means.  Conflict can be embedded in the structure of the drama. (8)
4.5 The following are the basic functions of costume in drama: 

• Defining Character – differences between characters must be clearly  visible to audience, even when other characters are confused. What does  an audience need to know?
• Setting a character in time and space
• Establish approximate age and gender of character
• Establish rank or social status
• Establish personality
• Reflect changes – richer, poorer, older, injured, fatter, etc.
• Supporting Theme, Concept, and Mood
• Style – the manner or mode in which the costumes are created to best  interpret the mood and concept 

Consider the above in relation to Timmie’s character. Candidate needs to  understand the functions of costume in drama and have a clear knowledge of  the character of Timmie and use that knowledge to interpret the costume  suitable for her personality, status, aspirations in concern to the play. 
Mark holistically. (5)
4.6 Use the following rubric to assess candidates’ response. 

Consider candidates’ response with regards to the character of Jakes and  award marks as guided by the rubric to assess candidates’ answer. (12)

[40] 
TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE POST-1994 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 
5.1 Inciting incident may be referred to as the opening moment of a play that has  a narrative structure. This is an event that sets the plot of a play into the  direction of the themes of the play and brings about the central conflict of the  play. 
The inciting incident in the play Nothing but the Truth is generally believed to  be the very death of Themba, however, because this has already happened  when the play begins, it can be agreed that the arrival of Mandisa with the  ashes instead of the corpse is the inciting incident. 
From this point, the burial plans that Sipho is busy with in the exposition are  thrown into vanity. The tradition of funerals is challenged by the western  traditions. This arises some unresolved matters with the character of Sipho  also. The central idea of reconciliation, forgiveness and truth are seen in the  process and this couldn’t have happened if Mandisa had brought the corpse.  Now Sipho feels like all his efforts, from history also, have been falling on the  blind sight and no one has ever seen him do his duties as a big brother.
Award a mark for the understanding of what an inciting incident is, TWO marks for identifying the incident and TWO marks for giving the reason. (5) 
5.2
5.2.1 A box-set is a naturalistic setting of a complete room built from flats  with only the side nearest the audience missing. The fourth-wall  convention. A room with four walls and the invisible fourth wall for the  audience to peep in. (2) 
5.2.2 Consider the above definition of a box-set. The play is set such that  the audience can see only one room and hinted of the other rooms  through doors that are exits and entrances. The following is the  details of the setting of the play. 46 Madala Street, New Brighton. As the lights go up, we see the  township home of Sipho and Thando Makhaya. It consists of four  small rooms: a kitchen, lounge and two bedrooms. It is taken that the  bathroom is located outside the house, as with most township houses.  The house is only 7,2 metres by 3,6 metres and these dimensions are  accurately depicted on stage. The building is made out of ash blocks,  a common, cheap building material used in government funded  houses. All of this is informs us how the Thando and Sipho live, their economic status and the kind of community they live in. The small  house has a warm, intimate feel to it, well cared for. The books  suggest educated inhabitants. It also acquires this feeling by the  warm lighting used, and the way the actors move freely and  comfortably around the set, like one would in a place where they are  at home.
Candidate may not report verbatim to the above description, be  considerate of their understanding of box-set and explains it in terms  of the play Nothing but the Truth. (6) 
5.3 Thando is Sipho’s only daughter and only living child. She has grown up with  only her father to count on, because both her mother and brother left her in  their own ways at a young age. It is because of only ever having her father,  that Thando is greatly attached to him, and patient with him in all his  seemingly cold moods, when he is actually just cutting off his thoughts of the  past. For the most part of her life, Thando has grown up in a very different  world then her father did, and thus is also a very different person that her  father is. 
She has unresolved issues pertaining to her mother, she does not know what  happened to her mother and whether she is still alive or not. As a woman, a  great part of her still longs for the maternal figure in her life for the balance.  We see this in the scene where she and Mandisa are ‘cross-examining’ Sipho  and the shock she befell at the hands of the catharsis. 
She has identity issue: 

‘Oh yes, My mother, another mystery, not a word, not even a  letter from her. All I have is that picture of both of you in front of  the library in town. Nothing else. You think she is still alive’ 

Candidate must demonstrate understanding of character analysis and indicate  whether they understand the subtext in the speech of characters. (6) 
5.4 Mark this question holistically on the basis of candidate’s creativity.  Determine from the answer whether candidate is able to create a story with  the assumption given in the subtext of the play Nothing but the Truth and  award marks for this. 
Candidate should demonstrate their knowledge of the actual script and the  implications of the implied characters that are mentioned in the play; how  does the play view the characters of Themba and his relationship with  Mandisa. How would Themba’s presence affect the themes; would Sipho  confront Themba about these issues? Would Thando want to know the truth  about her biological mother and father, how would Mandisa look at her own  father at this point? Such questions should be considered by candidate and  the marker should assess with this in mind. (9)
5.5 Candidate may choose any scene from the play and show creativity in the  direction thereof. Use the following rubric to assess candidate’s answer. 

(12) 
[40] 

OR
QUESTION 6: MISSING BY REZA DE WET 
6.1 The answer should be a ‘NO’ unless candidate demonstrates a very creative  writing and is suited to the choice they make. There must also be a clear  understanding of the conventions of poor theatre as well as that of realism. 
The following notes are details of the setting of Missing and markers must  consider this when they mark: 
The space as seen on the stage represents the kitchen of an extremely poky  house. It is clear from the costumes, furniture, coal stove, etc. that the drama  takes place in the early years. The little house is built with galvanised  corrugated iron. Doors give access to other parts of the house, for example  the passage door that leads to the rest of the house, like the bedrooms that  are often referred to. Then there is the backdoor that leads to the outside  (freedom), and the drop-door in the ceiling where the old man has been living  for many years (captivity). 
The above is suitable for a typical realist setting and should be set in those  conditions. Poor theatre requires, from its conventions, that the space is bare  and objects are used multi-functionally and actors do multi-rolling and use  their body to create the space and the props and set the environment, etc. (10) 
6.2
6.2.1 Consider the following information/guidelines and assess candidate  along that context. 
Women’s role in the conventional Afrikaner community has always  been that of a caregiver. 

• An idealised image of the Afrikaner or Boer woman, the  volksmoeder, appeared for the first time in South African  historiography in the late nineteenth century.
• In some studies the women featured more prominently than before  and they became the symbols of courage, ‘virtue, moral sensibility  and political independence’.
• Some of the scholars also stressed their ‘racial superiority and  purity’, despite their isolation and contact with ‘wild barbarians’  (black, indigenous population).
• In the late nineteenth century the Dutch Reformed Church used  these idealised notions of motherhood in their magazines to  encourage members to support missionary and philanthropic  efforts.
• F.W. Reitz, former president of the Orange Free State, used  Theal’s portrayal of the Boer women in his defence of the Boer  republics on the eve of the South African War (1899–1902) and  during the war, Gen. J.C. Smuts referred to the heroism of the  Voortrekker women to inspire the men on the battle field.
• After the war, the suffering of Afrikaner women in concentration  camps, their ‘heroism, patriotism and defiance of the British  enemy’, were used to augment this idealised image of women.
• In this regard, the volksmoeder was in part based on the image of  idealised womanhood in nineteenth-century England, namely that her most important attributes were her ‘ability and willingness to  suffer and sacrifice for nation, husband and children’.
• The portrayal of Afrikaner women differed from this ideal in that  unlike the ‘passivity, modesty and decorativeness’ encouraged in  the drawing-rooms of metropolitan England.
• They were productive members of society and ‘far more the fellow  labourer and comrade of man, than are the masses of women in  nineteenth-century societies’.
• Although this was a romanticised view, the active participation of  Afrikaner women in all spheres of society is well documented. 

The above notes may be used as guidelines and traces of this  knowledge should be found in the response by candidate. Consider  also the relevant examples in the play: 
How the women treat men (as in the relationship between the invalid, Gabriel, and the trust in the blind Konstabel), etc. (8) 
6.2.2 Consider the following, the female characters in the play are in terror  because of the events that had occurred in their environment of the  play. There is a strange thing that always happens when the circus is  in town and they are scared. They are trapped inside their own home  due their vulnerability. The presence of Konstabel brings some sense  of security because he is a man and he will protect them in the event  where something dangerous may happen. However, this is not the  case. 
The following is information regarding the character of Konstabel in  the play. Candidate may use this information in their response to  strengthen their thesis. 
He is mysterious – between 30 and 40 years old. He wears a police  uniform and, very strange for a constable, he is blind. This does not  make sense. Already we sense the presence of a strange, magical  element. He carries a stick and wears a pair of sunglasses. From the  bag he carries with him, he at a later stage produces his other  possession: an apple. During his metamorphosis as a clown, he does  not wear a shirt, and the jacket of the police uniform is upside-down.  He now resembles a court clown/fool or pierrot (a French clown  figure). Together with this ‘new’ costume, he can suddenly see again.  Note that he did not put on a different jacket, but that it is the same  one which he just turned upside-down. This creates the illusion of  two-in-one, and reflects the transformation. Important is the fact that  he is doing this in the presence of the audience. In doing so, each  member of the audience actually becomes part of the ‘conspiracy’. If  it were an entirely different jacket, it would not have had the same  effect, and it would definitely be detrimental to the drama if he put it  on somewhere else. As it is, the audience is involved in the dramatic  end.
Konstabel is not only secretive; he is also a manipulating and magical  character. He only reveals information about himself if he can use it  to manipulate others. Compare what he tells Gertie about ‘tant’  Hannie. He is aware of her sexual frustration, and to an extent he  liberates her from that frustration. He says he is only used in special  cases. This gives Miem a feeling of importance – to think that midst  their poverty they are ‘a special case’! To compensate for his  blindness, he is blessed with extraordinary well-developed sense  organs for smelling and hearing. About his origin he does not say  anything. They call him ‘snuf in die neus’ (wind of something).  Strange indeed, is the fact that Miem, who is always looking for a  villain behind each hill, does not get (‘snuf in die neus’) wind of  something. (Note the pun!) 
He tells Gertie of his experience with ‘tant’ Hannie, and accompanies  her verbally (by means of words/narration) in her fantasy play as  Hannie. At a later stage, as the clown opposite Meisie, he plays his  role completely and manipulates her within the situation without giving  much information about himself. 
Being remarkably sensitive for human weaknesses and hidden  conflicts within people, he exploits it. He manipulates the three with  his demonstration of a sharpened sense of smell by guessing each  one’s age and sexual status correctly. Meisie regards him as a  sensitive confessor to whom she can confess about her constrictive  existence and need for freedom. For him, this information comes in  handy at a later stage. 
As Konstabel, his uniform presents him as the one who protects. He  represents safety and order in the community, as well as sound  values. This image of him becomes ironic in the light of his actions at  a later stage and of his dual lifestyle: he manipulates Gertie with his  narration, and he accompanies Meisie out of the house to ‘bevry’  (liberate) her. This is directly opposing Miem’s exorcism of the evil  and Konstabel’s pretension to protect them. Significant is the fact that  he does not have a name. Therefore, he can be regarded as a  personalisation of all liberators who rescue others from oppression. 
In the ending, with his flamboyant gestures as a clown, he charms  (‘toor’) a miracle out of the dung when Meisie, as a symbol of the  budding flower growing from the manure, unfolds to mature growth. 
An apple is symbolic of seduction; therefore the apple in his bag is a  symbolic pre-indication that he is going to ‘seduce’ Meisie to leave the  house. 
Konstabel is also part of the incomprehensible mystical/mysterious  and irrational (non-intellectual) dark world. Compare his apparent  blindness and sunglasses, his narration of the solar eclipse and his  sharp vision late in the evening.
He brings inner-renaissance/change/conversion. He also represents  enlightenment amidst the sombre people with their oppressive fears  and beliefs. He penetrates into the dark world of the characters (for  them light – even if it is artificial lantern light) and brings light into it for  Meisie and, partially, for Gertie. 
With Konstabel, De Wet made provision for dramatic irony in the play.  The audience is aware that not all is in order, while the characters  trust him blindly. It creates suspense, and sometimes even comical  relief. (Compare Gertie who feels so humiliated when he rebukes her  when she wants to help him, or when he says that she has a ‘suur  reuk’. Even if the dancing points to her liberation, it still amuses the  audience. Compare for example the incident regarding the hair. This  also contributes to the development of some type of audience  sympathy with the constricted Gertie, who also longs to be beautiful  and popular.) (6) 
6.2.3 Consider the following notes regarding the character of Gertie and  place it in the context of the question: 
The themes of patriarchy versus matriarchy, however, the lyrics also  emphasises the presence of a solution and that is inter-dependency.  To emphasise that the men make the rules but in this event also they  need women for a certain kind of support. 
The irony of blindness, the three women have the eyes but have trust  in a blind person for the fact that he’s a man. Gabriel who does not  contribute, by virtue of manhood, is treated with the same kind of  respect because he is a man. However, underlying to this is the fact  that these men need these women too for a balanced life. 
Consider candidate’s understanding of the lyrics of the song and the  ability to identify events in the play to support their thesis. (8)
6.3 Candidate needs to consider the following regarding the character of Gertie  and place it in context to the question. 
She is a short, colourless, middle-aged little woman with a chignon. Her  clothes already tell us something about her character: hat (skew over one  eye) and wool overcoat. At a later stage we see the unsightly old vest she is  wearing. She is a spinster and physical training teacher. She is a friend of  Miem. 
The first impressions of her are that she is extremely conservative. From her  later behaviour, we learn that she is actually a suppressed and sexually  frustrated woman. Her obsession with PT, physical wellness and fresh air is  merely her bulwark to hide herself. Her sexually motivated fantasy play in the  role of Hannie, in which she performs the movements in a suggestive way,  shows an almost promiscuous person – just the opposite of the first  impressions! She is also part of the Calvinistic hypocrisy. She pretends to  hate the circus (Miem indeed expects her to do so, and one gets the  impression that she will do everything to please Miem), but still she goes to  watch it. She openly tries to capture Konstabel for herself. 
She is beyond her nubile lifetime; however, she reacts nearly aggressively to  Konstabel’s presence, trying to get his attention. In a subtle way, by means of  all kinds of little favours (picking up his stick, giving his coffee to him, etc.),  she tries to get his attention. She tries everything in her power to get rid of the  others, so that she can be with him all by herself. She sends Miem and  Meisie for pretence to bed in order to be alone with Konstabel. When Meisie  and Konstabel are alone outside, she calls them to come inside under the  pretence that the evening air will make Meisie sick. She still wants to appear  sexually tempting. 
At a symbolic level she is the withered flower. In her fantasy playing as  Hannie she tries to find inner liberation. Take notice of the fact that she, after  Miem interrupted her playing, escapes to go and dress herself, without  continuing her playing. She steps back to her old role as spinster. 
Candidate must use the basics of characterisation and the above information  to create a suitable character for Gertie. (8)

