Grade 9 • Study Guide
Creative Arts
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Introduction
Creative Arts involves the study of and exposure to a variety of art forms, such as dance, music, visual- and dramatic arts. As a subject it engages the body, mind and senses to help learners develop into creative and imaginative individuals. Learners participate in a range of activities that allow for creative and imaginative expression.
Creative Arts also develops an appreciation for the broader arts spectrum and establishes basic knowledge and skills to participate in arts activities. This prepares learners for possible further study in the art form of their choice in the Further Education and Training (FET) Phase. Impaq offers Dramatic Studies and Visual Arts as subjects in Grades 10 to 12. In line with this, the Grade 9 curriculum focuses on Drama and Visual Arts only.
Creative Arts in the Senior Phase aims to:
y Develop creative, expressive and innovative individuals and teams by generating ideas and experimenting.
y Provide learners with exposure to and experiences in drama and Visual Arts, including reflection and evaluation.
y Provide access to basic arts education in a creative and contributive environment.
y Identify and nurture artistic talent, aptitude and enthusiasm, focusing on personal development.
y Equip learners with adequate basic skills to pursue further studies in their chosen discipline.
y Develop an awareness of arts across diverse cultures.
y Expose learners to the range of exciting careers in the arts.
y Develop art literacy.
y Actualise arts appreciation, developing future audiences and consumers of art.
y Develop integrated life skills through the arts.
Theory is very closely associated with practical work. However, theory and practical work are two distinct areas for examination and assessment.
Dramatic Arts focuses on:
y Vocal development; using, manipulating, controlling and modulating the voice.
y Warming-up exercises and an awareness of the body as performance tool, including physical characterisation.
SAMPLE
y Drama elements in playmaking, connecting cultural practices, performance space and technical elements.
y Interpretation and performance techniques.
y Media and stereotyping.
y Appreciating and reflecting on playmaking processes and performances, using subject terminology and constructs.
Visual Arts focuses on:
y Broadening learners’ knowledge of various historic art movements, visual artists and art works.
y Observing, identifying, describing and applying knowledge through subject terminology and constructs.
y Creating in 2D: Observing and interpreting the world through painting and drawing.
y Creating in 3D: Observing and interpreting the world through constructing and modelling techniques.
y Interpreting, analysing and recognising symbolism and the purpose of art.
y Appreciating and reflecting on art works, art making processes and the role of the artist, using subject terminology and constructs.
Creative Arts in Grade 9 focuses on:
y Dramatic Arts:
Topic 1: Performance skills development
Topic 2: Elements of drama in playmaking
Topic 3: Interpretation and performance of a dramatic form
Topic 4: Appreciation and reflection
Topic 5: Media
y Visual Arts:
ష
Topic 1: Create in 2D
Topic 2: Create in 3D
Topic 3: Visual literacy
The subject content and associated assessment elements are based on the themes as outlined in the Curriculum and Assessment Policy Statement (CAPS).
Additional reading
The Essential Theatre (11th edition), by Oscar G. Brockett, Robert Ball, John Fleming, Andrew Carlson.
200 Projects To Get You Into Art School, by Valerie Colston.
Read as many other books or articles on the subjects as possible. There are links to further reading on all the topics covered in the study guide. Read reviews about current art exhibitions, films, TV series, theatre productions and arts festivals.
Resources
What you will need:
SAMPLE
y Impaq study guide
y Impaq portfolio book
y June examination
y November examination
y Art materials and consumables
y Appropriate space to create art (outside area, studio, study or other designated area)
y Drama texts
y Appropriate space to perform (outside area, classroom, lounge, community or church hall)
y Comfortable and suitable clothing and protective clothing
Time allocation
Art is a process, and learners, together with their facilitator, must develop a programme that suits them which will allow time to make art, rehearse, practise and reflect Two hours per week are allocated to Creative Arts. The units alternate between Drama and Visual Arts to allow each unit’s outcomes and expectations to be clear. It is, however, up to the learner and the facilitator to put time aside each week for Creative Arts as a whole. The units are not designed to follow on each other, but to coincide. For example, Unit 1 (Drama) and Unit 2 (Visual Arts) may begin in the first week and develop over time.
