GUYANA

MINISTRY OF EDUCATION

SECONDARY SCHOOL EXPRESSIVE ARTS

DRAFT CURRICULUM GUIDE
GRADE 9
 Introduction

This is a first draft of the Curriculum Guide for Grade 9 under the Secondary School Reform Project. This document falls within the
framework of making Expressive Arts accessible to all students at Grade 9 and hence teachers of Grade 99 students should make a
conscious effort to see how best they could utilize the ideas contained to plan for instruction. This document can serve as a focal point
for departmental and regional subject committee meetings, where methodologies and strategies for both teaching and assessing are
deliberated on. Lessons should be delivered in an environment in which there is opportunity for active and creative participation by
both students and teacher. This Guide has a direct focus on an integrated approach to curriculum delivery, in which the teacher is not
unduly restricted by the subject content. The student’s total development as a person should be of foremost concern to the teacher. It
is anticipated that school managers, teachers, students and parents will be very critical in their evaluation of this draft as it relates
directly to the teaching and assessing strategies suggested, and indirectly to other issues contingent upon the goals of education. The
evaluation can be shared with curriculum supervisors during the process of interaction in the implementation phase.

Mohandatt Goolsarran
Head, Curriculum Development and Implementation Unit
April, 2003

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 Foreword
The goal of education in Guyana aims at providing access to quality education for its beneficiaries. To deny students the tools to
explore the world through the Expressive Arts is to produce only partially education persons who will not be able to contribute fully to
their communities and who will not reap the rich benefits the world has to offer.

The introduction of the Expressive Arts programme in schools attempts to integrate an Arts Education programme that gives support
to the rest of the Curriculum and provides a balance for the development of the total Human Potential. The benefits that are derived
from an Arts Education Programme are numerous. Included in these is the fact that it helps ameliorate social problems such as racial
prejudice and vandalism and is an excellent medium for building the self-esteem and self-confidence of young people, while at the
same time, it encourages free expression.

Development trends in education show that the Expressive Arts can also be used to help achieve the objectives of reading,
mathematics, social studies and other subject areas.

Based on this reality, the purpose of this curriculum guide is to encourage teachers to integrate the Expressive Arts subjects into the
regular time-table. This Expressive Arts Curriculum includes Dance, Drama and Music which promotes the development of the
creativity of young people.

Teachers are urged to use this curriculum guide in order to make the classroom teaching interactive, while contributing to the overall
improvement in the quality of learning and understanding at the secondary level.

Teachers and other users of this draft curriculum guide should feel free to make recommendations for the further development of the
Expressive Arts curriculum in order to encourage their own and students’ development and appreciation of the Expressive Arts.

Desiree Wyles-Ogle
Administrator, Allied Arts Unit

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 ACKNOWLEDGEMENT

The following curriculum writers were instrumental in the preparation of this document.

Desiree Wyles-Ogle – Coordinator, Unit of Allied Arts

Dance
Ms. Shirley Inniss - Unit of Allied Arts
Ms. Vivienne Douglas-Daniel - National Dance Company
Ms. Suzanne French - National Dance Company

Drama
Ms. Lorraine Barker-King - Unit of Allied Arts
Ms. Paloma Mohamed - Playwright
Ms. Aileen Hintzen - Unit of Allied Arts

Music
Ms. Mildred Lowe - Unit of Allied Arts
Ms. Sena Robinson - President’s College
Mr. Clyde Thierens - Music Specialist

Sincere gratitude is expressed to: Ms. Ingrid Barker –Head CDIU, NCERD, Mr. Gordon Marshall (Actor),
Sister Rose Magdaline (Music), Mr. William Pilgrim (Music), Ms. Petaline Mc Donald (Typist), the National Dance Company
(technical displays), Photographer – Mr. Devin Munroe.

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Content Page

Introduction i
Foreword ii
Acknowledgement iii

9:1 Dance Curriculum 1

9:1.1 Music, Mood and Movement 1
9:1.2 Theme Development 2
9:1.3 Musicality 3
9:1.4 Drama in Dance 5
9:1.5 Form and Structure 6
9:1.6 Style 7
9:1.7 Action Reaction Response 8
9:1.8 Working with props 9
9:1.9 Skills development in folk forms (Maypole) 11
9:1.10 Skills development in folk forms (Diwali) 13
9:1.11 Use of abstraction 14
9.1.12 Solo, partner and group relations 17
9:1.13 Use of accompaniment 20
9:1.14 Performance skills 22
9;1.15 Safe dance practices 25
9:1.16 Combination 28
9:2 Drama Curriculum 31
9:2.1 Drama History 31
9:2.2 Expressive skills 33
9:2.3 Improvisation 35
9:2.4 Drama appreciation 36
Content Page

9:2.5 Technical elements of production 39

9:2.6 Performance Techniques 41
9:2.7 Stage Lighting 43
9:2.8 Stage Sound 45
9:2.9 Safety in Theatre Arts 48
9:2.10 Make up Artist 51
9;2.11 Costume Designer 53
9:2.12 Production Manager 56
9:3 Music Curriculum 58
9:3.1 Music Scales 58
9:3.2 Chords 58
9:3.3 Rhythms 59
9:3.4 The Minor Scales 59
9:3.5 Compound metre 60
9:3.6 Calypso 61
9:3.7 Musical Era 61
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9:1.1 Application i.e. Development of Musical tempos Positive self Recorded Music is played, What % of the Social Studies
Music, Mood transferring or knowledge of through varied image music students respond students were
and auditory stimuli musical tempo experiences. (a) Mood of individually to shy?
Movement or into a visual and mood. music mood evoked.
Auditory representation. Was there
stimuli (b) Count En masse evidence of
resultant aloud using counting is done emotional
movement. varied rhythm with variations in expression in
patterns tempo as directed the movement
when music by teacher. sequences?
is played.
- In sets of 3 Did the
(c) Walk in students walk movement
total space in across the floor in responses
response to response to appear to be
mood mood. ‘natural’ or
evoked. ‘stereotyped’?
- Stimulation
(d) working groups of Was there
Development at least six music, mood
of movement students, develop and
and mood in movement movement
response to sequence. cohesion in
music. the
- Teacher moves sequences?
around class
checking group
efforts.