[40] 
TOTAL SECTION C: 40 

OR
SECTION D: THEATRE HISTORY, PRACTICALCONCEPTS, CONTENT AND SKILLS QUESTION 7 is COMPULSORY. 
QUESTION 7: THEATRE HISTORY 
7.1 Candidate may discuss any TWO of the following: 
Award TWO marks per well discussed difference. 

TWO marks for each difference discussed. (4)
7.2
7.2.1 The father of modern Realist Theatre is Hendrik Ibsen (1) 
7.2.2 Candidate responds to this question by stating what they know about  Realist Theatre. 
The following are some facts pertaining to Realist Theatre: 

• Characters are believable, everyday types
• Costumes are authentic
• Stage settings (locations) and props are often indoors and  believable
• The ‘box set’ is normally used for realistic dramas on stage,  consisting of three walls and an invisible ‘fourth wall’ facing the  audience
• Settings for realistic plays are often bland (deliberately ordinary),  dialogue is not heightened for effect, but that of everyday speech  (vernacular)
• The drama is typically psychologically driven, where the plot is  secondary and primary focus is placed on the interior lives of  characters, their motives, the reactions of others etc.
• Realistic plays often see the protagonist (main character) rise up  against the odds to assert him/herself against an injustice of some  kind (e.g. Nora in Ibsen’s A Doll’s House) 

Award a mark per fact explained by candidate. (3)
7.3 Candidate may respond by mentioning the term Workshop Theatre and give  the various parts of the process. 

Two marks per stage of the process and an explanation thereof. (6) 
7.4 Assess whether candidate understands the value of drama as well as the  functions thereof in a society. 
Mark holistically. (6)

[20]

QUESTION 8: VOCAL AND PHYSICAL WORK 
8.1 Candidate may write any TWO valid outcomes of not projecting when  performing. Consider the following: 

• The audience does not easily hear you 
• Your speech can not be easily understood
• The audiences might not be able to get the total idea and the plot of the  story especially if dialogue is organised to develop the storyline.
• Some information about the characters and their circumstances can be  lost in lack of audibility.
• Some parts of the play, especially the scenes that form the main message  of the play, may be missed due to lack of hearing. 

Award TWO marks for a well-explained point that candidate makes. (4) 

8.2 The following are some of the things that an actor may consider when creating  vocal characterisation. 

• The socio-political background of the character
• The physical attributes of the character
• The age of the character
• The overall linguistic ability of the character
• The role of the character in the themes of the play and the total mood and  tone of the play
• The emotional characteristics of the character
• How is the character affected by subject matter?
• What is the character’s position in the world of the play? 

The above are some of the things that may be considered in order to portray a  vocal characterisation of note. Award marks per well discussed idea. (6) 
8.3
8.3.1 External characterisation refers to how an actor creates a character  with the world around the character in mind. This usually involves  consideration of the immediate world of the character and the  relationships he has with the people in that world. External  characterisation also implies how the actor approaches a role and  their intentions as far as the visuals of production is concerned;  meaning, what the audiences see in the character the first time they  see a character on stage. This includes physical behaviour of the  actor when portraying a role; is he a respectable old man or a tramp  in the streets of Johannesburg? How will an actor dress to express  the position of the character in the society, what facial expressions will  they use, what gestures and physical mannerisms will the employ to  make the character fit in the environment of the play?
For instance: 
Sipho Makhaya in Nothing but the Truth He is an Assistant Chief Librarian. He wears formal wear and carries  himself in a rather conservative way. The environment of the play  suggests that someone working in that particular position should be  dressed and behave in a certain way both psychologically and  physically; by virtue of mannerism, gestures, facial expression,  deportment, etc. all physical attributes that will make an actor  believable in a role. 
Award TWO marks for the understanding of the concept and TWO  marks for a suitable example. (4) 
8.3.2 The following are some of the things that an actor may consider when  creating physical characterisation. 

• The socio-political background of the character and the impact it  has had on their lives, psychologically and physically.
• The physical attributes of the character, does the character have  one leg or arm missing, etc.
• The age of the character, an old man may not walk the same as a  younger man.
• The role of the character in the themes of the play and the total  mood and tone of the play. What features are there in the  character that make him scary, feared, loved, hated or highly  valued by the people around him?
• The emotional characteristics of the character, arrogance,  gullibility, naïve, etc. can cause a character to behave in a certain  way physically.
• How is the character affected by subject matter? Was he injured  from World War or suffered a stroke after hearing news regarding  some issue dealt with in the plot of the play?
• What is the character’s position in the world of the play? 

The above are some of the things that may be considered in order to  portray a vocal characterisation of note. Award marks per well  discuss idea from the candidate. 
Candidate may discuss any THREE things to consider in physical  characterisation. Award TWO marks per well substantiated point. (6)

[20] 

OR
QUESTION 9: LIVE PERFORMANCE 
9.1 Candidate discusses, reasons, their choice between the two media. 

• The biggest difference between performing on stage and performing for  the camera is the location of your audience. On stage, the audience can  easily be 30 metres or more from the performers. Since the audience  must see and hear a performance to enjoy it, stage performers must act  for the back row. The result is a larger than life performance since the  other actors are only a fraction of that distance from you.
• Since the camera can always see you and the microphone can always  hear you, you only have to move and speak so the person or people in the  scene can see and hear you in television and film acting. If someone is  three feet away, speak as though they are three feet away. If they are  45 metres away, speak to them in that manner. Reality is less enhanced  when a camera and microphone become involved. In fact, due to camera work, score, lighting, and other effects, it is sometimes better to do less  than you would in real life because so many things are augmenting your  performance. So the main responsibility of television and film actors is that  they behave naturally. No exaggerated sound or movement is required.
• The second major difference between stage and camera acting is the  familiarity of the material. Theatre is by its very nature repetitive and  therefore familiar. When a play takes hold and becomes popular, it is put  on by company after company, night after night, all over the world. That  repetition creates an iconoclastic image of the story. When people think  they know the material, they want to hear it exactly the way it was written  and they know when it is changed because it is so familiar to them. The  words of the play become iconic and any errors of dialogue will sound like  fingernails on a chalkboard. Imagine if Richard III chose instead to say, ‘A  horse, a horse...or maybe a camel?’
• Television and film is different because the audience has never seen the  writing. It is fresh and largely written on the fly. Words are being changed  right up until shoot times in many cases. Therefore, at a TV/film audition,  an actor can make mistakes or small changes without consequence. An  original and believable performance is king.
• In film and on TV, actors don’t create their own performances, editors and  directors do. That’s one major difference between stage and screen  acting. In the rehearsal process for the theatre, it is not uncommon for an  actor who is in control of their performance to sense something has gone  ‘wrong,’ stop, go back, and fix it to get it ‘right.’ On a film set that’s  someone else’s job. Actors don’t call cut. Well-prepared actors may find  themselves filming a scene when they forget a line or something happens  that changes the direction of how they thought the scene should go. This  could send them into their head and stop the take. But the director might  have liked what they were seeing or had a vision for how the footage could  be used elsewhere in the storytelling. In transitioning from stage to  screen, actors need to practice letting go of control. This doesn’t mean  letting go of preparation. Far from it. Rather, when they arrive on set,  actors must have the ability to trust the other artists they are working with as collaborators, and play along. Being fully prepared and simultaneously  able to stay relaxed and in the moment is a vital skill for film and television  acting. 

The above are mere suggestions, award MARKS per comparison or  differentiation, well-motivated. (6) 
9.2 Award TWO marks for each reason stated by candidate. 
For instance: 

• Without energy, drama can communicate sloppiness and lack of  believability
• Lack of energy may cause the entire production loss of focus and can  affect other actors in your production negatively
• Energy brings excitement to drama and the audiences watching
• The themes of production are effectively demonstrated by the energy in  characters and total performance and this helps the audience in  understanding even the underlying messages that are carried through in  performance. 

Candidates may transcribe this information in their own words, the above is a  suggestion. (4) 
9.3 Pay attention to candidate’s ability to demonstrate their understanding of the  term ‘process’ and that they are able to identify practitioners such as  Grotowski who contributed to process based theatre, the workshop methods,  etc. (10)

[20] 

OR 
QUESTION 10: RITUALS AND CULTURAL PERFORMANCES 
10.1 The following are the common elements of theatre. Candidate may write  down FIVE from any of the known elements. Award a mark per element: 

• One-Act Play: Takes place in a single location and unfolds as one continuous  action. The characters in a one-act play are presented  economically and the action is sharply focused.
• Act: Major division in the action of a play, accommodating changes in time,  setting, character(s), mood. Acts are further divided into scenes.
• Scene: Changes when the location of the action shifts or when a new  character enters.
• Dialect: A type of informational diction. Dialects are spoken by definable  groups of people from a particular geographic region, economic  group, or social class. Writers use dialect to express differences in  educational, social, and regional backgrounds of their characters.
• Dialogue: The verbal exchanges between characters.
• Drama: Derived from the Greek word dram, meaning ‘to do’ or ‘to perform’. Play: General term for a work of dramatic literature.
• Playwright: The writer who makes plays.
• Exposition: A narrative device, often used at the beginning of a work, which  provides necessary background information about the characters  and their circumstances.
• Stage Directions: The playwright’s instructions about how the actors are to  move and behave.
• Plot: The author’s arrangement of incidents in the play.
• Theme: The central idea or meaning of the play.
• In Media Res: Term used to describe the common strategy of beginning a  story in the middle of the action, usually on the verge of some  important moment.
• Denoument: A French term meaning ‘unraveling’ or ‘unknotting,’ used to  describe the resolution of the plot following the climax.
• Irony: The difference between what appears to be true and what is known to  be true.
• Cosmic Irony: Also called irony of fate, occurs when God, fate, or some  larger, uncontrollable force seems to be intentionally deceiving  characters into believing they can escape their fate.
• Verbal Irony: The difference between what is said and what is true (sarcasm).
• Dramatic Irony: Difference between what the character believes to be true  and what the reader or audience knows to be true.
• Situational Irony: The difference between what is expected to happen and  what actually happens due to forces beyond human  comprehension and control. 