The units must be completed as follows:
Term 1: Units 1 – 4
Term 2: Units 5 – 8
Term 3: Units 9 – 12
Term 4: Units 13 – 16
Lesson elements
Each unit consists of:
y A challenge
y Content
y Solve the challenge
It also includes:
y Learning outcomes
y Definitions
y Enrichment activities (For the curious)
y Summaries
y Self-assessment activities
Icons
SAMPLE
Content and planning
Content
Unit 1: Drama
1.1 Performance skills development (15 minutes per week)
1.2 The media and careers (1 hour)
Unit 2: Visual Arts
2.1 Visual literacy: Elements of art and design principles used in creating and appreciating art (1 hour)
2.2 Create in 2D: Paint (4 hours)
Unit 3: Drama
3.1 Elements of drama in playmaking (5 hours, 30 minutes and rehearsal time)
3.2 Appreciation and reflection (1 hour plus own research time)
Unit 4: Visual Arts
4.1 Visual literacy: Visual Arts disciplines and the arts as heritage (2 hours)
4.2 Visual literacy: The role of the artist in society (2 hours)
4.3 Visual literacy: Research findings (1 hour)
Unit 5: Drama
5.1 Performance skills development (15 minutes per week)
5.2 The media: Stereotypes in film (2 hours and own research time)
Unit 6: Visual Arts
6. Create in 3D: Construction / Sculpture (4 hours)
Unit 7: Drama
7. Interpretation and performance of dramatic forms (5 hours, 30 minutes and rehearsal time)
Unit 8: Visual Arts
Target date*
SAMPLE
8.1 Create in 2D: Paint a still life (4 hours)
8.2 Create in 2D: Design a logo (2 hours)
Unit 9: Drama
9. Performance skills development (15 minutes every week)
Unit 10: Visual Arts
10.1 Visual literacy: Printmaking (1 hour)
10.2 Create in 2D: Create a scraperboard (4 hours)
Unit 11: Drama
11.1 Elements of drama in playmaking (7 hours and rehearsal time)
11.2 Appreciation and reflection (30 minutes)
Content
Unit 12: Visual Arts
12.1 Visual literacy: Popular culture and popular art (1 hour)
12.2 Create in 2D: Create a pop culture image (4 hours)
Unit 13: Drama
13. Performance skills development (15 minutes per week)
Unit 14: Visual Arts
14.1 Visual literacy: Puppets (1 hour)
14.2 Create in 3D: Create a puppet (4 hours)
Unit 15: Drama
15.1 Interpretation and performance: Radio drama (7 hours and rehearsal time)
15.2 Appreciation and reflection (30 minutes)
Unit 16: Visual Arts
16. Create in 2D: Life drawing (5 hours) Revision
Target date*
*Complete the target date for each lesson, according to your year plan for this subject. The submission dates of the formal assessments, as stated in the portfolio book, must be strictly adhered to.
Additional notes
All formal assessments are in the portfolio book – the tasks in the portfiolio book count for marks. The tasks in this study guide may be the same as in the portfolio book. All tasks in the study guide should be done as additional activities. Keep these tasks in a Creative Arts file or portfolio to refer to during the year.
SAMPLE
Drama: Performance skills development; the media and careers
The focus of this unit is on warm-up and cool-down exercises to prepare the body and voice for performances. You should be familiar with the work covered in Grades 7 and 8. These skills are necessary for any actor to ensure mental and physical focus, to prevent injuries, to relieve tension and anxiety, to prepare for and ultimately deliver good performances.
This unit also explores the soap opera as television genre and how the media uses it as communication channel.
CHALLENGE
Learning objectives
Define
How do I keep my breathing normal during a performance?
After completing this unit, you must be able to:
SAMPLE
This lesson must be practised and repeated weekly, especially before a performance. Spend at least 15 minutes per week on this.
y explain the purpose of warm-up and cool-down exercises
y develop a warm-up and cool-down routine and complete it
y regulate your breathing
y execute body focus exercises
y explain the terms ‘media’ and ‘mass media’
y identify the soap opera as a genre
y identify stock characters and their stereotypical traits
Warm-up routine: A set of exercises that safely prepares the body (muscles, joints and brain) for the increased demands of physical activities. Warming up reduces the possibility of injury or may prevent further injury.