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9:1.1 - Groups
Music, Mood demonstrate their
and sequences
Movement or - Peer
Auditory assessment
stimuli follows
resultant
movement
(cont’d)
9:1.2 Theme To select and To know the How to create a Acceptance Class Theme Teacher teaches What degree Mathematics
Development use meaning of the phrase, sequence and - Walk (8 the class theme in of initiative
appropriate terms. and the importance Tolerance counts) Mass formation was evident in Visual Arts
movement. Phrases, of transition and - Arabes- Class is then group
sequence repetition in the que(4) organized into variations.
transition development of a small groups.
repetition. theme. - Three On a scale of
Definition of triplets Groups create 1 to 10 how
theme- variations on the appropriate
One or several -A lunge class theme. were the
movement movements
phrases that fit -Relevé(2) Groups are then selected/used
together and assigned specific by students.
are developed -Fall (2) and sections of the
from the same rise (4) room.
idea.
Group 1 and 3
perform the class
theme in unison
then group 2 and
4 perform their
group variation in

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9:1.2 Theme Musical unison

Development - Accompani- NOTE – This
(cont’d) ment that is method can be
suitable eg. of used to save time.
a possible
group Opportunity
variation should be
1. Walk in a provided for
circle. students to
2. Plié and appraise each
relevé others
3. Fall presentation.
4. Arabesque
5. Rise
6. Three
triplets
7. Lunge
(twice)
9:1.3 Listening To develop The importance of Appreciation Elements of Students are Did the Craft
Music – musical musical styles music in the dance for the Art of music: required to bring students enjoy
ality exploration medium. Music and its - Rhythm pictures of as the lesson? Vocabulary
To improve interaction - Tempo many musical
dance skills To understand the with dance. - Note Value instruments as
through musical similarities and - Phrasing possible.
exploration. differences - Dynamics
between music Using information
To recognize forms and dance Musical from teacher’s
simple forms forms. Instruments chart, they will
used in music. name and classify
Records/Audio these instruments.
Tapes

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9.1.3 To be aware of Musical forms Music is played Did students

Music – style peculiar to eg. ABA and pupils are understand
ality (cont’d) various required to the
composers. Theme and identify as many interrelation of
variations instruments as music and
To develop possible. dance?
some basic Technical
elements of elements Elements of music
Music:- -Unison as well as musical
Rhythm, tempo - Canon forms listed in
dynamics ‘content’ are
accent, note studied.
value, phrasing.
Students are
encouraged to
demonstrate
physical
representations of
each of these
elements.

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9:1.4 Facial and To broaden the To be aware of the Openess Improvisation Pupils are divided Did the Social Studies
Drama in bodily horizon of the value of drama in Self- (a) People at into at least three students enjoy
Dance expressions ‘world’ around the dance medium. awareness work eg. groups at a the session? History
us. empathy Market woman, minimum of two
fisherman weeks before Was there
farmer. topic is to be evidence of
done. adequate
(b) Societal Ills research on
– eg. Aids, Each group areas
Abuse chooses one of chosen?
Prostitution. the areas listed in
the content and On a scale of
(c) History eg. carries out their 1 to 10, how
1763 Salve own research. did the groups
rebellion, score for:
Enmore Dance study on (a) dramatisa-
Martyrs. area chosen is tion?
done during class (b) develop-
(d) Choose sessions. ment of
outstanding theme?
scenes in a Groups are (c) movement
play and re- allowed to choose ideas?
enact them in a their own musical (d) showing
dance accompaniment. knowledge of
displaying area studied?
characterization
and different
emotions
expressed in
the play.

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9:1.4 (e) Read and Each group

Drama in analyse performs in turn.
Dance (cont’d) various poems
of interest. Students
comment and
Assign one line discuss
of Poetry to presentations.
different
groups.
Have students
recite and
dance
simultaneously.
9:1.5 Literary To gain insight To be aware of the Appreciation Some Teacher shows Did the Language
Form and those needed into the basic work of a variety of of the choreographic videos of each of students find Arts
Structure for making form and choreographers. medium. forms the forms in the sessions
critique on structure used (1) Theme content. ‘enlightening’?
matter in (2) Theme and
seen/read. choreography. variation. Each in turn is How could
ABA followed by a you structure
(3) A – basic discussion and future
theme interpretation of sessions to
B – Second what has been measure what
theme viewed. students have
A – repetition gained?
of basic theme Attendance at
(4) Narrative dance
(5) Collage performances is
organized so that
critique and
classification can
be done.

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9:1.5 (6) Rondo

Form and within these
Structure(cont’d) forms, use
can be made
of structures
such as
round canon
Video and
cassettes
9:1.6 Cognitive To be able to The similarities and Appreciation - Modern In preparation for Did students Social Studies
Style recognize and differences of the of the various - Jazz session. enjoy
differentiate various dance dance styles. - Abstract Students collect session?
between the styles. - Ethnic pictures and
various dance - Classical photographs of Did students
styles. ballet various dance gain from
styles. sessions?
Pictures
Photographs These are What level of
Video identified and difficulty was
Cassettes classified. experienced in
Live the
Performances Students view identification
examples of and
various styles on classification
video. process?

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9.1.6 Open discussion How could

Style (cont’d) follows: future
Attendance at live sessions be
dance structured to
performances is assess
organized so that benefits
identification and gained by
classification can students?
be done.

In every session
similarities and
differences
among styles are
emphasized
9:1.7 Responding to Recognition of To be aware of the Acceptance Movement ideas Students work What was the Social Studies
Action/ creative stimuli action/reaction linkages between of natural to express with partners and technical level
Reaction responses in action/reaction social (1) Throwing develop creative of the
Responses daily life. responses in daily behavioural and responses using presentations?
life and in dance. patterns. catching/missing the movement
an imaginary ideas in ‘context’ What was the
ball. as stimuli. creative level
of the
(2) Reaching out One student presentations?
and rejection. initiates the action
and his/her
partner responds
with a resultant
reaction.