Award marks for ANY other elements of drama as discussed in other works.  One mark per drama element mentioned. (5) 
10.2 Candidate selects a myth from any of the many that they have learned or  heard about in their community. Assess candidate based on the clarity of the  myth and award marks also for the understanding of dramatic arts concepts  such as those that are in the elements of drama. Assess also whether  candidate knows how to apply knowledge of drama concepts into analysing  and identifying similarities between a myth and traditional elements of drama. 
Use the following rubric to assess candidate.

Use the above rubric together with the information given by candidate to  assess the understanding of drama elements and the skills to put it into  context with the immediate world of South African cultures and traditional form  and their contribution to the basics of drama. (15)

[20] 
TOTAL SECTION D: 40 
GRAND TOTAL: 150

DRAMATIC ARTS
GRADE 12 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FOUR sections:

   	Marks
   SECTION A: 20th Century Theatre Movements	(30)
   SECTION B: South African Theatre: 1960–1994	(40)
   SECTION C: South African Theatre: Post-1994	(40)
   SECTION D: Theatre History, Practical Concepts, Content and Skills	(40)

2. SECTION A:
   All candidates must answer the questions by referring to the play text  they have studied and its relevant 20th century theatre movement.
   • EPIC THEATRE 
     • Caucasian Chalk Circle Bertolt Brecht
     • Kaukasie Krytsirkel Translation of Bertolt Brecht play text
     • Mother Courage Bertolt Brecht
     • Moeder Courage Translation of Bertolt Brecht play text
     • The Good Person of Szechwan Bertolt Brecht
     • Kanna Hy Kô Hystoe Adam Small
   • THEATRE OF THE ABSURD 
     • Waiting For Godot Samuel Beckett
     • Afspraak met Godot Translation of Samuel Beckett play text
     • Bagasie André P Brink
     • The Bald Prima Donna Eugeni Ionesco
     • Die Kaalkop Prima Donna Translation of Eugene Ionesco play text
   • POSTMODERN THEATRE
     • Skrapnel Willem Anker
     • Top Girls Carol Churchill
     • Popcorn Ben Elton
     • Buried Child Sam Shepard
3. SECTION B:
   SOUTH AFRICAN THEATRE (1960–1994)
   This section consists of THREE questions. Candidates must answer  only ONE question from this section.
   • QUESTION 2: Woza Albert! Percy Mtwa, Mbongeni Ngema and  Barney Simon
   • QUESTION 3: Sophiatown Junction Avenue Theatre  Company
   • QUESTION 4: Siener in die Suburbs PG du Plessis
4. SECTION C:
   SOUTH AFRICAN THEATRE (POST-1994)
   This section consists of TWO questions. Candidates must answer only  ONE question from this section.
   • QUESTION 5: Nothing but the Truth John Kani
   • QUESTION 6: Missing Reza de Wet
5. SECTION D:
   THEATRE HISTORY, PRACTICAL CONCEPTS, CONTENT AND SKILLS
   This section consists of FOUR questions. QUESTION 7 is  COMPULSORY.
   • QUESTION 7: The History of Theatre (COPMULSORY)
     Answer ONLY ONE of the following questions:
   • QUESTION 8: Vocal and Physical Work
   • QUESTION 9: Live Performance
   • QUESTION 10: Cultural Performances and Rituals
6. NOTE TO TEACHERS
   SECTION D may contain a different number of questions each year  depending on the aspects that are tested and the source material used.

QUESTIONS 

SECTION A: 20TH CENTURY THEATRE MOVEMENTS (-ISMS) 
This question is COMPULSORY. 
QUESTION 1: 20TH CENTURY THEATRE MOVEMENTS (-ISM) 
Answer this question by referring to the 20th century theatre movement and a play  text that you have studied. 
Read the following quote and answer the question that follows. 

Staging a 20th century theatre style production can be challenging. Write an essay in  which you discuss how you are going to stage a 20th century theatre style. 
Consider the following conventions in your response and use the play you have  studied as example: 

• Plot
• Characters
• Language
• Themes 

Your essay must demonstrate your knowledge of the theatre style that you have  studied and how it can be staged to fulfil its own conventions. 
Your essay must be 2–4 pages long. 

TOTAL SECTION A: 30

SECTION B: SOUTH AFRICAN THEATRE (1960–1994) 
Answer only ONE question from this section. 
QUESTION 2: WOZA ALBERT! BY BARNEY SIMONS, PERCY MTWA AND  MBONGENI NGEMA 
2.1 Read the following definition of the term ‘hybrid theatre’ as defined in tdf  Theatre Dictionary and answer the question that follows. 

2.1.1 Discuss any TWO international styles and its practitioners that are  evident in the play Woza Albert! (4) 
2.1.2 Explain how ONE of the above styles has been applied. Your  explanation must include examples from the play. (10) 
2.1.3 What are the socio-political issues that are addressed in the play?  Write at least THREE issues and give examples from the play. (6) 

2.2 Can the play Woza Albert be fit under the term ‘Protest Theatre’? Explain  your answer by referring to the themes of the play. (8) 
2.3 Answer the following questions: 

2.3.1 What are multi-functional props? (2) 
2.3.2 Identify how the play Woza Albert! uses the technique of multi functional props by referring to the events in the text. (6) 
2.3.3 Do you think the use of multi-functional props is effective for this kind  of play? Give reasons for your answers. (4)

[40] 

OR

QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 
3.1 What are the TWO differences between Community Theatre and Township  Theatre? (4) 
3.2 Is Sophiatown a community or township theatre example? Give at least  THREE reasons for your answer and use the play as reference. (9) 
3.3 Refer to the following image and answer the questions that follow.

[AMP.Island of Spice – WordPress.com] 

3.3.1 Which aspect of South African history is demonstrated in the above  image? (2) 
3.3.2 Name any other similar event that took place in South African history. (2) 

3.4 Discuss the internal conflict that is evident in Jake’s behaviour in the play.  Give examples from the play to support your answer. (5) 
3.5 Can Sophiatown be staged using the Poor Theatre style of presentation?  Support your answer by referring to the play. (10) 
3.6 How does the character of Lulu support the theme of education in the play? (4) 
3.7 Is it necessary to produce productions like Sophiatown in the new South  Africa? Give reasons to support your opinion. (4)

[40] 

OR

QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 
4.1 Write a brief exposition to the play Siener in die Suburbs. (5) 
4.2 Explain the term “archetype characters”. Identify at least TWO examples from  the play. (5) 
4.3 Can Siener in die Suburb be staged on a traverse stage? Support your  answer with reasons in context. (5) 
4.4 Discuss the conflict between Giel and Tjokkie in the play. Consider what each  character think of the other and how that influences the plot of the play. (8) 
4.5 How would you dress the character of Timmie in order to fit with her  circumstances in the plot of Siener in die Suburbs? (5) 
4.6 Write notes to advise an actor to play the character of Jakes. Your notes  must guide an actor on how to achieve successful characterisation and a full  execution. (12)

[40] 
TOTAL SECTION B: 40

SECTION C: SOUTH AFRICAN THEATRE POST-1994 
QUESTION 5: NOTHING BUT THE TRUTH BY JOHN KANI 
5.1 Which event in the plot of Nothing but the Truth serves as the inciting incident  of the play? Give reasons for your answer. (5) 
5.2 Consider the following statement and answer the questions that follow. 

5.2.1 What is a box-set? (2) 
5.2.2 Discuss the above statement to prove that indeed Nothing but the  Truth’s setting resembles a typical box-set. (6) 

5.3 Write a brief paragraph in which you discuss the internal conflict suffered by  the character of Thando in the play. (6) 
5.4 What difference do you think the play would have made if the character of  Themba was alive and had come back with Mandisa to show her where he  was brought up? Think about the plot and the themes of the play. (9) 
5.5 Write director’s notes to your actors on how to portray any scene from the play  Nothing but the Truth. The scene must involve all the characters from the  play. Your notes must be precise and a demonstration of acting styles and  directorial skills. (12)

[40] 

OR

QUESTION 6: MISSING BY REZA DE WET 
6.1 Is Poor Theatre a suitable style to use for the presentation of the play  Missing? Consider setting and the use of props in your answer. (10) 
6.2 Consider the following lyrics from a song It’s a Man’s World by James Brown  and answer the questions that follow: 

6.2.1 What was the role of women in society during the time of this play?  Give examples from the play to justify your answer. (8) 
6.2.2 How does the character of Constable bring ‘a false sense of security’  in the plot of Missing? (6) 
6.2.3 Consider the above lyrics and discuss and explain the relevant theme  that it supports in the play Missing. Refer to the events in the play to  support your discussion. (8) 

6.3 If you had to direct Missing, advise an actress regarding how to successfully  characterise for the role of Gertie. Stay in context to the play in your answer. (8)

[40] 
TOTAL SECTION C: 40 

OR

SECTION D: THEATRE HISTORY, PRACTICALCONCEPTS, CONTENT AND  SKILLS 
QUESTION 7 is COMPULSORY. 
QUESTION 7: THEATRE HISTORY 
7.1 Discuss TWO differences between realistic and poor theatre staging. (4)
7.2 Answer the following questions. 

7.2.1 Who is the father of modern Realist Theatre? (1)
7.2.2 Briefly explain what you understand about Realist Theatre. (3)

7.3 Consider the following statement: 

Which theatre making technique, do you think these practitioners use to  create a production? Discuss the process. (6) 
7.4 What is the value of Dramatic Arts to a community? Write your opinion and  support your statement with enough reasons. (6)

[20]

Answer only ONE question from the following: 
QUESTION 8: VOCAL AND PHYSICAL WORK 
8.1 What are some of the disadvantages of an actor who does not project their  voice during a performance? Write at least TWO reasons. (4) 
8.2 Discuss the things that an actor needs to consider in order to achieve a spot on vocal characterisation. (6) 
8.3 Consider the following quote taken from Building a Character by Constantin  Stanislavski (1863–1938): 

8.3.1 What is your understanding of the term ‘external characterisation?  Give an example. (4) 
8.3.2 What are the things that an actor needs to consider in order for them  to achieve an accurate physical characterisation? (6)

[20] 

OR 

QUESTION 9: LIVE PERFORMANCE 
9.1 Which performance media do you prefer between live performance and  television? Explain your choice. (6) 
9.2 Why is energy an important aspect of live performance? (4) 
9.3 Discuss the process that you and your group followed in the creation of your  theme program. Your discussion must demonstrate the actual process from  the beginning until the day of performance. (10)

[20] 

OR

QUESTION 10: RITUALS AND CULTURAL PERFORMANCES 
Consider the following information and answer the questions that follows: 

10.1 Name FIVE elements of drama. (5) 
10.2 Think of any African myth and use the elements that you mentioned in  QUESTION 10.1 to analyse the story. 

Write the title of the myth at the top, then write an element of drama and  discuss it in reference to the myth. 
For example: 
Mugambi, the tree of life 
Character: Mugambi, The children, 
Setting: The imagination, any place with a tree under which children  play…etc. 

Your writing, unlike in the example, must contain more details and be considerate of the mark allocation. (15)

[20] 
TOTAL SECTION D: 40 
GRAND TOTAL: 150

DANCE STUDIES
GRADE 12 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of TWO sections with EIGHT questions in total 
2. SECTION A: SAFE DANCE PRACTICE AND HEALTHCARE (40 marks)
   SECTION B: DANCE HISTORY AND LITERACY (60 marks) 
3. SECTION A: Consists of FOUR questions.
   Note that you have a choice between QUESTION 3 and  QUESTION 4 in this section. If you answer both questions,  only the first question answered will be marked.
   SECTION B: Consists of FOUR questions.
   Note that you have a choice between QUESTION 6 and  QUESTION 7 in this section. If you answer both questions,  only the first question answered will be marked.
   Answer only SIX questions.
4. Number the answers correctly according to the numbering system used in this  question paper. 
5. Read each question carefully and take note of what is required. If a question  asks you to explain/elaborate/describe/analyse/evaluate/compare/discuss,  write your answers in full sentences and provide as much detail as possible.  ONE word answers will NOT be accepted.
6. You may do rough planning in the ANSWER BOOK. Draw a line through any  work that should NOT be marked. 
7. You will be assessed on your ability to:
   • Write only in one language
   • Organise and communicate information clearly
   • Use the specific format asked for in certain questions
   • Use specialist dance terminology where appropriate 
8. Write neatly and legibly.
9. Plan your time: Spend approximately 60 minutes on SECTION A: 40 marks  and spend approximately 120 minutes on SECTION B: 60 marks.