Cool-down routine: A period of gradually decreasing moderate physical activity done after vigorous exercise to reduce the possibility of injury. It helps the body (muscles, joints and brain) to slow down, release tension and recharge.
Posture: The position in which someone holds their body when standing or sitting; the position of their arms and legs, and of the body as a whole. The best voice is produced when body posture is erect yet relaxed. Throughout breathing and voice exercises, the spine should be straight, the head facing forward and the crown of the head parallel to the ceiling. This posture supports the body’s respiratory system so it can function smoothly.
Breath control: Proper and effective use of the lungs and diaphragm muscle to allow maximum oxygen uptake. Control over how much oxygen you take in and use while talking by inhaling, holding your breath and exhaling correctly. Good breathing habits are the base of a good voice. Stay relaxed throughout breathing and speaking, try to reduce tension in the neck, shoulders, jaw, back and stomach.
Body focus: Being aware of your body and learning to engage your entire body through various exercises. Understanding how the various parts of the body work together, as well as what the human body is capable of.
Relaxation: The state of being free from tension, stress and anxiety. In a drama context, relaxation refers to a state of being where one is aware of and in control of the body, the breathing and the voice.
SAMPLE
Media: Various means of communication, including radio, television, magazines, newspapers and the internet.
Mass media: Any of the means of communication, such as television or newspapers, meant to reach as many people as possible.
Soap opera: A television or radio drama serial dealing with the daily events in the lives of various characters, often depicted in a sentimental, melodramatic way.
Teleserial: A television drama series with a continuing plotline broadcast in episodes.
Melodrama: A melodrama is a story or play in which there are many exciting or sad events and in which people’s emotions are very exaggerated.
Stereotypical character: A flat character with generalised traits. The character is typical of a specific group and isn’t necessarily an individual in their own right.
Stock character: A stereotyped character easily recognised by readers or audiences from recurrent appearances in literary or folk tradition, usually in a specific genre such as comedy or fairy tale. Common examples include the absent-minded professor, the damsel in distress, the old miser, the wicked stepmother or the jealous husband.
Lesson 1.1: Performance skills development
Introduction
In this lesson we focus on how to warm up the voice and body before a performance. You have to prepare and condition your body to make sure it performs at its peak. Warm-up exercises may help to reduce injuries and help actors to focus and prepare for the task ahead. Warm up with your fellow actors to strengthen your bond and improve communication.
Cool-down exercises will help to recharge your body and voice. It releases tension and helps you to return to a state of calm following the heightened emotions associated with performing.
This lesson should take 15 minutes but must be repeated every week and especially before performances.
PREPARING FOR A PERFORMANCE
Warm-up exercises
Neutral posture: An actor usually begins in the neutral position when doing drama exercises. In this position, the body and muscles are completely relaxed. The neutral position also refers to body alignment and how the head, shoulders, spine, hips, knees and ankles relate and line up. Proper body alignment puts less stress on the spine and builds good posture. Everyone has certain physical restrictions (i.e., flat feet, weight, a short or long neck, etc.) that determine how effectively they find their neutral position.
SAMPLE
Fig. 1.1: Neutral position 1
Start at the bottom and work your way upwards to build a good neutral posture:
y Feet: Stand with your feet slightly apart, directly below your hips and parallel to each other.
y Knees: Push your knees back, lock them and then bend them slightly forward.
y Pelvis: Keep your pelvis relaxed and aligned with your feet; don’t push your hips forward or rounded back.
y Chest: Keep your chest directly above your hips without pushing it out or pinching it in. This position is very important for breathing exercises.
y Shoulders: Your shoulders should be relaxed and slightly dropped. Do not pull your shoulders back or push them forward.
y Arms: Your arms should hang relaxed and free at your sides. Your hands should also be relaxed, with your fingers slightly curved and not stretched out or clenched in a fist
y Head: Imagine your spine getting longer at the back of your neck, pushing your head upwards.