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9:1.7 (3) Giving Roles are Did the ideas

Action and receiving reversed so that come across
Reaction both students gain clearly?
Responses (4) Advance similar
(cont’d) and retreat. experience.

(5) Mutual Students assist in

reaching the evaluative
process.
(6) Contact
improvisation
9:1.8 Using Props To know types How to use props Acceptance Use of props Teacher provides Were there Craft
Working with effectively. of props which of the eg. scarves, flags, students evidence of
props, can be used to importance flags, sticks. bring their own originality in
scarves, flags enhance and scarves and the use of
sticks choreographic usefulness of sticks. props?
ideas. props in
portraying Divide class into 3 Was there
dance ideas. groups. variety,
Each group among groups
creates dance in their usage
sequences using of the props?
each of the props
in turn. Were students
able to handle
props in a co-
ordinated
manner?

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9:1.8 Each group in turn What type of

Working with presents their follow up
props, sequence eg. All session can
scarves, flags the flag be done?
sticks(cont’d) sequences first
then the stick
sequences and
finally the scarf
sequences.

Open discussion
follows each set
of sequences.

Teacher makes
suggestions for
better handling
and more
effective use of
props where
necessary.

Students are
encouraged to
explore ideas for
effective use of
costumes and
stage sets to
enhance creative
ideas.

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9:1.9 Maypole Gaining insight They are different Willingness to Suggested Basic movements Which History
Skills plaiting skills; to a particular folk forms learn, share variations are practiced en variations
development co-ordination. folk form and (1) Striped masse proved. Maths
in folk forms participate. candy cane Challenging to
Maypole Students select the students? Social Studies
(2) Spider partners
Web Did the
A processional students enjoy
(3) Ladder walk is done with the
class in partner experience?
(4) Basket formation.
weave
They make a
Resources circle and curtsey
to an imaginary
-Cylindrical audience as well
pole as to each other.
-Lengths of
ribbons
(1½-2) inches
in width.

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9:1.9 -Basic Students practice In your

Skills movement, step hop moving opinion do you
development step, hop, around the circle think the
in folk forms walk, curtsey singly in clockwise students
Maypole as well as grasped
(cont’d) Recorded anticlockwise enough to
Music direction share the
tradition with
Theory-study Basic procedure others?
of the history for plaiting,
of Maypole variations are
plaiting practiced first
without the use of
ribbons

Teacher
emphasizes
technique for
holding and
manipulating
ribbon

Students work
with ribbons

See illustrations
Note-taking and
drawing of
aspects of theory

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9:1.10 Effective use To garner To understand Tolerance Basic Working in In your History
Skills of diyas as a information ways in which appreciation movement groups, students opinion on a
development prop re:folk form traditions can be variations in are assigned re- scale of 1 to Social Studies
in folk forms passed on. the Indian parts on specific 10 how did
Diwali idiom which topics with students
Converting folk are reference to the respond to the
forms for appropriate to significance of sessions?
presentation idea being Diwali.
on stage. expressed. Were the
Students bring variations
Suggested their own diyas used by
portraits. and explore basic students
Dance ideas of using interesting?
showing the props. innovative?
lighting of the repetitions?
path-ways for Individual
entry for students are
Laxshmi. encouraged to
share movement
Props: Diyas ideas.
(See
illustration) Teacher
demonstrates and
Theory – The teaches basic
significance technical
of Diwali. movement to be
used.

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9:1.10 Students learn

Diwali (cont’d) and practice.
Peer teaching is
encouraged within
their groups,
students create a
movement
sequence using
basic technique.
However the
incorporation of
other appropriate
movement is
encouraged.
9:1.11 Technical skill -Abstract dance Developing an Acceptance Guidelines for Organise groups How did you Mathematics
Use of in executing is a type of understanding of and developing in mass formation feel making
Abstraction:- movements dance style that the similarities and appreciation dance theme to practice quick
geometric communicates differences of the of dance movements to be decisions?
movement/design no message. various forms that (1) Fun used.
It is also choreographic may not be movements
described as forms. liked or - Prances in
geometric known. all directions
dance.
- Jumps and
turns

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9:1.11 The emphasis - Collapsing Movements Were you

Use of is on movement in fast and provided could be students
Abstraction:- variation, line slow motion either those aware of other
geometric and design previously learnt pupils while
movement/ - A funny in technique class you were
design walk or the introduction dancing?
(cont’d) of new movement
2. Lyrical ideas. Did the music
movements help or hinder
- A triplet Choose you?
- A sidefall movement
-Swings suitable to the Did you
- Sustained ability level of the observe
movements in students. interesting
8 and 16 designs and
counts Select movement patterns?
ideas with
potential for
3. General variation in time
movement space and
directions energy.

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9: 1.11 A traveling After sufficient Can you

Use of step practice of steps. . describe
Abstraction:- - A level Organize students them?
geometric change into groups of 6-8.
movement/ - A body Did any
design(cont’d) shape List and discuss interesting
- A frozen guidelines eg. surprises
position time limit, use of occur while
- A sudden movements, you were
dynamic entrances and performing?
change. exits, scope of
variations.

Use music to
stimulate students
imagination and
motivate
performance.

Presentations are
done one group at
a time.

