DANCE STUDIES
GRADE 12 
AMENDED SCE PAST PAPERS AND MEMOS
MAY/JUNE 2018

INSTRUCTIONS AND INFORMATION 

  1. This question paper consists of TWO sections with TEN questions in total.  Answer only SEVEN questions as follows:
    SECTION A: SAFE DANCE PRACTICE AND HEALTHCARE (40 marks)
    • Answer THREE of the four questions in this section.
    • You have a choice between QUESTION 2 and  QUESTION 3. If you answer both questions, only the  FIRST answer will be marked.
      SECTION B: DANCE HISTORY AND LITERACY (60 marks)
    • Answer FOUR of the six questions in this section.
    • You have a choice between QUESTION 7, QUESTION 8  and QUESTION 9. If you answer all three questions, only  the FIRST answer will be marked.
  2. Number the answers correctly according to the numbering system used in this  question paper.
  3. Read each question carefully and take note of what is required.
  4. NOTE: If you are requested to explain/elaborate/describe/analyse/ evaluate/compare, write your answer in full sentences and give as  much information as possible. One-word answers will NOT be  accepted. 
  5. You may do rough planning in the ANSWER BOOK. Draw a line through any  work that should NOT be marked. 
  6. You will be assessed on your ability to: 
    • Organise and communicate information clearly
    • Use the specific format asked for in certain questions
    • Use specialist dance terminology where appropriate
  7. Write neatly and legibly.

QUESTIONS 

SECTION A: SAFE DANCE PRACTICE AND HEALTH CARE 
QUESTION 1: COMPONENTS OF FITNESS (COMPULSORY) 
1.1 Choose a description from COLUMN B that matches a component in  COLUMN A. Write only the letter (A–C) next to the question numbers  (1.1.1 to 1.1.3) in the ANSWER BOOK. 

COLUMN A 

COLUMN B

1.1.1 Strength 
1.1.2 Flexibility 
1.1.3 Neuromuscular skills

  1. your body will move freely and  without restrictions 
  2. essential for coordination, control  and performance skills
  3. ability of a muscle to produce  maximum force (3 x 1) (3) 

1.2 What is the difference between cardiorespiratory endurance and muscular  endurance? (2) 
1.3 Explain THREE benefits of endurance in the dance class. (3) 
1.4 How could a dancer develop core stability? (3) 
1.5 How can core stability improve a dancer's performance in the dance class? (4) [15] 
NOTE: You have a choice between QUESTION 2 and QUESTION 3.  Answer only ONE of these questions. 

QUESTION 2: MENTAL HEALTH  
2.1 List THREE recognisable symptoms of stress/tension. (3) 
2.2 Give advice to your fellow classmates on how to prepare for the final practical  dance examination throughout the year. (4) 
2.3 Recommend THREE relaxation techniques to help a dancer cope with stress.  Explain your recommendations. (3) [10] 
OR

QUESTION 3: MUSCLES AND ANATOMICAL ACTIONS 
Study the photograph below and answer the questions that follow. 
3.1 List any THREE muscles in the anterior section of the trunk. (3) 
3.1
[Source: www.pinterest.com] 
3.2.1 Give TWO anatomical actions of the deltoid muscles. (2) 
3.2.2 Name the muscle group responsible for the anatomical action of  the dancer's knee joints. (1) 
3.2.3 Name TWO muscles responsible for the anatomical action of the  dancer's ankle joints. (2) 
3.2.4 State ONE anatomical action of the dancer's hips. (1) 
3.2.5 Name the muscle responsible for stabilising the dancer's pelvis and  lumbar spine. (1) [10]

QUESTION 4: INJURY PREVENTION AND TREATMENT (COMPULSORY) 
4.1 Choose any TWO letters from the word 'RICE' and describe the meaning of  each letter. (2) 
4.2 Explain THREE types of exercises a dancer can do after an injury to maintain  mobility of the muscles and joints. (3) 
4.3 State THREE safe dance practices a dancer can apply to prevent an injury  in the dance class. Explain EACH practice in detail. (6) 
4.4 Discuss FOUR treatment/rehabilitation practices for an injured dancer and  give the benefits of these treatments. (4) [15] 

TOTAL SECTION A: 40

SECTION B: DANCE HISTORY AND LITERACY  QUESTION 5: DANCE COMPOSITION (COMPULSORY)
5.1 Explain the choreographic structures below:  
5.1.1. Motif  (1) 
5.1.2 Sequencing (1) 
5.1.3 Canon (1) 
5.1.4 Stillness (1) 
5.1.5 Climax (1) 
5.2 An example of contact work by shifting weight or lifting a partner is shown in  the photograph below. Evaluate the important factors to consider when  working with a partner.
5.2 
[Source: www.google.co.za/search?q=Dancer%60s+picture] (5) [10]

QUESTION 6: DANCE FORMS AND MULTIDICIPLINARY WORK (COMPULSORY) 
6.1 Analyse the benefits of mixing different dance forms/genres/styles when  choreographing dance works. (6) 
6.2 Discuss and elaborate on your understanding of multidisciplinary dance  works. (4) [10] 
NOTE: You have a choice between QUESTION 7, QUESTION 8 and QUESTION 9. 
Answer only ONE of these questions. 