SAMPLE
y Face: Look straight ahead and lift your chin slightly (this happens naturally when you relax your shoulders). Don’t push out or pull back your chin. Keep your expression neutral (this will be discussed in detail in the section dealing with vocal warm-up exercises).
You are now ready to start basic body warm-up exercises.
Visit //bit.ly/2GQtDxv, bit.ly/2HUyiQk and bit.ly/2owfkHO for more information on physical warm-up exercises for actors.
Fig. 1.2: Neutral position 2 – Feet are further apart
Physical development
Warm-up exercise 1: Body focus exercises
Neck rolls
y Stand in the neutral position.
y Lower your chin onto your chest.
y Roll your head to the right so your ear is directly above your shoulder.
y Roll your head back onto your chest and then rotate your head to the left.
y Repeat five times.
SAMPLE
Shoulder rolls
y Stand in the neutral position.
y Roll your right shoulder to the back – repeat five times.
y Do the same with your left shoulder.
y Repeat this exercise, but roll your shoulders to the front.
y Lift your shoulders and try to touch your ears. Hold this position for a few seconds and relax.
Arm stretches
y Stand in the neutral position.
y Stretch your right arm out above your head and lean towards your left. Keep your arm stretched out over to the left; stretch as far as you can. Hold this position for a few seconds.
y Repeat on the other side.
y Repeat five times.
Fig. 1.3
Fig. 1.4
Hip rolls
y Stand in the neutral position and place your hands on your hips.
y Move your hips in a circular motion, as if you are hula-hooping.
y Now move your hips in the opposite direction.
y Repeat the exercise five times, in both directions.
Leg shakes
y Stand in the neutral position and lift your right leg.
y Shake your leg.
y Repeat with your left leg.
y Repeat five times on each side or until you feel energised.
Spine rolls
y Stand in the neutral position and lower your chin onto your chest.
y Relax your shoulders and start rolling towards the ground, as though you are going to touch your toes. Exhale when you have rolled down as far as you can.
y Bend your knees and let your head and arms hang loose. Relax.
SAMPLE
y As you roll back up to a standing position, inhale. Once you are in the neutral position again, exhale.
y Repeat four or five times.
Body buzz
y Stand in the neutral position.
y Start shaking your body as though you are experiencing an electric shock.
y Keep this up for ten seconds and then freeze.
y Repeat two or three times.
y After this exercise, you should feel energised and invigorated.
Fig. 1.5
Warm-up exercise 2: Body focus exercises
Release and receive
y Stand in the neutral position, facing a wall.
y Imagine you are gathering your energy in an invisible ball.
y Hold your hands in front of your chest, imagining you are holding the invisible ball.
y When it feels too intense, release the energy and throw the ball against the wall.
y Prepare to receive the bouncing ball back. Lean back to catch it.
y Throw it back to the wall. Repeat a few times. Focus your energy on the ball, as well as on the release and receive action.
Vocal development
The body’s vocal resonators are the mouth, nose, throat and chest. Vocal resonators amplify and enhance the sounds made by our breath and vocal chords.
The articulators include the teeth, tongue, lips, jaw and the roof of the mouth. Sounds are articulated by these body parts which influences our pronunciation and vocalisation.
Warm-up exercise 1: Breathing exercise
y Stand in the neutral position.
y Take a deep breath and raise your shoulders.
y Drop your shoulders and exhale.
y Repeat five times. Focus on your breathing. Inhale deeper at each go and drop your shoulders even lower.
y You will feel your body relaxing.
Warm-up exercise 2: Scrunch and stretch
y Stand in the neutral position.
y Scrunch up your face, like you have eaten something sour.
y Focus on getting your face as small possible and hold the pose for ten seconds.
y Now open your mouth as wide as possible, lift your eyebrows and open your eyes as wide as you can. Keep this pose for ten seconds and then relax your face.
y Repeat five times.
y Repeat this exercise, but add a soft humming sound when contracting your face and let your voice explode into a loud ‘mah’ when opening your mouth.
y Repeat five times.