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9:1.12 Concentration Differentiating The way in which Interdependence Guidelines Working Did students Science
Solo, Partner, Spatial solo, partner appropriate skills Development of (1) Body individually, with a observe
Group awareness and group and attitude receptiveness to awareness partner and in a guidelines and Social Studies
Relations relations in the contribute to others when exercises. group. attitude for
medium. cohesive working within a fruitful solo,
relationships. group. (2) Exercises Students partner and
combining improvise using group
You can learn by images and guidelines relations?
watching others. atmosphere. suggested and
points noted to Were the
A student (3) Partner create their movements
moving across awareness composition. selected
the floor may exercises eg. appropriate for
feel more two persons Movements used the task to be
insecure and of similar are from done?
self conscious if height and vocabulary of
he or she hears weight, hold previous Were groups
wispering. each other’s knowledge or that successful in
forearms and created by maintaining
counter students. desired
balance, relationships
create Teacher assesses throughout the
movements, results. exercise?

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9:1.12 Praise and while doing

Solo Partner encourage this:
Group class to help Points to
Relations one another. note.
(cont’d) a. Stress
staying
together.

b. Be aware
of spatial
relationships.

c. Group
represent
part of a
machine.

d. Group
unity and
designs are
emphasized
through use
of same
colour
costumes.

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9:1.12 e. Dancers in
Solo, Partner groups must
Group be spaced in
Relations such a way
(cont’d) that they do
not block
each other.

f. Remind
pupils to be
sensitive and
aware of
each others’
space even
though they
are
performing as
soloists they
are still in a
group.

g. Encourage
students
awareness of
group design
and stage
balance as
they make
their
entrances
and exits.

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9:1.13 To develop To be aware of The benefits of Development Accompaniment Using various Did students Music
Use of creative different types appropriate choice of a positive (1) Importance types of enjoy the
accompaniment explorations. of dance of accompaniment. self image (a) Effect on kind accompaniment. sessions? Mathematics
accompaniment. through of choreography
successful created. Teacher and Did students
experience students follow responses
with music (b) Increased these steps:- demonstrated
and dance. motivation of the degrees of
students through 1) Listen to music learning which
sound carefully. occurred?
accompaniments.
2) Discuss the
(c) Use of dynamic qualities
different types: of the music:
Test students’ mood, theme etc.
knowledge and
understanding of 3) Count out the
movements beats of the
learned. music.
What is the meter
2/4, ¾

4) Establish the
length of dance to
be created.

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9:1.13 (d) Students 5) Experiment Was a high

Use of can be working against degree of
accompaniment evaluated for the beat creativity
(cont’d) musical evident in
response and 6) Clap out the students’
sensitivity as meter with the response to
well as dance class. Students sessions.
performance can then be
assigned to
2. Types specific working
(a) Human groups.
body-voice
clapping, Explore ways of
stamping. using feet, hands
and sticks
(b) Props –
sticks Teacher reminds
pupils of
(c) drums -the need for
identifying the
(d) sound introduction.
effects
-to select music
(e) orches- that support their
trated music theme in terms of
count structure,
temp etc.

Presentations are
appraised.

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9:1.13 (f) Audio Support their

Use of tapes theme in terms of
accompaniment count structure,
(cont’d) Points to note. tempo etc.

Music used Presentations are

for dance appraised.
technique
should be
different from
that used for
choreography.
9:1.14 Proficiency Steps to be Benefits of good Striving for Suggested Using a chart with Did students Art
Performance Planning taken in performing skills excellence Guidelines the diagram of the adhere to
Skills facilitating high stage. guidelines?
standard of 1) Planning Teacher/pupils
Performance and discussion about Were any
organizing parts of the stage. innovative
(a) Program ideas included
content Students draw in their plan?
should be diagrams.
based on Do you think
interests and Site visit is paid to that their
needs of both N.C.C. or Theatre project plans
dance Guild for practical could be
students and lesson. executed
audience. successfully?

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9:1.14 (b) Alternate Theoretical Were the site Project

Performance light and session on visits done Planning
Skills serious planning and Management
(cont’d) compositions, organizing is
small and done.
large groups
short and long Lesson is mainly
dances. at discussion
level.
(c) Select
dancers who Each area is
perform with a discussed.
sense of
clarity, Students are
accuracy, encouraged to
understanding contribute.
and Site visits are paid
aliveness. to N.C.C.

2) Schedule Students are

rehearsals eg. divided into two
Technical and groups and are
dress. assigned a project
to plan a dance
3) programme
Programmes (hypothetical)
– should be
emphasized.

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9:1.14 4) Dance
Performance Floor – smooth
Skills unblemished
(cont’d) and free of
splinters

5) Costumes –
appropriate

6) Lights –
complementary

7) Sets and
props – useful

- Study of the
stage when
evaluating:
consider
technical
performance
and space
aspects as well
as the dance
as a whole.

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SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:1.15 How to avoid Types of The importance of Being careful. 1) Basic Theoretical as In your Stage craft
Safe Dance sustaining injuries to which avoiding injuries. safety well as practical opinion what
Practices injuries. dancers are precautions:- sessions are percentage of First aid
prone. (a) Clarify the done, depending the students
position of all on the specific gained from
on stage and information that the topics
technical has to be passed studied.
equipment. on.

(b) All loose

wires must be
taped down
and sharp or
protruding
equipment
covered to
prevent
injury.

(c) Check for

nails, screws
etc.

(d) Cover
splintered
areas with
masking
tape.

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SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:1.15 (e) Dancers Were these

Safe Dance must warm practices
Practices up. followed
(cont’d) through.
(f) provide ice
etc. in case of
injuries.

(g) Ensure
that dancers
do not
perform with
injuries.

2. Injury
prevention
can be
minimized by
(a) Correct
alignment
and proper
working in
class,
rehearsal and
performance.

(b) Warming
up and
cooling down.

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SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:1.15 (c) Exercises

Safe Dance for increasing
Practices strength and
(cont’d) endurance

(d) Weight
training for
additional
conditioning.

(e) Proper
rest

(f) Proper
diet.