QUESTION 7: MARTHA GRAHAM AND LAMENTATION 
7
[Source: https://kddance.wordpress.com
7.1 Describe Martha Graham's background, training and career.  (9) 
7.2  Explain how Martha Graham's Lamentation was innovative for that time. 
Refer to the following: 
7.2.1 The movement vocabulary and symbolism
7.2.2 The production elements (8)
7.3 Evaluate how the music enhanced the theme of Lamentation.  (4) 
7.4 Martha Graham is often referred to as 'the mother of contemporary dance'.
 Do you think Martha Graham's choreography and dance technique made an impact on dance and society? Substantiate your answer. (4) [30] 

OR
QUESTION 8: VINCENT MANTSOE AND GULA MATARI 
8
[Source: www.thebusinessofmusicanddance.com] 
8.1 Describe Vincent Mantsoe's background, training and career. (9) 
8.2 Gula Matari deals with a very specific theme. Explain how this theme was  portrayed in the following: 
8.2.1 The movement vocabulary and symbolism (8) 
8.2.2 The production elements (4) 
8.3 Evaluate how the music enhanced the dance work. (5) 
8.4 Vincent Mantsoe drew on his own heritage and used this as an inspiration for  his own choreography.  
Do you think Mantsoe's use of his own heritage has had an influence on  South African dancers and choreographers? Substantiate your answer. (4) [30] 

OR
QUESTION 9: CHOREOGRAPHER AND DANCE WORK 
Choose ONE of the choreographers and ONE of his/her dance works from the  prescribed list below. 

SOUTH AFRICAN CHOREOGRAPHERS 

DANCE WORKS

Alfred Hinkel 

Bolero/The Last Dance/Cargo/ Rain in a Dead Man's Footprints

Carolyn Holden 

Imagenes

Dada Masilo 

Swan Lake/Romeo and Juliet

Gary Gordon 

Bessie's Head

Gregory Maqoma 

Four Seasons/Beauty Trilogy/Skeleton Dry/ Somehow Delightful 

Mavis Becker 

Flamenco de Africa

Veronica Paeper 

Orpheus in the Underworld/Carmen

Hazel Acosta 

Blood Wedding

INTERNATIONAL CHOREOGRAPHERS 

DANCE WORKS

Alvin Ailey 

Revelations

Christopher Bruce 

Ghost Dances/Rooster

George Balanchine 

Apollo/Jewels

Jiří Kylián 

Wings of Wax

Matthew Bourne 

Swan Lake/Cinderella

Mats Ek 

Giselle/Swan Lake/Carmen

Pina Bausch 

The Rite of Spring

Rudi van Dantzig 

Four Last Songs

William Forsythe 

In the Middle, Somewhat Elevated

9.1 Give the name of the choreographer and the title of the dance work that you  have chosen. 
9.2 Describe the choreographer's background, training and career. (9) 
9.3 Explain how the choreographer portrayed the theme/intent of this work  through the use of the following: 
9.3.1 The movement vocabulary and symbolism (8)
9.3.2 The production elements  (4) 
9.4 Evaluate how the music/accompaniment enhanced the dance work. (5) 
9.5 Do you think this choreographer has made an impact on the dance world?  Substantiate your answer. (4) [30]

QUESTION 10: SYMBOLISM (COMPULSORY) 
NOTE: Do not answer on the same choreographer and dance work you chose for  QUESTION 7, QUESTION 8 or QUESTION 9. 
Choose ONE of the dance works from the list below.  

SOUTH AFRICAN CHOREOGRAPHERS 

DANCE WORKS

Alfred Hinkel 

Bolero/The Last Dance/Cargo/ 

Rain in a Dead Man's Footprints

Carolyn Holden 

Imagenes

Dada Masilo 

Swan Lake/Romeo and Juliet

Gary Gordon 

Bessie's Head

Gregory Maqoma 

Four Seasons/Beauty Trilogy/Skeleton Dry/ Somehow Delightful 

Mavis Becker 

Flamenco de Africa

Veronica Paeper 

Orpheus in the Underworld/Carmen

Vincent Mantsoe 

Gula Matari

Hazel Acosta 

Blood Wedding

INTERNATIONAL CHOREOGRAPHERS 

DANCE WORKS

Alvin Ailey 

Revelations

Christopher Bruce 

Ghost Dances/Rooster

Jiří Kylián 

Wings of Wax

Matthew Bourne 

Swan Lake/Cinderella

Mats Ek 

Giselle/Swan Lake/Carmen

Pina Bausch 

The Rite of Spring

Rudi van Dantzig 

Four Last Songs

Martha Graham 

Errand into the Maze/Lamentation

William Forsythe 

In the Middle, Somewhat Elevated

10.1 Give the name of the choreographer and the title of the dance work that you  have chosen. 
10.2 Describe the synopsis/intent/theme/idea of the dance work. (4) 
10.3 Evaluate how the choreographer used symbolism within his/her dance work. (6) [10] 

TOTAL SECTION B: 60
GRAND TOTAL: 100

Last modified on Thursday, 26 August 2021 11:35