Fig. 1.6: The resonators
Fig. 1.7: The articulators
Warm-up exercise 3: Counting
y Stand in the neutral position.
y Inhale and exhale gently and become aware of your breathing.
y Once you feel focused, breathe in deeply and count aloud from one to ten as you exhale, making sure your pitch and volume remain the same.
y Repeat five times.
Warm-up exercise 4: Humming
y Stand in the neutral position and think of a song.
y Inhale and exhale until you are ready to start humming.
y Start humming the song. Do not pronounce the words.
y You should become aware of a buzzing sensation.
y Repeat the above, but this time, hum more loudly.
y Remember to breathe.
Warm-up exercise 5: Tongue-twisters
y Find and memorise a few tongue-twisters.
y Stand in the neutral position.
SAMPLE
y Inhale and prepare to start speaking in a controlled voice. Try to keep your volume and pitch consistent.
y Repeat the same tongue-twister a few times.
A few examples of tongue-twisters: She stood on the balcony, inexplicably mimicking him hiccupping, and amicably welcoming him home. Amidst the mists and fiercest frosts, With barest wrists and stoutest boasts, He thrusts his fists against the post, And still insists he sees the ghosts.
ష Lesser leather never weathered lesser wetter weather.
Fig. 1.8
Visit bit.ly/1E5IbFg, bit.ly/1RuBfYs, bit.ly/2GQusX7 and bit.ly/2FfomlU for more information on vocal and breathing warm-up exercises.
AFTER A PERFORMANCE
Release tension and allow your body and voice to cool and calm down.
Cool-down exercise 1: Untying
y Stand in the neutral position and lower your chin onto your chest.
y Relax your shoulders and start rolling towards the ground, as though you are going to touch your toes. Exhale when you have rolled down as far as you can. Inhale as you reach as far as you can go.
y Bend your knees and grab around your legs, pulling your chest toward your legs. Keep your head down and keep pulling.
y As you slowly release your grip and roll back up to a standing position, inhale. Once you are in the neutral position again, exhale.
y Repeat four or five times.
Cool-down exercise 2: Releasing
y Lie on your back with your knees pulled up to your chest.
y Close your eyes and concentrate on your breathing.
y Grab your legs just below your knees and roll your hips from side to side until your legs touch the ground on either side of your body.
y Repeat this a few times. Release all tension from your body by giving deep sighs and humming as you roll your hips.
Cool-down exercise 3: Winding down
y Lie on your back with your knees pulled up and your feet flat on the ground.
y Close your eyes and place your hands on your rib area to feel your breathing.
y Slowly inhale and hold your breath for five seconds.
y Slowly exhale, for a count of five seconds.
y Repeat five to ten times.
Fig. 1.9
Summary
Actors must always prepare before a performance. They must know the terms and movements, have good spatial awareness and focus. Warm-up exercises for the body and the voice, help actors to mentally and physically prepare. These exercises help to sharpen the senses and ensure the body and voice are ready, to prevent possible injury. The exercises or routines also help to relieve tension and anxiety. Remember to release tension and get rid of built-up energy and stress after a performance.
Assess yourself
Determine how your body and voice reacts to warm-up and cool-down exercises.
y Do a small experiment.
y Choose a short monologue or poem and present it to the class, a friend, family members or your facilitator without warming up.
y Record your feelings: How was the performance? Did you make any mistakes? How did your body feel after all the excitement? Was your breathing relaxed or rapid? Also ask your audience for feedback.
y On another day, present the same short monologue or poem to the same audience. However, this time you must first warm up for at least 15 minutes.
y Record your feelings as before. Compare your notes and reflect on whether the warm-up routine made any difference to your delivery, focus, how prepared you were, diction and anxiety.
Solve the challenge
SAMPLE
How do I keep my breathing normal during a performance?
Actors must focus on various elements while performing: the performance itself, movements and positioning, various technical elements and remembering their lines. On top of that, they must be aware of and considerate towards fellow performers and the audience.
Breathing should not get in the way of delivering a good performance and actors must be properly prepared in this regard. This makes a warm-up routine essential. Not only will the exercises increase an actor’s concentration, it will also ensure the brain receives enough oxygen to function optimally under stress.
Lesson 1.2: The media and careers
Introduction
This lesson focuses on the media of television, in particular soap operas and teleserials. We also look at how the media uses this genre as communication channel.