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SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:1.16 Motor Basic technique Synchronisation Co-operation Examples:- Theory on Were the Language
Combinations previously Centre knowledge to be students Arts
learnt. (1) Pliés and learnt – teacher correct in the
relevés in a asks class, they theoretical
What is meant three-count then work in small and practical
by the term phrase with groups to explain examples
‘combination’. jumps and a using practical given.
half turn. means.
A combination (2) Body Teacher moves
can be defined bounces around, giving
as (a) Two head to feet, hints where
locomotor transition to necessary.
movements or stride, sitting
and frog
(b) One sitting.
locomotor
movement and
one connecting
step or linkage
idea

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:1.16 (c) A grouping Creation of Teacher teaches What degree Problem

Combinations of connected axial a specific of creativity solvings
(cont’d) movements movement combination. was evident in
usually turns, falls, Students learn work done by
prepared for rolls and demonstrate. students.
presentation modification
during the latter of established Student working
portion of a exercises. in groups, create
dance variations using
technique class. group solving
techniques.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.1 Reading Developments Dramatic forms Cognition of There are Individual or Can students History
Drama History and functions of evolve to fulfill the different groups of distinguish the
(Twentieth Researching different kinds certain specific developmental dramatic students are various forms Social Studies
Century and of drama, in 20th functions in society. process. forms that instructed to of drama and
Caribbean Tracing and Century, with an evolve out of choose a period describe the Literature
Minimum 4hrs). connecting emphasis on Language, rituals different or form of drama basic genesis
developments the Caribbean. forms, yard forms historical and to research and of each? Art & Craft
in various and stick social write about in a
kinds of drama Types of plays characters in conditions. ten minute With a focus Computer
over time. being written, Caribbean drama, presentation. on Caribbean Science
evolving forms, evolved out of Each form drama, can
Understanding main writers certain historic and has students Language Arts
the context in and ruling social contexts. something name some of
which concerns of the specific to it. the main
Caribbean time. writers, some
Drama has In observing of the plays as
developed. elements of well as
form, one overarching
needs to look themes?
at, what is
happening,
how it is
happening, to
whom is it
happening
and who is
making it
happen.

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SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.1 Look also at Do students

Drama History the understand
(Twentieth believability the processes
Century and of the work, in society that
Caribbean what does it help to
Minimum 4hrs) achieve in the produce
(cont’d) final analysis, drama?
do all the
technical and Can students
creative identify
elements and language use
come and forms of
together to Caribbean
form a unified territories?
production?

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9.2.2 Breathing and The voice is In order for the Expressiveness In terms of Deep breathing Can students Language Arts
Expressive Posture. one of the most weight of a Listening to dramatic exercises. project voices
Skills: The powerful tools dramatic text and voice, speech articulation, at least ten Music
voice in Projection for conveying its full meaning to and vocal breathing and Singing musical feet beyond
drama Articulation. meaning and be conveyed to an delivery posture are scales in one themselves? Literature
expression in audience, it is analytically. very breath.
Enunciation drama. necessary for the important in Are students’ Physical
Care of the actor to master all Practicing good the Running vowel delivery of Education
Voice. Several elements of vocal habits. production of sounds in one words clear
elements are speech. sound. breath. and crisp?
involved in the
clear and Correct Repeating Can students
precise breathing limericks and create with
conveyance of from the tongue twisters their voices
expression diaphragm such as “Peter only, the
using the voice. helps with Piper picked a emotions and
These are: breath peck of pickled expressions in
breathing and control, pepper”. the reading or
posture. projection, acting out of a
projection, articulation as Examine vowels text?
articulation, well as vocal and consonants in
pronunciation range. words.
and
enunciation.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9.2.2 Projection is Develop practice

Expressive the volume of speaking
Skills: The given to a clearly and loudly,
voice in vocal but in modulated
drama utterance. tones.
(cont’d)
Articulation is
the correct
sounding of
words.

Pronunciation
is to say a
word correctly
giving each
syllable; its
correct sound
and tone.

Enunciation
Is to utter
distinctly, to
give clear
and effective
utterances.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.3 Creative Improvisation is All forms of drama Willingness to Improvisation Form class in Can students Language Arts
Improvisation Thinking the technique of are not scripted and work in is a technique groups. stick to the
(Min. 4 hrs) creating drama predetermined. groups. through general Social Studies
Teamwork without a script. which drama Ask each group to theme, to
Improvisation is a Discipline. can be work out an work in Music
Spontaneity Usually, a non-scripted form. created by a improvisational support of the
scenario, Ability to group or piece, based on a whole? Dance
Creativity concept, Improvisation is a follow single actor set situation, or
situation or method often used instructions, who abide by problem they wish Are students Physical
Thinking and suggestion is in exploratory focus and the to illuminate and able to think Education
working under given to a drama. follow fundamental solve. quickly and
pressure. group, who then through on a principles of react quickly History
create the Improvisation works single idea or the They have only 4 in character
Knowledge of characters, the best where there is concept. technique. minutes to and Art
Indigenous dialogue and an entire team prepare for this appropriately
Caribbean the ensuing effort, which The improvisation, to audience
improvisational action. adheres to the fundamental which the rest of reaction?
forms. concept that no principles of the class
single person is as Improvisation participates in as
important as the are: part of the
piece they are all No Tyrants audience.
creating at the No single
moment. player is
allowed to
Improvised drama impose
lends itself very his/her
well to audience direction on
interaction.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.3 the piece. All

Improvisation involved are
(Min. 4 hrs) allowed to
(cont’d) contribute.

No
unnecessary
jokes to the
audience, no
mugging or
under acting
should take
place.
9:2.4 Observation There are There are some The desire to The plot is Have the class Can students Language Arts
Drama common common elements understand plan or read short one-act identify and
Appreciation Listening elements of that need to be the arrangement plays. discuss the Literature
(Min. 4 hrs) form in all plays examined when mechanics of of incidents in various
Critical and dramatic critiquing a dramatic the play. They should be elements of a Social Studies
thinking performances. dramatic production writing and able to identify the play?
of any kind. production. The theme is Plot They should
Extended There are: the general or Theme be able to
vocabulary Plot A willingness overriding Story line/action make
Theme to pay thrust of the Characters judgments on
Storyline/action attention to play. In other Language the quality of
Characters detail. words, the Setting the
Language broad Scenes performance
Setting concept of Acts based on the
Scenes what the play Incidents. knowledge of
Acts is about. the elements.
Incidents

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.4 The story line Instruct members

Drama or the action of the class to:
Appreciation is the -attend a play and
(Min. 4 hrs.) development write a critical
(cont’d) of the plot in analysis of the
the play. performance
using the
Characters guidelines above.
are the
people about The entire class
whom the may go to see a
play is about, play as a field trip.
and who are
involved in
telling the
story.