QUESTIONS 

SECTION A: SAFE DANCE PRACTICE AND HEALTHCARE 
QUESTION 1: WARMING UP/POSTURE/SAFE STRETCHING (COMPULSORY) 
1.1 The main point of a warm-up in the dance class is to prepare the body for  the work ahead. Describe the principles of a good warm-up and what it  should consist of. (5) 
1.2 ​

A	B

[http://dance magazine.com/news/the seven deadly sins] 
Explain which ONE of the two pictures above shows the correct dance  posture and how using the correct dance posture can help prevent injuries in  a dance class. (6) 
1.3 Stretching is important in the dance class. Provide FOUR facts on how to  stretch safely in the dance class and how this will help prevent injuries. (4)

[15] 

QUESTION 2: (COMPULSORY) COMPONENTS OF FITNESS/STRENGTH/ INJURIES 
2.1 Name any THREE components of fitness that are used during a dance class  and explain how each component can assist you during an examination. (6) 
2.2 Strength is important in all areas of dance. Explain how to develop and  maintain muscle strength in dance. (5) 
2.3 All dancers are prone to dance related injuries. Discuss how the following  factors may lead to dance related injuries: 

2.3.1 Fatigue (2) 
2.3.2 Landing after a jump (2)

[15]

YOU HAVE A CHOICE BETWEEN QUESTION 3 AND QUESTION 4. ANSWER ONLY ONE QUESTION. 
QUESTION 3: INJURIES/ALIGNMENT (CHOICE QUESTION) 
3.1 Injury prevention is important to a dancer. List some of the major  complications a dancer has to deal with following an injury. (5) 
3.2

[http://www.courses.VCU.edu/DANC291-003/unit//.ht]

Explain the dancer’s alignment in the picture above, and how this type of  alignment can affect the dancer’s knees and ankles. (5) [10] 
OR

QUESTION 4: ACTIONS/MUSCLES (CHOICE QUESTION) 
4.1 Study the picture below and answer the following questions. 

4.1.1 Give the anatomical action of the man’s knees. (1)
4.1.2 Give the anatomical action of the man’s left arm. (1)
4.1.3 Give the anatomical action of the man’s head. (1)
4.1.4 Give the anatomical action of the woman’s right foot. (1)
4.1.5 Give the anatomical action of the woman’s arms. (1)

4.2 Give the names of the following: 

4.2.1 A group of muscles in the front of the man’s thighs (1)
4.2.2 A group of muscles at the back of the man’s thighs (1)
4.2.3 A muscle that helps with the anatomical action of the man’s neck (1) 
4.2.4 The muscle responsible for the anatomical action of the woman’s  right foot (1) 
4.2.5 The muscle responsible for the anatomical action of the woman’s  elbows (1)

[10] 
TOTAL SECTION A: 40

SECTION B: DANCE HISTORY AND LITERACY 
QUESTION 5: DANCE FORMS/CHARACTERISTICS/HISTORY/CAREER 
5.1 Dance Studies learners study TWO dance forms. Name and describe the  characteristics of any ONE of your dance forms, for example, the  movements, steps, style, music, costumes, who would perform it and where  it may be performed. (5) 
5.2 Name your dance major and clearly explain SIX interesting facts about the  history of your dance major. (6) 
5.3 Provide ONE example of a possible dance career and discuss the  requirements needed for this career. (4)

[15] 

THERE IS A CHOICE BETWEEN QUESTION 6 AND QUESTION 7. ANSWER ONLY ONE QUESTION. 
QUESTION 6: INTERNATIONAL CHOREOGRAPHER – ALVIN AILEY (CHOICE QUESTION) 
Write an essay and include the following from the recommended international  choreographer Alvin Ailey and his dance work, Revelations. 
6.1 Where does the title of this dance work come from? (1) 
6.2 Revelations is divided into THREE sections. Name and describe each  section. (9) 
6.3 Give an explanation of the costumes used in each section. (3)
6.4 Explain the music used in the dance work. (3) 
6.5 Provide information about the people who influenced Ailey’s choreographic  style and the dance style used in Revelations. (10) 
6.6 How did the choreographer bring the intended message of the dance work  across to the audience through the use of symbolic movements? (4)

[30]

BELOW IS A PRESCRIBED LIST OF INTERNATIONAL AND SOUTH  AFRICAN CHOREOGRAPHERS AND THEIR DANCE WORKS.

QUESTION 7: SOUTH AFRICAN/INTERNATIONAL CHOREOGRAPHER (CHOICE QUESTION) 
Choose ONE of the SOUTH AFRICAN or INTERNATIONAL choreographer and  one of their dance works from the prescribed list above. Write a review and include  the following: 
7.1 The name of the choreographer and dance work 
7.2 Describe the background and influences that led to the development of this  dance work. Include the origin, training and collaborations (10) 
7.3 Elaborate on the synopsis/theme/intent/story used in the dance work (6)
7.4 Give a detailed explanation of the costume, lighting and set design (6)
7.5 Explain how the music was used in the dance work (4) 
7.6 Discuss the choreographer’s contribution to dance in South Africa (4)

[30] 

QUESTION 8: MUSIC GENRES/CHOREOGRAPHIC ELEMENTS/  IMPROVISATION (CHOICE QUESTION)  
8.1 Name any TWO music genres and describe each of their musical styles. (4) 
8.2 Describe how dancers/choreographers can use the following elements  within a dance work: 

8.2.1 Time − Give TWO examples of how this can be used (2)
8.2.2 Force − Give TWO examples of how this can be used (2)
8.2.3 Space − Give THREE examples of how this can be used (3) 

8.3 One of your friends is worried about doing improvisation during their  practical examination. Give her ideas on how to obtain a high mark for  improvisation during her practical examination. (4)

[15] 
TOTAL SECTION B: 60 
GRAND TOTAL: 100

DANCE STUDIES
GRADE 12  
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

NOTE TO MARKERS/TEACHERS: 

• In the examples of possible answers, a great deal more information has been  provided as a resource for teachers and markers than, than is expected from  the candidates.
• Bullets have been used in the memo to aid marking.
• Refer to the Ability levels in the 'Focus Question' table below each question, to  determine high, medium or low cognitive levels expected in the answers.
• Markers should not penalise students if the grammar or spelling used is  incorrect. As long as the student's answer is clear, understandable and meets  the marking criteria (e.g. the naming of muscles). However, they may not be  awarded full marks for essay/paragraph type questions if there are  grammatical and spelling errors and the answer is not written in the  correct format, or meaningfully addresses the question.
• Look for what the candidate knows, not what they do not know.
• Markers should avoid awarding full marks for a question when the answer  is superficial and minimal.
• Where the learners have made careless mistakes e.g. numbering, they should  be penalised by 10% but the marker and moderator should decide whether the  learner is answering the relevant question correctly.
• In some questions, candidates have a choice. If candidates have answered  both questions, mark only the answers to the first question.

MEMORANDUM

SECTION A: SAFE DANCE PRACTICE AND HEALTH CARE 
QUESTION 1: WARMING UP/POSTURE/SAFE STRETCHING 

MEMORANDUM: 

• 1.1 LOW LEVEL – 5 MARKS 
• 1.2 MEDIUM LEVEL – 6 MARKS 
• 1.3 HIGH LEVEL – 4 MARKS 

NOTE TO MARKERS: 
Many possible answers may be given. Use professional judgment when assessing a  candidate’s answers. Bullets are used to aid marking. 
POSSIBLE ANSWERS: 
1.1 Allocate 5 marks for describing the principles of a good warm-up and what it  consist of. 

• Warm-up before the class starts.
• Do warm-up exercises at a leisurely pace.
• Warm-up should be kept simple and repetitive.
• Always maintain good posture and alignment while warming up.
• Maintain control of your body. Keep your balance (alignment) with your  weight over your feet and your shoulders over your hips and hips over the  middle toes.
• In cold and draughty rooms, wear suitable clothing, such as a tracksuit or  leg and body warmers while you warm up.
• Repetitive movements are needed to warm-up the body, but they also  improve your ability to remember movement patterns.
• Gradually progress from small to bigger movements.
• Make use of your breathing pattern as this helps to relax the body. ∙ The increased breath intake will increase the oxygen in the blood for  energy.
• Once the muscles are warm, some light stretching can be performed to improve their elasticity. (Any 5 x 1) (5)

1.2 Allocate 6 marks if a learner can explain which one of the two is the correct  dance posture and how this posture can help prevent injuries. 

• Picture B shows the correct posture, because the body is well aligned with  all the body parts in balance with each other.
• The shoulders and hips are level.
• The pelvis balance on top of the legs in such a way that the abdominal  muscles, lower back, around and within the pelvis are equally contracted also known as core stability.
• A well-aligned body burns up the least amount of energy to perform all  movements.
• The correct posture will help prevent fatigue.
• It ensures that the body is used correctly while dancing.
• Dance movements are done with ease and reduce the risk of injury.
• The correct posture avoids tension and imbalances that have an effect on  the line and shape of movements.
• It ensures control and balance when performing movements.
• It prevents back problem especially later in life. (Any 6 x 1) (6)

1.3 Allocate 4 marks if learner can provide 4 facts for safe stretching. 

• The slow sustained stretch is the safest way of stretching – you hold the  stretch between 16–30 seconds until the tension starts to ease.
• Once it has eased, push further into the stretch to find the tension again.
• Stretching of muscles, ligaments and tendons must be done slowly and  carefully and should only be done when muscles are warm as there should  be no pain or stress felt.
• Focus on feeling the 'tension' of a stretch rather than 'pain'.
• Light stretching can be done as part of the warm-up (before the class) as it  helps prepare the body for activity.
• The best time to stretch to improve your ROM (range of movement) is at the  end of a class when your body is very warm.
• Use breathing techniques when stretching, for example breathe out on the  stretch to release tension.
• Never force someone else into a stretch, as this will cause injury.
• Ballistic stretching is dangerous, can cause injury and is best avoided (Any 4 x 1) (4) 

[15]

QUESTION 2: COMPONENTS OF FITNESS/STRENGTH/INJURIES 
MEMORANDUM: 

• 2.1 LOW LEVEL – 3 MARKS and MEDIUM LEVEL − 3 MARKS 
• 2.2 MEDIUM LEVEL – 5 MARKS 
• 2.3 HIGH LEVEL – 4 MARKS 

NOTE TO MARKERS: 
Use professional judgement when assessing the quality of the answer. Evaluate the  whole answer in context to what the candidate knows and award marks accordingly.  Bullets are used to aid marking. 

EXAMPLE OF POSSIBLE ANSWERS: 
2.1 Allocate 3 marks for naming 3 components and 3 marks for explaining each  one of them. 

• Endurance will give you the staying power to perform longer combinations  and allow the muscles to produce continuous movement without getting  tired.
• Core strength/stability will help you perform maintaining a strong torso  and moving through space with ease.
• Flexibility will enable you to perform a large range of movement and show  well-extended joint movements with ease and strength, particularly in the  hip and spine.
• Strength will give you the ability to sustain your balance and hold the body  firmly in any position or execute movements with strong and quick  extensions such as high brushes/grands battements and elevation.
• Neuromuscular coordination will help you develop a good sense of balance, timing, rhythm and orientation in space. (6)

2.2 Allocate 5 marks if the candidate can explain how they would develop strength  in dance. 

• Muscle strength is developed by regular exercise that involves  developing both agonistic and antagonistic muscle actions.
• Muscle strength is developed by gradually increasing the demands placed  on them called progressive overload. 
• All muscle groups need specific conditioning exercises.
• Body weight exercises (e.g. using your own body weight as an external  load), body conditioning with light weights or Pilates equipment can  sufficiently improve your strength without creating massive muscles.
• A balance between muscle groups must be maintained for your body to be  highly effective and strong. 
• Specific activities that improve strength: 
  • Gym: light weight training for specific muscle groups
  • Work with resistance band.
  • Body weight training at home. 
  • Dance: increasing balance work, adage, arm and leg exercises.
  • Core: plank and abdominal exercises.
  • Upper body: pushups and pull ups. 
  • Lower body: squats, lunges, tendus and plies.
• IMPORTANT: Must be done at least 3 – 5 times a week to see  an improvement. (5) 

2.3
2.3.1 Fatigue: 

• When your muscles are tired, they are less likely to provide good  support for your joints. 
• When you are tired you may also find it difficult to control your  body’s movements accurately, which increases the likelihood of  stressing or over-extending a joint.
• Muscles can become fatigued from over-work, which can cause  muscle spasms and is extremely painful.
• Overusing the muscles without giving it time to repair itself is  common in dance injuries. (2) 

2.3.2 Landing after a jump: 

• The way you land after jumping can increase your risk of injuring  your knee or ankle.
• A landing should always be with your centre well lifted and  descending softly through the feet, with the knees bending to aid  shock absorption.
• If a dancer does not do this, they can jar their joints and cause  serious injuries to their joints.
• Incorrect alignment such as rolling of the feet at the end of the  jump also put pressure on the joints and may cause injury. (2)

[15]

THERE IS A CHOICE BETWEEN QUESTION 3 AND QUESTION 4. QUESTION 3: INJURIES/ALIGNMENT (CHOICE QUESTION) 
MEMORANDUM: 

• 3.1 LOW LEVEL − 5 MARKS 
• 3.2 MEDIUM LEVEL − 5 MARKS 

POSSIBLE ANSWERS: 
3.1 Allocate 5 marks for listing 5 complications a dancer has to deal with  following an injury. 