THE MEDIA
Media refers to any communication channel that disseminates news or information in both print and digital formats. Mass media refers to any means of communication (media) that reaches large numbers of people. Advertising, cinema, broadcasting (radio and television), print media and digital media (social media, video channels, etc.) are all examples of mass media.
The influence of the media remains a contentious issue as it has advantages and disadvantages. One advantage is the rapid spread of news and information through news channels, whether on TV or via print or electronic media. People are exposed to events from every corner of the world and it gives them access to various cultures, social and political systems and traditions. The media keeps us informed about new discoveries, advances in science, politics, entertainment and sociology.
In contrast, the media may cause mass hysteria by spreading ‘fake news’. Fake news is a new term finding its way into everyday conversations. This term relates to fabricated news, has no basis in fact but is presented as being factually accurate. Along with the emergence of fake news comes internet bots and trolls that contribute to misleading stories on various platforms such as Twitter and Facebook. The media has also long been the subject of scrutiny when it comes to children and their consumption of violence on TV, in films and in computer games. Younger viewers often fall victim to the media’s negative influence using propaganda, advertising and negative role models. Exposure to the media must be managed and those who are vulnerable protected from any possible negative effects.
Do not simply believe everything you read or see - verify the facts and use credible sources.
SOAP OPERAS
Where did it all begin?
SAMPLE
During the 1930s, American radio dramas became more popular. Afternoon broadcasts of these dramas were aimed at a predominantly female audience. Radio executives managed to secure advertisers to increase station ratings and profits. The advertisements were cleverly aimed at the target audience (housewives) and mostly promoted household goods such as cleaning agents.
Consumer goods corporations, such as Procter & Gamble and Lever Brothers sponsored radio dramas. One such drama was Ma Perkins, which told the story of Ma Perkins, who owned and operated a lumberyard, and her interactions with the local community. It was one of the first sponsored radio dramas. The corporations quickly realised the size and potential buying power of their target market and began producing their own radio dramas, expanding its broadcast coverage area from regional to national radio stations. They even took it one step further by branching out into television serials, such as As the World Turns (1956 – 2010) and Guiding Light (1952 – 2009). The advertising of ‘soap’ products became forever associated with radio dramas and eventually with television serials.
It is important to look at how soap operas tell their stories. What is their narrative structure and how is it different from cinema or other television dramas?
Visit bit.ly/2F169JJ to listen to extracts from Ma Perkins.
Story structure
Soapies have a continuous open narrative, with each episode ending with a promise that the storyline will continue in the next episode. Soapies can be described as melodramatic, spending ample time on introducing and establishing characters. Only one episode is usually broadcast per day, meaning the time spent on the dialogue and development of the storyline is longer and slower than that of a film or TV drama. Often, soapies switch between several narrative threads which sometimes interconnect and affect one another. One of the reasons soapies carry on for years and remain interesting to the audience, is because the various narrative threads (or storylines) do not reach a conclusion at the same time. The writers often include just enough suspense to ensure the audience continues watching.
Multiple protagonists
SAMPLE
Soap operas or teleserials have multiple protagonists; each one is as important as the other. Hour-long soap operas typically have 15-20 central characters, many more than the average movie or TV drama. Soap opera casts are the largest of any programme on TV. There are two reasons for this: firstly, the high number of characters means that one character is not more important than another - and indeed they come and go very quickly in some instances. Secondly, most soap opera actors work under contract which can be cancelled if they do not attract enough viewers. Multiple characters also allows for a web of storylines and intrigue.
Exposition and narrative enigma
Every episode begins in medias res - this means the story has already begun. Every episode begins in the middle of the plot. Viewers are ‘dropped’ in the middle of a complicated storyline that may have begun months even years ago. A soap opera thrives on narrative enigmas - they are its foundation. Some enigmas include:
y Will Joan get custody of her baby?
y Did Amanda push Betty down the stairs and what is Amanda’s evil mother up to?
y Will Keith and Sally make their fake marriage real?
y When will John and Bert find out they are brothers?
Fig. 1.10: Ma Perkins radio soap opera