Language is
the precise
lexicon and
vocabulary
used to
convey
information in
the telling of
the story.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.4 Setting is the

Drama environment
Appreciation or world in
(Min. 4 hrs.) which the
(cont’d) action is
taking place.

A scene is a
unit of
dramatic
action in
which conflict
occurs.

An act is a
series of
scenes that
depict action
in a specific
direction.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.5 Script analysis There are Drama is the most Commitment Technical Instruct students Can students Language Arts
Technical technical complex of all to learning dramatis to list the distinguish all
Elements of Production elements that performing arts, about behind personae technical the technical Literature
Dramatic design involve the work involving various the scenes have to be elements and to elements,
Production of various aspects and work of able to describe how they their uses and Art and Craft
(Min 5 Hrs) Set creation specialists. personnel who dramatis analyze a were used in a functions?
work together to personae. script in order production they Mathematics
Costume produce these to help have seen. Do students
Creation aspects. Discipline determine the have a basic Technical
technical For a set one-act practical Drawing
Sound and Technical elements Dedication needs of the play ask the class experience in
lighting design are employed for production. to design the producing Business and
and performances only. technical some of these Accounting
production. The technical requirements of a elements?
elements of production based Computer
production on the script.. Science
such as
lighting and Let each child Music
sound, have choose a specific
functions. technical function Dance
and design a
detailed plan for Home
that function. Economics
These plans
should be
presented by the
student to the

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.5 Technical elements They help to class and

Technical need to be deduced create, mood, discussed with
Elements of from the text or convey regard to
Dramatic script, agreed upon information, appropriateness,
Production by the director and and to cost effectiveness
(Min 5 Hrs) producer and then underscore and creativity.
(Cont’d) developed and important
rehearsed before moments.
the actual
performance. Costuming
and make up
help create
believable
characters.
They also
help in mood,
setting and in
the
suspension
of disbelief.

The stage
setting and
physical set
help locate
the play in a
specific place
and time.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.5 Marketing
Technical advertising
Elements of fund raising
Dramatic and
Production accounting
(Min 5 Hrs) are
(Cont’d) administrative
functions that
are also
essential to
the smooth
running of
dramatic
productions.
9:2.6 Acting Acting is the Acting is a Diligence There are Some exercises Can students: Literature
Performance Techniques ability to portray technique used by several acting that can be used -act out a
Techniques to an audience, actors in telling Open techniques in aiding actors in monologue, Language Arts
(Mins Hrs) Movement in a believable dramatic stories. mindedness available to developing acting short story or
way, the the actor. techniques are: part of a one- Dance
Discipline deepest These techniques Un-inhibit act play?
interpretation of have to be studied, ness These “The Sculptor and Life Skills
Observation a story. rehearsed and generally the Clay”. -produce the
learned like any Courage and correspond to appropriate
Concentration There are other such as sport, confidence different “The Cloud and emotions?
several dance or music. schools such the Raindrop”.
Focus techniques that Sensitivity as the
can aid the Stanislavsky “The Mirror”.
Following actors in doing Humility derived
Directions this. method of “Who am I?”

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.6 organic “The laughing Can students

performance acting of the Policeman”. sustain facial
Techniques Strasburg and body
(Mins Hrs) derived (See preparing a expressions
(Cont’d) Method. Dramatic from the
production beginning to
Mohamed, 2001). the end of the
performance?

Are students
able to create
a convincing
and believable
character?

Can students
command,
control and
use space
appropriately
during their
performance?

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.7 Able to Awareness that Understand that Demonstrate Stage Teacher and Can students Language Arts
Stage Lighting brainstorm, Stage Lighting Lighting provides appreciation Lighting has students compare the Oral discussion
discuss, write creates mood, visibility. for the a quality all brainstorm the Stage Lighting and Written
and explain focus and function and its own in topic “Functions of at the National Expression.
the function of special effects. Establish time and early forms of creating Lighting”. Cultural
Stage Lighting place. Lighting. mood, focus Centre with Social Studies
in a classroom It is also used and special Teacher and what was Having a
production. for visibility to Lighting assist in A positive effects. students have an used long resource
see performers creating mood and feeling oral discussion. ago? person come in
faces as well as visual towards The chief and give a
their actions on compositions. Drama. function of Teacher writes lecture.
stage. Lighting is for ideas from
Lighting provides a Spirit of illumination discussion on
rhythm of visual co-ooperat- and visibility. chalkboard.
movement. ivism. We need
Lighting to Teacher
Lighting reinforces The ability to see the reinforces what
the style of the comprehend performers was done by
production. what is being faces and involving a
said. their actions resource person
on stage. from the National
Cultural Centre
who can explain
more about
Lighting to
students.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.7 Other
Stage Lighting Functions of
(cont’d) Stage
Lighting are
to:
1. provide
visibility.

2. establish
time and
place.

3. assist in
creating the
mood.

4. reinforce,
the style of
the
production.

5. provide a
focus on
stage and
create visual
competitions.

