SENIOR PHASE GRADE 9 NOVEMBER 2016 CREATIVE ARTS

SENIOR PHASE GRADE 9

NOVEMBER 2016

CREATIVE ARTS

MARKS: TIME:

100 2 hours

*9ARTS*

This question paper consists of 24 pages, including two annexures and manuscript paper.

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CREATIVE ARTS

INSTRUCTIONS AND INFORMATION

(EC/NOVEMBER 2016)

Read the instructions carefully before answering the questions.

1. Answer ONLY TWO SECTIONS of the FOUR SECTIONS. Choose TWO sections in relation to your selected pathways.

SECTION A SECTION B SECTION C SECTION D

PATHWAY DANCE DRAMA MUSIC VISUAL ARTS

QUESTIONS 1?5 6?8 9?14

15?18

PAGE 3?7 8?12

13?17 18?21

2. Number your answers exactly as questions are numbered.

3. Write NEATLY and LEGIBLY.

4. All answers should be written on the ANSWER SHEET and NOT on the question paper, except where indicated otherwise.

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(EC/NOVEMBER 2016)

CREATIVE ARTS

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SECTION A: DANCE

QUESTION 1: MULTIPLE-CHOICE QUESTIONS

Choose the correct answer from the possible answers given below. Write only the letter (A?D) of the answer next to the question number (1.1?1.5), for example 1.6 E.

1.1 Locomotor movements are the movements that ...

A allow people to identify dances.

B allow your body to move from one place to another.

C are strictly enforced to do without asking questions.

D round and lengthen the spine.

(1)

1.2 Domba dance is also known as the ...

A snake dance.

B torso.

C dance convention.

D Soweto dance.

(1)

1.3 Canon in dance is where ...

A one partner is blindfolded while other is not.

B one person starts a movement, which is repeated by the next dancers,

in turn.

C there is a beginning and an ending in the sequence.

D the dancers jump in slow motion first without jumping high.

(1)

1.4 When do you stretch safely?

A When you hear music.

B When you are doing pair dancing.

C When your muscles are warm.

D When the teacher instructs you to do so.

(1)

1.5 In a ballet dance leg brushes is known as ...

A stillness.

B ligament.

C adage.

D tendus.

(1)

[5]

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4 QUESTION 2

CREATIVE ARTS

(EC/NOVEMBER 2016)

Link the words in COLUMN B to match the correct terms in COLUMN A.

COLUMN A 2.1 Xibelani dance 2.2 Ballet 2.3 Gumboot dance 2.4 Pantsula 2.5 Makgibo

COLUMN B A Black miners of SA B Townships of SA in the 1950s C Southern Basotho women D Tsonga E Rond de Jambe

(5 x 1) [5]

QUESTION 3

Define the following dance relationships:

3.1 Call and response

(2)

3.2 Giving and receiving weight

(2)

3.3 Negative shape

(2)

3.4 Blind and guide

(2)

3.5 Meeting and parting

(2)

[10]

QUESTION 4

4.1 Explain what is meant by a natural gesture.

(2)

4.2 Give FIVE examples of natural gestures.

(5)

4.3 Using the examples of natural gestures you have named in QUESTION 4.2, write a movement sequence that you would follow as a group that is based on gestures.

Your sequence must show the following:

4.3.1 Beginning and ending

(2)

4.3.2 Variation of natural gestures

(2)

4.3.3 Stillness

(2)

4.3.4 Repetition

(2)

4.3.5 Dance elements

(2)

[17]

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CREATIVE ARTS

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QUESTION 5

MAMELA NYAMZA: THE BODY AS INSTRUMENT

Mamela Nyamza is a dancer, teacher, choreographer and activist in South Africa. She is trained in a variety of styles of dance including ballet, modern dance, African dance, the Horton technique, Spanish dance, jazz, movement and mime, flying low technique, release technique, gumboot dance and Butoh. Nyamza is known for blending styles in a way that challenges traditional standards. Nyamza has performed nationally and internationally and has choreographed autobiographical, political, and social pieces both on her own and in collaboration with other artists. She draws inspiration from her daily life and her identity as a young, black woman.

Early Life

Mamela Nyamza was born in 1976 into a large family living in Gugulethu, Cape Town in South Africa. Growing up in Gugulethu had an enormous influence on Nyamza's career as a dancer. She explained that the environment in which she was immersed "did not give (her) a choice but to love dance. There was music and sound, all day long, and even in the streets the noise became the music". Dancing became a way for Nyamza to understand all that was happening in the world around her, "I used my body as the instrument to react to all forms of sound, whether it be playing, crying, or watching all sorts of things that one can imagine happened in Gugulethu in the '80s".

Since childhood, Nyamza has continued to use dance as a means to interpret, cope with, and reconcile her life's events. When her mother was raped and murdered in 1999, dance gave her the inner strength to somehow face this scarring experience. Additionally, her mother's death greatly influenced the development of her abstract style of dancing, "After my mother died, I could feel her in my dreams telling me to use my dance to tell real stories. I also later came out of the closet, and I started experiencing discrimination in society and that's when I thought, 'You know, I'm an artist, so let me be the voice that addresses all these issues'".

Community Outreach Projects and Volunteering

Nyamza believes that others too, can use dance as a means to heal themselves by using it to express experiences they may find too difficult to put into words. It is this belief that has motivated her to take on various volunteer and community outreach projects ? including ballet teaching in Mamelodi, volunteering at Thembalethu Day School for the Disabled, and launching a project at the University of Stellenbosch that uses dance therapy to educate others on issues relating to HIV/Aids, domestic violence, and drug abuse. Nyamza exemplifies the potential these projects have to positively impact people's lives, "Art has developed me, and opened a totally different book for me to explore the impossible which is now possible ...Giving back to the community is helping those that come from where I come from, and showing them that this art ...can heal a lot of them that are born out of issues just like myself".

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