• Decreased cardio respiratory fitness
• Losing muscle strength 
• Loss of fitness from missed classes 
• Persistent swelling 
• Stiffness in the injured area
• Stiffness in the joints (loosing flexibility) 
• Recurring pain in the injured area 
• Loss of learning of new movement exercises 
• Increased weight gain from no exercise 
• Loss of confidence as you are falling behind in the work (5) 

3.2 Allocate 5 marks if the learner can explain how incorrect alignment may lead  to knee and ankle injuries. 

• In this picture the dancer’s knees roll inward. 
• The knee no longer lines up in a straight line above the middle of the  foot. Instead, it lines up with a spot on the floor in front of the foot. 
• You can also see that the foot must shift weight to the medial side of the  foot and the big toe spreads to accommodate this extra weight.
• This incorrect position is placing undue stress on the medial aspect of  the knee and foot which can result in injury to the dancer,
• Correct alignment is when the shoulder, hip, knee and ankle are in a line.
• The alignment of the joints will allow the maximum functioning of your  body and determines the way you perform or execute movements  without tension.
• The importance of the correct use of the feet and knees when the body is  moving through space or in transferring the weight, e.g. a strong use of  knee bends/demi-pliés, with knees over the middle toe before the jump  and when landing safely, will help prevent injuries.
• Too much pressure that is put on the knees and ankles through incorrect  alignment may cause serious damage to the knees and ankles. (5)

[10]

OR 
QUESTION 4: ACTIONS/MUSCLES (CHOICE QUESTION) 
MEMORANDUM: 

• 4.1 LOW LEVEL – 5 MARKS 
• 4.2 MEDIUM LEVEL – 5 MARKS 

ANSWERS: 
4.1
4.1.1 Flexion (1)
4.1.2 Abduction (1)
4.1.3 Rotation (1)
4.1.4 Flexion (1)
4.1.5 Extension (1) 
4.2
4.2.1 Quadriceps (1)
4.2.2 Hamstrings (1)
4.2.3 Sternocleidomastoid (1)
4.2.4 Gastrocnemius (1) 
4.2.5 Triceps Brachii (1)

[10] 
TOTAL SECTION A: 40

SECTION B: DANCE HISTORY AND LITERACY 
QUESTION 5: DANCE FORMS/CHARACTERISTICS/HISTORY/CAREER 
MEMORANDUM: 

• 5.1 LOW LEVEL – 5 MARKS 
• 5.2 MEDIUM LEVEL – 6 MARKS 
• 5.3 HIGH LEVEL – 4 MARKS 

NOTE TO MARKERS: 
Many possible answers may be given. Use professional judgment when assessing the  quality of candidates’ answers. 

POSSIBLE ANSWERS: 
5.1 Allocate 5 marks if the candidate can describe the characteristics of any one  of your dance forms, for example, movements, steps, style, music,  costumes, who would perform it and where it may be performed. 

CLASSICAL BALLET: 

• This dance form is recognised by the outward rotation of the legs from  the hip joint, stretched feet as well as the five positions of the feet,  rounded arm lines and set positions of the arms.
• The style of classical ballet is to defy gravity with grace and a very strict technique.
• Classical ballet consists of barre work, centre work, pirouettes, ports de bras, adage, and allegro consisting of small and big jumps with and without batterie.
• Female dancers do pointe work-blocked toe shoes are worn and dancers  perform on the tips of their toes.
• The dancers usually wear elaborate costumes – tutus/velvet jackets and  skirts etc.
• Classical ballet originally only used classical music scores but today you  would find a variety of music used.
• For the traditional ballets such as Swan Lake/Sleeping Beauty, very elaborate stage sets would be used.
• Ballet works are performed by professional dancers usually in a theatre. (5)

AFRICAN DANCE: 

• African dance uses the natural bends of the body.
• Movements are danced towards the ground and compliment gravity instead of defying it.
• Basic and complex rhythmic patterns are used.
• Everyday movements are used or movements imitating or dramatising  the natural world (birds, animals, insects or plants) or the elements such as fire, water, earth and air are used as a stimulus for  movement for example walking and striding
• Dances generally have a theme (fertility/courtship/work/hierarchy, etc.)  and purpose (protest socialisation celebration, questioning social issues,  etc.)
• African dance costumes vary greatly depending on the cultural and age  group that performs the dance.
• Animal skins are commonly used as well as elaborate bead work, brown  or brightly coloured material, ankle rattles, feathers, etc.
• Musical accompaniment usually consists of drums, singing, clapping and/or chanting.
• The drums, singing, clapping and rattles together with the stamping of  the feet create polyrhythmic sounds.
• African dance is usually performed by the community and has a specific  purpose/function. (5) 

5.2 Allocate 6 marks for 6 interesting facts about the history of your dance  major. 
History of Contemporary dance. Mark only the first SIX facts given: 

• Contemporary dance developed at the beginning of the 20th century in  America and Germany. 
• It was an alternative dance form that emerged in response to the  structured formulae of classical ballet. 
• It was one that attempted to free the body and to highlight individual  creativity and the expression of subjective feelings. 
• Contemporary dancers, also referred to as modern dancers, were  constantly searching for new means of dance expression. 
• Each choreographer developed their own interpretation, resulting in a  wide range of styles that are as varied and ever-changing as its  practitioners. 
• Specific techniques are associated with individual dance artists, drawn  from their movement research and their training and choreographic  works e.g. Cunningham, Ailey, Graham and Limon. 
• Martha Graham is regarded as the mother of modern dance. 

Candidates could also answer in this format:  
Modern dance has three well-defined eras of development:  

• The first was one of pioneering and experimentation, which laid down  the philosophies and aesthetics of modern dance. Dance artists used  natural and everyday movements to create their own dance  vocabularies, techniques and choreographic forms for use in works in  which they took the dual roles of both creator and performer. Also there  was a rise in the research of cultural and ethnic dance forms that were  incorporated in the choreographies. 
• The second era saw the establishment of modern dance companies  and schools. Out of this came the second wave of cutting-edge  innovations. 
• The third era, reflecting the cultural turbulence of the late 1960s and  early 1970s, broke with established modern dance conventions. Theatre led the way; the expression of political and social ideas became  important; mixed-media collaborations, performance art 'happenings'  and different environments for dance performance changed the  established modern dance aesthetic ideas. 
• This era, often termed Post-Modern Dance, gave birth to a new  technique, contact improvisation. The technique consists of the  exploration of how bodies may move in relation to one another using  everyday movement, the counterbalancing of weight and force, trust  and instinctive anticipation. This is a technique that is also the basis for  a dance/drama form known as Physical Theatre. (6) 

5.3 Allocate 4 marks if the candidate can discuss ONE example of a possible  dance career and the requirements needed for this career. 
A dance teacher: 

• The most important ability is a love of and understanding of people, especially children.
• Dance teachers need to know their subject well. 
• They should be able to dance well themselves and should be life-long  learners, always ready to learn from others and to share their  knowledge with others.
• They should have knowledge of how children learn and develop at  different stages; they should understand curricula and teaching  methods.
• Teachers wishing to teach in schools or universities may also need to  know theoretical aspects such as the history of dance, anatomy,  physiology and dance notation. 
• They should be good organisers – they often need to plan and market  productions and choreograph shows.
• Dance teachers who teach privately, must have the ability to manage  their own dance schools.
• Dance teachers will require specialist skills in the dance form they will  be teaching and should have some ability in other dance forms as well.

Professional dancer: 

• You will need a passion for dance and self-discipline. 
• You will need to develop an understanding of music and rhythm,  creativity, performance skills, the ability to memorise dance sequences,  excellent fitness, good co-ordination and a flexible body.
• Be prepared to work for long hours and attend dance classes daily. ∙ You will often be performing in the evening as well.
• To be a dancer you normally start dancing at an early age but that need  not the criteria. 
• Some successful dancers have started in their teens and worked very  hard to fast track their training.
• Any other examples that may be discussed by the learner. (4)

[15] 

THERE IS A CHOICE BETWEEN QUESTION 6 AND QUESTION 7. 
QUESTION 6: INTERNATIONAL CHOREOGRAPHER – ALVIN AILEY (CHOICE QUESTION) 
MEMORANDUM: 

• 6.1 LOW LEVEL − 10 MARKS 
• 6.2 MEDIUM LEVEL − 16 MARKS 
• 6.3 HIGH LEVEL − 4 MARKS 

NOTE TO MARKERS: 
Use professional judgment when assessing the quality of the candidates’ answer. Candidates may have given more information in one section than in another.  Evaluate the whole answer in context to what the candidate knows and award  marks accordingly. Bullets have been added to aid marking. 
ONE POSSIBLE ANSWER: 
6.1 The title of the work comes from the last book in the Bible. (1)
6.2 Allocate 3 marks for describing each one of the 3 sections of Revelations. 

Revelations is divided into 3 sections: 

• Pilgrim’s sorrow – This section shows the suffering of the people, their  struggle and resistance. The movements are simple but powerful and show  gestures of spiritual need. The section is danced by a trio. This part shows  angry expression and a revolt against oppression of Blacks in the 1930’s.
• Take me to the water – This begins with a joyous dance with a number of  people coming from the church to the lake. The scene represents a spiritual  cleansing/baptism. There is a woman with a big white umbrella. The cloth  rising and falling is representative of the tides of the river. The male solo  dancer ends under a spotlight using heavy contractions and spasms to  create the feel of anguished repentance for his sins.
• Move members move – This is a fast dramatic trio where three men run  around the stage in attempt to shake off the burdens of their sins. A group of  elegantly dressed women arrive at the church at the end of the day to gossip  and chat. Finally the whole company fills the stage with cheerful, energetic and vibrant dancing. (9) 

6.3 Allocate 3 marks for the costumes. 
Costumes designed by Lawrence Maldonado. 
Each section is different: 

• Section 1: neutral colours of red, orange and yellow dresses.
• Section 2: white long dresses, men in mesh tops and pants.
• Section 3: Sunday “best”, men in black pants, white shirt and gold waist  coats, women in gold / yellow dresses, broaches and hats. (3) 

6.4 Allocate 3 marks for the music that was used. 
Music: 

• There are a number of different songs which are traditional spiritual/gospel  music. 
• The music tells the story of sadness, love, trouble and deliverance
• The music sets the mood for the dances.
• The Gospel score was able to bring about the emotions that the Alvin Ailey  wanted to portray to communicate his ideas and themes. (3)

6.5 Allocate 10 marks for providing information about the people who influenced  Ailey’s choreographic style and the dance style used in Revelations. 

• Aileyʽs dance style developed from the careful observation of human movement.
• Three other choreographers – Lester Horton, Martha Graham and Jack Cole  – had a strong influence on Alvin Ailey.
• Lester Horton wanted his dancers to use as much space as possible while  turning, bending or jumping across large distances. He combined many  techniques from around the world, including Native American folk dance.
• Martha Graham’s technique is built on contraction and release. In a  contraction the dancer exhales and curves the spine; in release, the dancer  inhales and lifts the chest.
• Jack Cole is one of the fathers of Jazz dance. He was known for taking  everyday movements and making them theatrical.
• Revelations is an energetic, exciting and enticing dance that uses ballet,  contemporary dance, African and jazz techniques. 
• It makes statements with steps and patterns closely related to the music and  the mood it sets. 
• This mood is heightened through the use of costumes, lighting and  kinaesthetic energy. 
• The movement is always flowing and there is rarely a group of dancers doing  the same step at the same time.
• It is very varied and busy. 
• Ailey make use of interesting arm movements at the start of the work. ∙ The dancers work from the torso using the Graham technique of contraction and release. 
• The use of gravity is evident as the work is well grounded and the dancers  use the floor as a tool and not an object that is against them. (10)

6.6 Allocate 4 marks for providing 4 facts on how the choreographer brought the  intended message of the dance work across to the audience through the use of  symbolic movements. 