6. establish a
rhythm of
visual
movement.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.8 Able to Awareness that Understand that for Demonstrate There are Teacher Can students Language
Stage Sound question, the types of professional self several types questions -identify the Arts
discuss, equipment used productions all the confidence. of sound students about instruments Discussion on
research and for sound non live sound reproduction sound and what that produce Sound
document on reproduction effects are Appreciation and these instruments sound? Reproduction.
sound are records, recorded on for certain are: produce sound.
reproduction. tape recorders magnetic tape and elements of 1. Records, -name the Science
and compact played back on Drama. tape In tells students instruments Sound
disks. tape recorder. recorders and that there are that produce Equipment
The ability to compact three main sound sound?
Through the share ideas disks. reproduction Art & Craft
refinement, about Sound. systems in theater Compilation of
cassette players In and names them. Big Book on
and home tape Co-opera- professional Uses of Sound.
recorders, schools tivism and productions, Teacher displays
can benefit from positive all the non the equipment.
new electronic attitudes. live sound
techniques. effects are Students form
recorded on three groups and
Tapes are magnetic each group is
produced by sound tape and given the task of
engineers. played back identifying a
on tape sound equipment
recorders. and they
brainstorm the
uses of the
equipment
chosen.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.8 These tapes Students visit the Do students

Stage are created in National Cultural have the
Sound(cont’d) professional Centre to see the practical
sound studies Sound room and experience in
by sound how Sound producing
engineers. Reproduction is some of these
done for a elements?
Some shows production.
require two or
more tape The Group Leader
recorders. from each group
reports.
The
refinement of A Big Book is then
cassette produced by all
players and students on the
home tape uses of each
recorders has sound
allowed many reproduction
small theater equipment.
groups
especially at
schools to
take
advantage of
the new
electronic
techniques.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.8 Small groups

Stage Sound (as well as
(cont’d) large ones)
often can get
excellent
sound effects
on records
that are either
bought singly
or found in a
sound –cue
library.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.9 Able to Awareness that Understanding that Demonstrate In a Teacher and Can students Language
Safety in discuss, for a school students must be leadership production at students discuss act out a Arts
Theatre Arts brainstorm, production there supervised at all qualities. school certain and brainstorm robbery scene Oral discussion
document and must be safety times. safety other important and say why and written
report on the measures in Co-opera- measures elements of a they have to expression.
responsibilities place. Props should be tivism and should also school production. use safety
of the various imitations of real positive be put in measures? Health
teams in a objects. group place. Teacher groups Education
Production. attitudes. students for a 45- Safety
No jewellery should Students 60 min one act measures in
be worn. Use of should not be play. the Theatre
initiative. allowed with Arts.
Rehearsals should props or Students are
be done at least equipment grouped
thrice on the unless they accordingly
designated area. are under - The Production
supervision. team.
No innovations - Stage
should be done at Props that will Management
the rehearsals. be used on Team
Stage should - Lighting Team
be imitations - Sound Team
of real
objects e.g. Each group will
knives, document and
cutlasses, report on the
guns, safety measures
explosives that should be put
etc. in place for a
Production.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.9 Safety in Actors should Do students

Theater Arts not wear or know the
(cont’d) use reason why
equipment unnecessary
which are equipment
unnecessary should not be
in the used in a
production production?
e.g. wrist
watches, Can students
rings, act out a
earrings, scene
bangles, showing the
spectacles effects of not
etc. having a
rehearsal
-Rehearsals before the
should be performance?
done at least
three times
on the acting
area before
the
performance.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF

SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.9 Safety in Actors must

Theater Arts be familiar
(cont’d) with the
position of
doors,
windows,
screws, locks,
floor space,
wall,
entrances
exits.

Nothing new
should be
done on
stage apart
from what
was
rehearsed.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.10 (1) Being able - Of how a - A sense of - That the 1. Make-up Large group Can students: Art
Make-up Artist to apply make- make-up artist appreciation. make-up enhances the discussion and -work in
up to an actor can transform a artist has a character and demonstration on groups to Language Arts
to transform person to a technical job completes the content. make-up
him/her into particular because the costume. characters as
the character character. he/she can is set out by
that is required ensure the 2.That make- the teacher?
in the script. - That there are type of up artist For example,
basically two character that helps to bring a person who
types of make- is required is out the age, has to have
up. given through character, thick lips or a
make-up. social wide mouth,
standing, etc.
- That much health, and
thought goes personality of -differentiate
into this type a character. the various
of prepara- forms of
tion. 3. Makeup is character?
classified as
straight and
character.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.10 (a) Straight

Make-up make-up
Artist(cont’d) highlights an
actor’s
normal
features and
colouring for
distinctness
and visibility.

(b) Character
make-up
transforms
the actors’
features to
reveal age
and attitude.

(3) The
make-up
artist uses
nose,
wrinkles,
eyelashes,
teeth, hair,
beard and
other things
to change the
actors’
appearance.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.11 Being aware Being able to Bringing out a sense (1) That Costume Large group Can students Language Arts
Costume of: acquire the of responsibility: costume Includes: discussion and work in groups History
Designer (1) How you knowledge that: designers demonstration on to design for a Art
go about Matching costume play an (1) The the content. particular Social Studies.
costume - costume with important part characters’ character?
designing. designing is not character/scene/play. in any garments and For example
a simple job. production. accessories (1) an old man
(2) Fitting the (cane, (2) a beggar
character with - costuming (2) That jewelery, (3) a rich
the type of enhances ones costume handkerchief, woman, etc?
scene/play. character. designers etc).
help to bring Do the
(3) Bringing - costume out the nature (2) Items students know
out the enhances the of characters. relating to the duties and
character type of hair dressing functions of
through his/her scene/play. and the Costume
costume. everything Designer?
associated
with face and
body make-
up including
masks.

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TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.11 (3) The

Costume costume
Designer designer
(cont’d) ensures that
the
characters’
costumes
bring out their
nature, mood
and style of
the play.

(4) The
costume
designer
makes certain
that the social
status, age,
era, weather,
geography
and even
occupation is
brought out in
the costume
of the
character.

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DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.11 (5) The

Costume costume
Designer designer
(cont’d) submits
sketches of
costumes to
the director.

(6) The
designer also
takes the
budget into
consideration.

(7) The
costume
designer
ensures that
all garments
are sewn and
fitted long
before
production.

55
DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.12 (1) Being able (1) How a The Production A sense of The Large group Can students English
Production to manage so Production Manager is dedication Production discussion on the identify the Literature,
Manager many Manager responsible to the and also Manager is content. responsibilities Literacy
groups/persons operates. Producer. appreciation. responsible of the
at a time. for: Production
(2) Who the 1. The Stage Manager?
(2) Have a Production Manager.
balance Manager is Are students
between/among responsible for. 2. The able to work
the groups. Assistant independently
Stage and in small
Manager. groups,
improve
3. The Prop listening and
Master. sharing skills
and growing
4. The increasingly
Wardrobe confident in
Supervisor. their
expressive
5. The Make- abilities?
up Artist.

6. The Master
Electrician

56
DRAMA CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:2.12 7.The Sound

Production Engineer
Manager
(cont’d) 8. The Box
Office
Manager.

9. The
Technical
Director

10. The
Dramaturg

57
9:3 MUSIC CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:3:1 Major - construct, -tonal The Major scales An Construction Written exercise; Can students: Language Arts
scales with sing, write, relationships listed are appreciation of the after performance, -play the
more than one play or can be altered constructed using for music in reviewing the singing, creating scales on their Art
flat perform in the with the use of sharps and flats to the major use of the in any of the given particular
( ) or sharp scales of Bb, #s and maintain the tonal tonality. accidentals keys. instruments?
(#) Eb , A and D relationships of (#, ) and the
- Semitones are TTSTTTS tonal -play a melody
- create made into relationship in any of the
melodies in wholetones by of pitches in keys?
any of these using sharps (#) the
keys tetrachords. -create a
- Wholetones melody in any
are made into of the keys?
semitones by
using flats ( )
9:3:2 Chords - construct Chords – I, IV, Two or more notes An interest in Chords are Written exercises; - harmonize a Maths –sets
chords in the V, ii, vi --- add can be played and derives added to performance and melody?
scales done harmony. simultaneously. pleasure from previously singing. Language Arts
up to this harmonizing done - construct the
point. melodies selections. chords?
using these
- sing the chords. -sing pitches
triads of I, IV, of the chords?
V.

59
MUSIC CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:3:3 Rhythms - identify, write - the subdivision -rhythms can be An interest in Identify the -Student Can students: Maths
and play of a beat results subdivided or and derives appropriate performance. -perform given
syncopated in short sounds extended to create pleasure from rhythms in rhythms
and sub- (e.g. ) more complex singing/playing songs, such -Create short against the
divided patterns. simple or folk as folk. passages using at steady beat?
rhythmic - the extension songs that use least two new
patterns. of a beat results -the steady beat is these rhythms rhythms. -sing, play or
in long sounds very important – against the write it after
- perform (e.g. ) when performing steady beat. listening to a
complex rhythms. simple rhyhm?
rhythms. -rhythms can
occur ‘off the
beat’.
9:3:4 The - construct and - relative minor Minor scales are An Play and sing Performance, Can students: Language
Minor Scales play the ‘a’ scales may be constructed by appreciation in the ‘a’ singing, writing -construct and Arts
minor scale in constructed (a) referring to the for music in a minor scale. the scales. play the
all 3 forms – starting from the relative major different scale? Art
natural, 6th pitch of the tonality.
harmonic, major scale. (b) using the tonal -listen to tunes
melodic. (e.g. the relative relationships to determine
minor of ‘c’ **natural-t, s,t,t,s,t,t, the main
major is ‘a’ difference
minor, ‘a’ is the **harmonic between the
6th note of ‘c’ t, s, t, t, s, ts,s Major and the
major scale) Minor tonality?
t = tone
s = semi tone
ts = tone +
semitone

60
MUSIC CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:3:4 The - identify the -the scales can (b) using the tonal an Play and sing Performance, Can students: Language
Minor Scales tonal be constructed relationships appreciation in the ‘a’ singing, writing -construct and Arts
(cont’d) relationship of using a specific **melodic – for music in a minor scale. the scales. play the
the 3 forms of pattern of t,s,t,t,t,t,s (when different scale? Art
the minor. wholetones and descending, play tonality.
semitones. the natural minor) -listen to tunes
to determine
the main
difference
between the
Major and the
Minor tonality?
9:3:5 Recognize, Different - the bottom -an - the is Discussion; Can students: Maths
Compound play, count in numbers (from number of the time appreciation now used as listening (e.g. -perform
metre compound say, can be signature can for a wider the pulse. Latin music) and simple Social Studies
metre. used to denote change thus range of piano score. rhythms in
the times changing the pulse. music and - common Analysis; playing compound
signature. rhythmic groupings of an instrument. metre?
- the value of notes values. rhythms will
change according be performed
to the time (e.g. )
signature.

61
MUSIC CURRICULUM
TOPIC LEARNING OBJECTIVES CONTENT METHODS/ EVALUATION AREA(S) OF
SKILLS KNOWLEDGE UNDERSTANDING ATTITUDE STRATEGIES INTEGRATION

9:3:6 Calypso - describe the Calypso is a Calypso is a An enjoyment - History of Listening and Can students: History
Calypso form folk form that is composed folk form of various the calypso- analyzing; create compose a
-sing/perform composed and that arises from the styles of from West short phrases calypso? Social Studies
examples of performed people. music African griot
known mainly as a (storyteller) to Geography
Calypsoes means of social Caribbean
-identify local commentary social Language
and commentator Arts
international - identify the
artistes various types of - performing
-trace the Calypsoes. traditions.
origin and
development
of the art form
in the
Caribbean.
9:3:7 Musical - recognize - great - music has An The classical Group Can students: History
Era music from composers are developed and appreciation Era. assignments; -describe the
different associated with changed over a for various comparisons of main musical Social Studies
periods in time the Classical period of time. styles of composers then developments
Era music. and now. of the Geography
-identify and Classical Era?
list the main Language
composers of -identify and Arts
the Era. list the main
composers of
- describe the the Era?
main musical
developments
of the
Classical Era.

62