• The three sections of Revelations unite a narrative of themes and feelings.
• The first section shows the struggle of “black people wanting to get out”.
• In the second section dancers dance the ritual of baptism to Wade in the  Water. 
• The final section depicts the social occasion of churchgoing on Sunday mornings, with the company in their Sunday best. 
• Ailey uses hand gestures and arm movements to great effect. 
• The focus on arms and hands gestures relates to the theme of devotion.
• Many movements involve the upper body (torso and arms) reaching up  desperately towards the heavens while the lower body (legs) remains on the  ground.
• In the duet Fix Me Jesus the dancers strain their arms upwards, fingers  splayed before contracting and crouching, their bodies speaking of pain and  hardship. 
• Dancers join their hands in prayer; stretch arms out with hands wide, tap  gently on the ground and curve their arms, bird-like. 
• The famous wedge shape formation of the dancers at the start of Revelations demonstrates magnificently the expressive use of arms that Ailey uses to  great effect. (4)

[30]

OR 
QUESTION 7: SOUTH AFRICAN or INTERNATIONAL CHOREOGRAPHER  AND DANCE WORK (CHOICE QUESTION) 
MEMORANDUM: 

• 7.2 – LOW LEVEL – 10 MARKS 
• 7.3, 4, 5 – MEDIUM LEVEL – 16 MARKS 
• 7.6 – HIGH LEVEL – 4 MARKS 

NOTE TO MARKERS: 
Use professional judgment when assessing the quality of the candidates’ answer. Candidates may have given more information in one section than in another.  Evaluate the whole answer in context to what the candidate knows and award marks  accordingly. Bullets have been used to aid marking. 
ONE POSSIBLE ANSWER: ALFRED HINKEL’S BOLERO 
7.1 No mark allocated for the name of the choreographer and dance work. 
7.2 Allocate 10 marks for a description of the background and influences that led  to the development of this dance work. Including origin, training and  collaborations. 

• Bolero has been staged in diverse forms to fulfil numerous purposes.
• Every performance of the work shows a shift in the attitude of the people  and the country.
• This is how Hinkel has kept this dance work alive.
• Bolero is a work that has traced a fairly political path. Bolero has  continually transformed through the process of being reworked on each of  the several occasions that it has been staged.
• The dance was originally choreographed in Windhoek on Hinkel's first  dance company "Dial-a-Dance" in the 1970's and then reworked many  times on Jazzart Dance Theatre from 1986 to 2006. 
• The original version was about, “overcoming prejudice,” and focused  specifically on the Immorality Act – arguably the most controversial of the  legislative acts of the South African Apartheid government which  attempted to forbid intermixing of couples of different races
• With each version the choreography has been influenced by the  participants − each bringing their uniqueness to the interpretation.  ∙ Initially, it served to comment on politics, then for celebration (it was  performed at the inauguration of Nelson Mandela) and also as an  incentive for collaboration between classical and contemporary dance  companies as the giver of hope.
• Hinkel grew up in a conservative family in Namaqualand. 
• He started dancing at the age of ten, although his father was against him  dancing.
• In the early 1970s he continued his training at UCT School of Dance for a  short time, there after returning to his home in Namaqualand.
• It was his daily experience of teaching in the ‘coloured’ communities  (without proper facilities) that laid the foundation for a truly original and  resourceful approach to dance teaching and choreography.
• In 1976, Hinkel met John Linden and Dawn Langdown in Okiep,  Namaqualand, two people with whom he would consistently collaborate  over the years to come.
• Together they formed the Namaqualand Dance Company.
• In 1981, he joined Jazzart Dance Theatre as a dancer and eventually took  over as the director. (10) 

7.3 Allocate 6 marks for an elaboration of the synopsis/theme/story. 

• Bolero is a work that has traced a fairly political path, Bolero has  continually transformed through the process of being reworked on each of  the several occasions that it has been staged. 
• The original version was about, “overcoming prejudice,” and focused  specifically on the Immorality Act – arguably the most controversial of the  legislative acts of the South African Apartheid government which  attempted to forbid intermixing of couples of different races. 
• The costumes for this version were tye-dyed T-shirts − gum boots had not  yet been introduced to the piece.
• Then, in the 1980s, various artists boycotted the Grahamstown Festival  and held an alternative, non-segregated festival at the Durban University of Westville. 
• This was an era of imminent violence during which the South African  government declared a national ‘State of Emergency’.
• The volatile, turbulent tone of the era reflected in Hinkel’s 1987 version of  Bolero is augmented by the addition of gum boots.
• Hinkel said, “The dance with the gum boots came from a working class  people, mostly miners and dock workers. The boots represented  oppression. They were the shackles that bound not only those being  oppressed directly, but also those bound by ignorance.” (6)

7.4 Allocate 6 marks for a detailed explanation of the costume, lighting and set design. 

• ʽCostume design,’ is perhaps a deceptive term when referring to the first  version of Bolero on the tape. In this version the dancers seem to be donning  studio wear, in varying colours and styles. 
• In the following version of Bolero, costume design has clearly been considered.  All of the dancers, save one, are wearing outfits of a similar style and the same  colour: black. 
• In the following versions, black is the colour of choice. The costumes that Hinkel  refers to as the, “S & M Version,” consist of imitation leather skirts, black fishnet  tights, suspenders, black bras and metal chains.
• The leather look makes a bold statement in the all-female version of Bolero,  suggesting that women are strong beings. 
• In other versions, both men and women wear leather skirts which could be  interpreted as an indication of gender equality.
• In Jazzart’s collaboration with CAPAB, costume design and lighting  complement each other in that the reflective characteristic of the materials used  on the costumes enable the audience to see the essential movement taking  place when lighting is dim or has a dark filter.
• The costume design of the performance of Last Dance is arguably a perfect  marriage of individuality and consistency. As in the first version on the tape,  each dancer is wearing a unique costume but in this case individual costumes  seem to have been considered more carefully as there is a degree of cohesion  in the appearance of the cast as a whole.
• Bolero, as it was staged at the Spier Amphitheatre makes the most effective  use of costume and lighting design. The costumes are not entirely uniform and  yet the individuality does not compartmentalise dancers. 

Lighting and design: 

• The design is reliant on the lighting. 
• There are no sets. In general, the lighting consists of blue, red and white  light.
• The work begins with minimal lighting and silhouettes (shadows) followed by  combinations of colours occurring throughout the piece and towards the end.  The lighting gradually subdues until finally, the dance ends with a blackout.
• The lighting techniques are subtle although the colours can be stark.
• The use of the cold blue and bright white lighting is especially startling.
• The boldest moment of lighting comes at the end of Bolero (Last Dance), when the dancers chasse (slide) and end in a position on the floor.
• The moment the dancers strike their pose, there is a blackout.
• Most other transitions between coloured lights or between dark and bright  lighting occur gradually. 
• The range of the lighting never changes too dramatically with most versions  occurring in partial darkness. 
• This does not, as one might expect, detract from the choreography as the dancer in the dark is elevated to an almost mythical status. (6)

7.5 Allocate 4 marks for a detailed explanation of the how the music was used in  the dance work. 

• This dance work originally took its title from the music title – Bolero written  by Maurice Ravel. 
• The music score is written for a full orchestra and requires many  instruments.
• It is classical with a Spanish flavour. 
• The structure of Bolero is remarkably simple.
• It consists principally of a single melody repeated with different  orchestrations for each repetition.
• The melody played in C-major by the flutes begins the piece piano (softly).
• A snare drum simultaneously pounds a rhythm which is sustained  throughout the piece. 
• Toward the end of the piece, two drums are played in unison. 
• Bolero makes good use of counterpoint. 
• The melody is passed between different instruments.
• The accompaniment broadens until the full orchestra is playing forte  (loudly) at the end. (4) 

7.6 Allocate 4 marks if the learner can discuss the choreographer’s contribution  to dance in South Africa. 

• Hinkel has directed and produced many works that deal with the socio political situation in South Africa. 
• It was Hinkel's exposure to African dance through the 'Abamanyani  Project' that revolutionised the way that Hinkel perceived choreography  and how he began to use improvisation, as a powerful tool to develop his  works. 
• His teaching in the Coloured communities and rural areas made formal  dance accessible to these communities. 
• Prior to Hinkel’s intervention, dance had been solely a social activity that  was practiced in an informal context. 
• The idea of concert as opposed to cultural dance forms was one that was  foreign to many of the communities in which Hinkel taught. 
• It was in such areas that Hinkel pioneered the notion of choreographed  dances as a form of entertainment, performed by some and viewed by  others.
• When Hinkel became director of Jazzart in the mid 80’s the name  changed to its present title − Jazzart Dance Theatre. 
• In the early days Jazzart audiences were mainly white but as Jazzart  evolved, so did its audiences
• Hinkel effectively adapted the company to the country's changing political  and artistic context. (4)

[30]

QUESTION 8: MUSIC GENRES/CHOREOGRAPHIC ELEMENTS/  IMPROVISATION 
MEMORANDUM: 

• 8.1 LOW LEVEL – 4 MARKS 
• 8.2 MEDIUM LEVEL – 7 MARKS 
• 8.3 HIGH LEVEL – 4 MARKS 

POSSIBLE ANSWERS: 
8.1 Allocate 2 marks for naming the 2 music genres and 2 marks for their musical  styles. 
TWO POSSIBLE EXAMPLES: 

• Ballroom – waltz, foxtrot, etc.
• Folk – associated with traditional dance, e.g. the Irish Jig. (4) 

8.2
8.2.1 TIME: 
TWO POSSIBLE EXAMPLES: 

• Time: the speed dancers perform at slow/fast/somewhere in  between. 
• Duration: the length of time that a movement takes to complete. 
• Dancers interpret the quality of the music. Pace, rhythm, pulse,  syncopation, etc. of the music influence the dance. (2) 

8.2.2 FORCE: 
TWO POSSIBLE EXAMPLES: 

• Force relates to the amount of energy used within a movement. 
• This relates to the dynamics of a movement to make meaning  of it. 
• Some movements require little energy – soft, gentle  movements/movements that do not move much. 
• Some movements require a lot of energy – big, powerful  movements/movements that use a large space. (2)

8.2.3 SPACE: 
THREE POSSIBLE EXAMPLES: 

• Space refers to how we move in space. How you use the space  available. Using large performance spaces or limited, small  performance spaces. 
• This can relate to the use of negative and positive space.
• Levels used within a dance work: high/medium/low positions.
• The actual stage space you perform on: conventional stage  spaces/unconventional stage spaces. 
• Direction and shape of movements. 
• How you relate to other dancers within a performance space.
• The dancer’s own kinaesthetic awareness of how his/her body  moves in space. (3) 

8.3 Allocate 4 marks for 4 ideas on how to obtain a high mark for improvisation  during a practical examination. 
I would tell my friend to: 

• Explore any idea or sensory stimulus in a manner that is uninhibited,  honest and enquiring.
• Commit to the stimulus and the movement wholeheartedly your  improvisation must not be done half-hearted.
• Do not rely on familiar steps but rather experience honest impulses that  give rise to movement.
• Develop your range of movement through exploration and experimentation.
• Be daring, original, creative, courageous, and take risks (safely).
• Be aware of yourself in the space and if working with others to be aware  of them and react immediately and spontaneously.
• Make sure your improvisation has a great beginning and ending. ∙ Keep the stimulus in mind.
• Respond to the music spontaneously – let the music inspire you. (4)

[15] 
TOTAL SECTION B: 60 
GRAND TOTAL: 100

DESIGN
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS TO THE TEACHER 

1.  This practical paper should be given to the learners THREE WEEKS  BEFORE THE END OF TERM 2 so that they can receive guidance with regard  to the brief/theme selection and can start with the Visual Journal Process  (TOPIC 1) during the June/July school holiday. 
2. This practical examination paper must be done as the TERM 3 PRACTICAL TASK (PAT 3). It is recommended that teachers request their  schools to schedule 12–24 hours over a number of days before or during the  Trial examination for completion of the Final Product (TOPIC 2) to familiarise  learners with timed and controlled practical examination conditions. 
3. Time allocation:
   • Visual Journal Process (TOPIC 1):
     Preparation to be done during the June/July school holiday and at school  during TERM 3.
   • Final Product (TOPIC 2):
     Completed only at school during TERM 3 for an estimated time of  12–24 hours and only once the Visual Journal Process (TOPIC 1) has been  completed. 
4. This practical examination consists of one paper with two optional  briefs/themes. Learners must choose ONE of the two briefs/themes.
   It is required that the learner complies with the followingTWO parts of this  question paper:
   • The Examination Visual Journal (TOPIC 1)   [50 marks] 
   • The Examination Final Product (TOPIC 2)   [50 marks]
                                                                                                        TOTAL: 100 MARKS
5. The learner should choose ONE of the following design categories: 
   • Visual Communication/Information Design and Digital Design
   • Surface Design and Two-dimensional Craft Design 
   • Product Design and Three-dimensional Craft Design 
   • Environmental Design

GRADE 12 TERM PLANNER 
 - - - Calendar to assist in the planning of practical dates and times:

Important term dates: 

• Receive Design P2 Practical: 05 – 09 June 2017 
• Schools close (Term 2): 30 June 2017 
• Schools open (Term 3): 24 July 2017 
• Trial Practical Examination dates: ____________________(fill in) 
• Trial Examinations begin: ____________________(fill in) 
• Trial Examination Theory date: ____________________(fill in) 
• Schools close (Term 3): 29 September 2017

**NEW 2017 
THE IMPORTANCE OF THE TERM 1 AND TERM 2 RESEARCH  TASKS 
This is also referred to as ‘Design in a Business Context’. 
There is NO TERM 3 research task. Learners are allowed to re-submit their TERM  1 and TERM 2 Research Tasks for a re-mark during TERM 3. This is very important  as it contributes towards 20% of the end-of-year final exhibition mark in November. 
Learners must combine their TERM 1 and TERM 2 research tasks into one document towards their end-of-year final exhibition mark and this must be  handed to the teacher at the end of Term 3. 

The end-of-year final exhibition 
The end-of-year final exhibition mark will be compiled in the following way:

Visual Journal Process (TOPIC 1): 

• Term 1 – (40) Visual journal/sourcebook  
• Term 2 – (40) Visual journal/sourcebook  
• Term 3 – (50) Visual journal/sourcebook  

TOTAL: 130 

Final Product (TOPIC 2): 

• Term 1 – (50) Final Product 
• Term 2 – (50) Final Product 
• Term 3 – (50) Final Product 

TOTAL: 150 

These totals (130 + 150 = 280) are converted to 80% of the end-of-year final  exhibition mark. 
The TERM 1 and TERM 2 Research Tasks (10 + 10) are added to the 80 for a  combined TOTAL exhibition mark of 100. 
Learners and teachers need to be aware of the important value and weighting  of the two research tasks. Research tasks marks (10 + 10) are added as raw  marks to the compressed Visual Journal Process and Final Product marks.

**NEW 2017 
THE FORMAT OF THE RESEARCH TASKS 
It is important to integrate the TERM 1 and TERM 2 research tasks with the  practical brief/theme as far as possible. This is up to the discretion of the teacher  and may be related to the specific practical discipline that is being taught. 
The research tasks should be seen as part of the Visual Journal Process (TOPIC 1) and it is suggested that it should consist of: 

• A topic-related and presentable front and back cover; 
• A content page; 
• An introduction; 
• Content (4–8 pages); 
• A conclusion; 
• A detailed bibliography (e.g. Title underlined; author(s) in brackets; publisher;  publishing date; web link, blog + date, etc.) and 
• Labels to accompany all visual material. (title; materials used; name of  designer; country in brackets; date). 

The final weighting of each research task must be converted to a total of 10  marks each. 
* Source: CAPS Document

INSTRUCTIONS FOR 2017 
INSTRUCTIONS TO THE LEARNER: VISUAL JOURNAL PROCESS
This examination booklet refers to two main topics: 

• Visual Journal Process (TOPIC 1) and the 
• Final Product (TOPIC 2) 

The visual journal (TOPIC 1) has the same weighting as the final product so spend  an equal amount of time on both – 50 marks for the visual journal and 50 marks for  the final product. 

1. The cover page only of the brief/theme you choose must be cut out and  pasted in your visual journal at the start. 
2. Concept: The learner is to clearly indicate their intention/concept through  brainstorming, miniature sketches and/or a written essay (rationale).
3. Reference material: Explore as many different options as you research  and collect reference material for your theme in the form of life-drawings,  original photography, images from magazines and newspapers, etc. These  must be creatively presented and displayed in your visual journal so that  you can show your understanding of the value of layout and design in your  visual journal (Presentation).
4. Your reference material may be in a collage format – this format is not  essential, however.
5. Remember that your reference material must have additional accompanying  notes or comments to further explain your thinking process and make clear  your intentions.
6. Drawing: Your visual journal must show evidence of drawings based on  your reference material. It is important that you personalise these by re drawing them and creating original designs. Direct copying (plagiarism)  of an image or design that is not your own will be heavily penalised.  Extreme importance is placed on the process of transforming your reference  material.
7. You are required to develop a variety of compositional rough drawings before you complete a drawing of what your final product will look like. 
8. A final A3 drawing of what your final product will look like must be presented  at the end of your visual journal. It is recommended that this is a pencil tonal  drawing or a full-colour version. This final drawing is there to improve your  drawing mark if your drawing throughout your visual journal is weak.

Important to remember: 
In your visual journal there must be a clear documented journey from the start of  your brainstorm/essay to a completed final drawing! No steps must be left out. 
Design in context: 

1. Presentation: It is required that you present your design in context. What  this means is that you must show how your final product functions in a  ‘life-like’ space/environment.
   This is especially important in the area of Two-Dimensional Surface Design (textile design, gift-wrap, mosaic, wall paper, beadwork or any ‘flat’ design)  and Three-Dimensional Product Design (basketry, ceramics, furniture,  jewellery, wirework, fashion or any other three-dimensional design).
2. This must be shown in your visual journal through drawing/collage/ photography/digital manipulation or incorporated within your final product  (TOPIC 2). 

Suggestions for design in context may include an: 

• Interior setting such as the inside of a room in a home, office or any  commercial space; 
• An exterior environment on a building or in a landscape; 
• On printed media such as a newspapers, magazines, billboards, etc.
• On an item of clothing, furniture or linen or; 
• Physically interacting with a person in some way. 

Guidelines for three-dimensional product designs 

1. If you design a three-dimensional product, orthographic diagrams (front  view, top view, side view) as well as a final mock-up drawing must be present  in your visual journal.
2. Detailed measurements must be used to indicate the final scale. Assembly  instructions must also be described.
3. You must explain your choice of construction material(s) (wood, metal,  plastic, wire, paper, etc.) for your final product and explain how the  properties of the your chosen material (strength, hardness, toughness,  flexibility, corrosion resistance, waterproofing, etc.) supports and improves  the functionality of your product.

GUIDELINES 2017 
INSTRUCTIONS TO THE LEARNER: FINAL PRODUCT 

1. Your Visual Journal process (TOPIC 1) work must be completed before the  start of your Final Product (TOPIC 2).
2. Your teacher may not assist you in any way with the production of your final  design and will strongly encourage you to make your own decisions regarding your final processes.
3. Your final product must show evidence of 12–24 hours of work. Your teacher  must make sure that there is enough time for you to complete your final  product in the time allocated.
4. Your final product may NOT be done at home and may NOT leave the  classroom. Time management is important.
5. You must show an advanced degree of technical skill in the medium  (drawing; painting; printing; pottery etc.) that you choose. It is therefore  advisable that you produce a design in the design discipline that you have  studied using the medium that you are skilled at.
6. If you produce a two-dimensional product (poster; CD cover; book jacket etc.)  it MUST be slightly larger than A3 in size. The size of a two- or three dimensional design can, however, depend on the function of the object being made.
7. If your final product is a printed digital image there must be evidence of the  original drawing(s)/designs(s) in your visual journal. Your original designs must be scanned or photographed for your printed digital image and must be  present at your end-of-year final exhibition. 
8. Any two- or three-dimensional designs based merely on craft processes like  decoupage, etc. for decorative purposes will be penalised. Craft processes  may be used to create an original product. Your final product must show  sufficient skill in technique and a progression of design skills you have  developed from Grade 10.

MARKING RUBRIC/GUIDELINES: 
The rubric below is the suggested marking rubric that teachers may make use of for  the marking of the Visual Journal Process (TOPIC 1) and the Final Product  (TOPIC 2). 
This is to ensure standardisation with regard to marking across all schools in the  Eastern Cape Province. This must be pasted at the end of the visual journal. 
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
SEPTEMBER P2 PRACTICAL – PAT 3 
VISUAL JOURNAL PROCESS (TOPIC 1) 

FINAL PRODUCT (TOPIC 2)

QUESTIONS

BRIEF/THEME 1: ICONIC SOUTH AFRICAN BRANDS 
As South Africa’s Heritage Day approaches on 24 September, take a moment to think  fondly of those iconic brands that contribute to our heritage and who we are, unique  in this world and proudly South African. 
The influence that these brands exert on consumer behaviour means they have also  become part of the social history of the times, reflecting the fashion, art, literature,  technology, health, sport and social norms of the day. 
The early days of branding in South Africa date back more than 150 years to a  number of iconic brands that form very much a part of the branding scene today. Most  of us will remember these brands as part of our childhood, forming part of our life  memories, in a way that is so embedded that when we think chutney we think Mrs  Balls, or custard Ultramel or tomato sauce All Gold. 
Take a few minutes to think about what these brands mean to you and why? Some  well-known iconic South African brands include: Black Cat, Koo, Grandpa, Lucky  Star, Bakers, Castle Lager, Chappies, NikNaks and the Spur and Nando’s franchises. 
What other iconic South African brands can you think of? 

YOUR TASK: 

1. Create a design that is inspired by an iconic South African brand. Your final  product must reflect the brand’s physical characteristics and elements (colours,  shapes, textures, etc.) 
2. Identify the USP of the brand. The USP (Unique selling point) is the one factor  that differentiates the product from its competitors, such as cost, quality, luxury,  safety or the first-ever product of its kind. It may be linked to a sensory  experience such as taste or an emotive quality such as ‘love’ or ‘happiness’. A  USP could be thought of as ‘what you have that competitors don't.’ Create a  product that embodies the core values and USP of an iconic South African  brand. 
3. Re-design an iconic South African brand without losing the elements that  makes its distinctive. 

NOTE: You may combine two of the above tasks with each other.

ICONIC SOUTH AFRICAN BRANDS:

[Source: http://10and5.com/2016/03/18/7-iconic-south-african-brands-get-reimagined/]

[Source: https://www.behance.net/gallery/4345063/Mageu-Package-Re-design]

BRIEF/THEME 2: CLEAN ENERGY IDEAS 

There are many natural energy sources that can be used to provide a source of clean  and renewable electricity or even used for other purposes such as providing heating for  your home or business. The three main sources of natural energy are the sun, wind and water. 
YOUR TASK: 
Create a design that celebrates the earth’s natural energy resources.

1. SOLAR ENERGY SOURCE 
The sun provides a source of energy to the earth in the form of solar radiation. We can  use this solar energy source to not only generate electricity but to also heat water. The  main advantage of this type of energy source is that the equipment required to convert  the sun’s energy into electricity or hot water supply is through the use of solar panels  which results in a reduction or even elimination of energy bills in some cases for homes  or businesses. 
Solar energy is not only sustainable, it is renewable and this means that we will never  run out of it. Another advantage is that it is a silent producer of energy and during  operation electricity power plants produces zero emission. 
EXAMPLES OF PRODUCT DESIGN AND THREE-DIMENSIONAL CRAFT DESIGN:

2. WIND ENERGY SOURCE 
Both industrial and home wind turbines can be used to provide a source of renewable  electricity. Industrial wind turbines are mostly found in coastal areas, open plain and  gaps in mountains where the wind is reliable, strong and steady. Because good wind  resources are often found in remote and/or economically disadvantaged areas, wind  power provides steady and significant revenue to rural landowners, farmers, and  communities. The turbines occupy little surface area, leaving land open for farming,  housing, and other uses. 
The problem with renewable wind energy however, is however the relatively low output  of electricity you could receive depending on your location. Another disadvantage of  wind energy is that with larger wind turbines comes an increase in noise pollution and  high maintenance costs. 
EXAMPLE OF ENVIRONMENTAL DESIGN:

Metrowind Wind Farm – Eastern Cape, South Africa: MetroWind’s Van Stadens Wind  Farm is a world-class project under development in the Nelson Mandela Bay  Municipality in the Eastern Cape Province. The R550 million renewable energy  project, one of the first in South Africa, is an identified strategic economic development  project in the region.

3. WATER ENERGY SOURCE 
Water contained on the earth can be used in a variety of ways to generate electricity.  Tides and waves of the sea can be used to generate electricity whilst rivers can be held  back by a hydroelectric dam to provide power to the masses. A method of harnessing  the seas natural energy source and increasing in popularity over recent years, is tidal  power. This highly renewable energy source has a huge force behind it and is able to  drive water turbines situated around 100 meters out to sea as the tides go in and out. 
Wave energy is similar to tidal energy in that it has a huge source of energy behind it.  Long cylinder containers can be linked together and anchored to the earth close to a  shoreline that has significant levels of wave activity. These cylinders have been designed to generate electricity from the rocking motion that the waves place on the  wave energy system. 
EXAMPLE OF ENVIRONMENTAL DESIGN: 

The Gariep Dam – Norvalsport, Eastern Cape/Free State: The Gariep Dam forms part  of the Orange River Development Scheme and is the largest hydro-electric dam in the  country. Electricity from the dam is fed into the Eskom network at the Hydra Distribution  Station near De Aar, which is one of the distribution stations fed by the transmission  lines linking the Western Cape with the power stations in Mpumalanga.
Pelamis Wave Power, Portugal: The  Pelamis is an offshore wave energy converter  that uses the motion of waves to generate  electricity. The power is transmitted to shore  using standard subsea cables.	La Rance Barrage Tidal Power Station,  France: Tidal turbines are very much like  underwater windmills except the rotors are  driven by consistent, fast-moving currents  producing electricity.

EXAMPLES OF VISUAL COMMUNICATION/INFORMATION DESIGN:

ART DECO CELEBRATES THE SUN

EXAMPLES OF VISUAL COMMUNICATION/INFORMATION DESIGN:

TOTAL: 100

DESIGN
GRADE 12
PAPER 2
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

MEMORANDUM 

• TOPIC 1: (50) VISUAL JOURNAL – Preparation starts three weeks before the end of TERM 2; the June/July Holiday and during  TERM 3. 
• TOPIC 2: (50) FINAL PRODUCT – Supervised production time of  12–24 hours towards the end of TERM 3. 

MARKING RUBRIC/GUIDELINES: 
The rubric below is the suggested marking rubric that teachers may make use of for  the marking of the Visual Journal Process (TOPIC 1) and the Final Product (TOPIC 2). 
This is to ensure standardisation with regard to marking across all schools in the  Eastern Cape Province. This must be pasted in at the end of the visual journal. 
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - SEPTEMBER P2 PRACTICAL – PAT 3 
VISUAL JOURNAL PROCESS (TOPIC 1) 

FINAL PRODUCT (TOPIC 2)

Visual Journal Process (TOPIC 1) (50) 
The learner must demonstrate a sound understanding of the interrelated  (organised/related) nature of the planning, action and reflection cycle that  informs the design process: 
This includes: 

• Working from a brief or identifying a need, a problem or an opportunity.
• Investigating the context of the design brief/theme.
• Generating ideas and investigates different approaches and methods.
• nvestigating the use of appropriate materials and production techniques.
• Producing samples, prototypes or maquettes.
• Evaluating the ideas generated and selects the best solution.
• Gaining of knowledge and appreciation of design as a powerful instrument of  change to add value to life.
• Knowledge and an appreciation of aesthetics and functionality, trends and  markets.
• Knowledge of the differences between designing for a need and designing  for what the market wants.
• Knowledge and an appreciation of responsible design practice.
• Continued development of drawing skills.

[50] 

Final Product (TOPIC 2) (50) (12–24 hours) 
The learner is able to apply and provide evidence of the design process. The  final product/solution should show clear evidence of the design process and  relevance to the brief/problem. 
This includes: 

• Demonstrating proficiency (skill/ability) in materials and techniques chosen  to create design solutions.
• Presenting and effectively communicating a design solution.
• Interpreting, using and explaining the choice of design elements, principles and materials in the final product, service or environment.
• Self-discipline with regard to planning, organisation and time management of own work.
• Keeping to the time schedules and producing a body of work that reflects  12–24 hours of work.

[50] 
TOTAL: 100

DESIGN
GRADE 12
PAPER 1 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2017

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of SIX questions. Answer all the questions.
2. There are choices within some questions in the paper. Read the different  options carefully.
3. This question paper consists of THREE sections:
   SECTION A: DESIGN LITERACY
                        QUESTIONS 1–3 [30 marks]
   SECTION B: DESIGN HISTORY
                       QUESTION 4 [30 marks]
   SECTION C: DESIGN IN A SOCIO-CULTURAL /
                       ENVIRONMENTAL AND SUSTAINABLE 
                       CONTEXT
                       QUESTION 5–6 [40 marks]
4. Read the requirements of the questions carefully. 
5. Answers must be in the form of full sentences. Listing of facts is not allowed.
6. Use the mark allocation for each question to determine the amount of time to  be spent on the question as well as the number of facts required.
7. Do not repeat the same facts and examples in different questions. 8. Write neatly and legibly. 

GLOSSARY 
Use the following glossary to make sure you understand how to approach a particular  question: 

• Analyse: A detailed and logical discussion of the formal elements and principles
• Compare: Point out differences and similarities in an ordered sequence within the  same argument
• Discuss: Present your point of view and give reasons for your statements  (motivate).
• Explain: Clarify and give reasons for your statements (motivate).
• Interpret: Give an informed opinion, supported by examples.
• State: Say directly what you think – give your opinion as well as an explanation.

QUESTIONS 

SECTION A: DESIGN LITERACY 
QUESTION 1: ‘UNSEEN’ DESIGNS TESTING VISUAL LITERACY 
Answer EITHER QUESTION 1.1 OR QUESTION 1.2. 
1.1

FIGURE A: Engraved Perspex/Lucite bangle 
designed by Phillipa Green, Olive Green Cat, Cape Town 
1.1.1 Discuss a possible target market for the product seen in FIGURE A?  Supply reasons for your answer. (2) 
1.1.2 Analyse and discuss the use of the following elements and principles of  design in FIGURE A above: 

• Shape and Form
• Balance
• Movement/Rhythm
• Focal point/Emphasis (8)

[10] 

OR

1.2

FIGURE B: Bloom lamp designed by Patrick Jouin, iD Design, Paris

1.2.1 Study the above images provided in FIGURE B. Analyse and discuss  the following: 

• Tone/Tonal value
• Unity and variety
• Texture
• Pattern (8) 

1.2.2 Discuss the use of bio-mimicry in the design of FIGURE B. (2)

[10]

QUESTION 2: COMMUNICATION THROUGH DESIGN 
2.1

FIGURE A: Anti-cyberbully poster, designed by CyberMentors, United  Kingdom

2.1.1 What is the message being conveyed by the poster in FIGURE A? (1) 
2.1.2 Explain how the designer has made use of symbolism, imagery, layout  and text to effectively convey the message of the poster in FIGURE A  above. (4) 
2.1.3 Identify and explain the Gestalt Principle that is evident in the above  poster design. (2)
2.2

FIGURE B: Desmond Tutu poster designed by Simon Berndt,   One Horse Town Studio, Cape Town

2.2.1 Discuss the possible stereotype that can be applied to the poster in  FIGURE B. (1) 
2.2.2 Identify TWO symbols seen in FIGURE B and explain how they support  the stereotype being communicated by the poster. (2)

[10]

QUESTION 3 
Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 
3.1 Refer to FIGURE A and FIGURE B and answer the questions that follow.

FIGURE A: isiXhosa bridal  necklace, South Africa	FIGURE B: Indian bridal necklace, India

The above designs in FIGURE A and FIGURE B reflect examples of bridal  necklaces worn at traditional weddings. COMPARE the two designs, by  discussing similarities and differences with reference to: 

• Materials
• Shape and Pattern
• Unity
• Aesthetic appeal
• Production technique
  (Do not use tables or headings. Use paragraphs.)

[10]

OR

3.2
 

FIGURE C: The SA Perm Building (Building Society/banking) in High Street,  Grahamstown, 1987, Erasmus Rushmere and Reid architects

Write a COMPARATIVE ESSAY (of at least ONE full page) in which you  compare ONE classical building that you have studied with the contemporary  building seen in FIGURE C above. Alternatively you may compare any  Classical building (that you have studied) with any contemporary building. 
Include the following information in your discussion: 

• Context
• Purpose/Function 
• Layout/Plan
• Materials and production techniques 
• Relation to the site
  (Do not use tables or headings. Use paragraphs.)

[10]
TOTAL SECTION A: 30

SECTION B: DESIGN HISTORY
QUESTION 4 
4.1 

FIGURE A

With reference to the above quote write TWO SEPARATE ESSAYS about TWO of  the design movements, styles or periods shown in the images of FIGURE A. 
For each movement include the following information in your discussion in support of  the statement above: 

• The origins and evolution of the movement, style or period
• Aims
• Influences
• Characteristics of the movement, style or period
• The name of ONE designer associated with the movement, style or  period and the title, with a brief description, of ONE of his/her designs (20)

4.2 Carefully study the images in FIGURE B and FIGURE C below and then  answer the questions that follow. 

FIGURE B	FIGURE C

4.2.1 Identify the design movements/styles that FIGURE B and FIGURE C  represent. (2) 
4.2.2 Write a COMPARATIVE ESSAY in which you compare FIGURE B with  FIGURE C to show your understanding of the similarities and  differences between the two design movements/styles according to the  following: 

• Balance
• Proportion/Scale
• Movement
• Focus/Emphasis/Dominance 

Support your answer with factual information from each design  movement/style. (8)

[10] 
TOTAL SECTION B: 30

SECTION C: DESIGN IN A SOCIO-CULTURAL/ENVIRONMENTAL AND  SUSTAINABLE CONTEXT 
QUESTION 5 
Answer EITHER QUESTION 5.1 OR QUESTION 5.2. 
5.1 Carefully study the image in FIGURE A below, as well as the accompanying  information and quote. Then answer the questions that follow. 

FIGURE A: Bamboo homes designed by H&P Architects in Vietnam

5.1.1 With reference to the image in FIGURE A and the quote by H.K. Vyas,  give the following information: 

• An explanation of the term ‘socially responsible design’ (2)
• Evaluate the design in FIGURE A to show whether or not it can be  considered socially responsible (4) 

5.1.2 Discuss the work of ONE contemporary South African designer/design  group and ONE international designer/design group whose work  addresses socio-cultural issues in some way.  
In an essay of at least ONE full page include the following: 

• The name of the designer or design group, indicating South  African or international
• The style of work that the designer/design group produces
• An explanation of the social-cultural issue(s) that they address
• The name and a brief discussion of ONE work by each  designer/design group
• The social impact that their designs can or have made on society 

You may NOT refer to any designer(s) that you have discussed  previously or designers referred to in this question paper. (14)

[20] 

OR

5.2

FIGURE B: The Crochet Lamp is part of the Personal Editions collection from  Dutch designer, Marcel Wanders

5.2.1 Do you think that the product design in FIGURE B above is considered  design or craft, or both? Give reasons for your answer. (2) 
5.2.2 Discuss any ONE indigenous craft that you have studied. In your  discussion, refer to the following: 

• The name of the indigenous community that produced it, origins  and traditional history
• Function and social role
• Materials and methods
• A description of ONE example (8) 

5.2.3 Discuss the work of ONE contemporary South African or African  designer who incorporates traditional methods and/or materials into  their designs thereby addressing social and/or cultural issues. 
In an essay of ONE full page, include the following: 

• Aims and influences
• Characteristics and a detailed description of how the traditional  techniques/methods and/or material(s) have been applied in  modern/contemporary design. Refer to specific examples.
• Discuss the general socio-cultural contribution made by the  designer/design group. 

You may NOT refer to any designer(s) that you have previously  mentioned, or written about. (10)

[20]

QUESTION 6 
Carefully study the images in FIGURE A below, as well as the accompanying  information on the following page. Then answer the questions that follows. 

FIGURE A: Rethaka Repurpose Schoolbag designed by eco-social entrepreneur,  Thato Kgathlanye, Johannesburg, South Africa

6.1 The design in FIGURE A can be considered a good example of social as well  as a sustainable environmental design. 
Explain ways in which environmental issues and the community benefit from  this design. (6) 
6.2 In an essay, discuss the work of any ONE contemporary South African and ONE contemporary international designer/design agency or studio (at least  1½ pages) you have studied whose work addresses environmental and/or  sustainable issues. 
Include the following information: 

• The name of the designer/design agency or studio
• How the designer/design agency or studio addresses environmental  and/or sustainable concerns in his/her/their design process
• The title and a brief description of ONE major design/design project  undertaken by this designer/group 

You may NOT refer to any designer that you have previously discussed, or  designers referred to in this question paper. (14)

[20] 
TOTAL SECTION C: 40 
GRAND TOTAL: 100