2.

WELCOME

Welcome to the module Introduction to Creative Arts. We hope that our journey through
this module
will be an exciting one and that it will inspire you to become the kind of Arts
teacher schools need. We hope this module will make you an inspiration to both other
teachers and your learners in the classroom.

After you complete this module, you will know the importance of Arts (Visual as well as
Performing) teachers putting their knowledge into practice. Usually the Arts are linked to
aesthetics. Aesthetics encompasses a wide spectrum of human experience, such as a sensual
enjoyment of form, and the human need to respond to and create beauty.

Be adventurous and creative and start to think out of the box. I have designed this module
to inspire and equip you to meet the challenges you will face in the unique Arts
classroom. Do not see this module in isolation from other modules in this program and
complete all the activities.

Think about how you would encounter and teach these aspects in the arts at school one
day.
The Arts can be broadly classified as the Visual Arts and Performing Arts (Music, Dance,
Drama). For this section DRAMA was chosen to illustrate the performing arts aspect of
the arts.

The Performing Arts are those Art forms that involve any form of movement and
performance. In contrast, the Visual Arts (e.g. sculpture, painting and graphic art) are static
art forms that are confined to a certain place at a certain time.

3. WHAT DO WE EXPECT FROM YOU AT THE END OF THIS LEARNING EXPERIENCE?

3.1 Purpose

The purpose of this module is to help you to gain an understanding of the role of the
teacher as an Arts learning program developer in such a way that you can apply your
theoretical knowledge in practice, therefore it is a practical course. You should be able to
apply effective teaching strategies to successfully teach the Arts with an awareness of the
needs of learners in a multilingual, multicultural classroom.

You should be able to critically consider what is done in the classroom, develop your
potential and grow in all the fields of the Arts. With the aid of this study material, this
course also strives to guide you in
your intellectual, scientific and professional development.

According to the Curriculum and Assessment Policy Statement (CAPS) (2012), the intention
of the subject Creative Arts is to

 develop creative individuals and teams

 provide learners with exposure to Dance, Drama, Music and Visual Arts
 identify and develop artistic talent
 develop an awareness of arts across the various diverse cultures
 expose learners to the range of careers in the Arts
 develop arts literacy and appreciation
 develop future audiences and consumers
 develop life skills through the Arts

3.2 Outcomes

The course content should enable you to

 Understand the nature of Creative Arts development as a body of knowledge and

as a process of discovering knowledge
 facilitate Creative Arts literacy among Intermediate and Senior Phase learners
within the context of contemporary society and economy
 be an effective Creative Arts teacher in the Intermediate Phase
 be able to use different teaching strategies
 understand critical issues in assessment in arts and culture teaching
 plan and present a lesson on your own
 use CAPS as an integral part of the prescribed arts curriculum
 explain the basic aesthetic literacy

3.3 The approach to teaching and learning in this module

You will be studying independently most of the time. Therefore, the tutorial letters are there
to guide you through the learning material, help you to master the outcomes and,
ultimately, prepare you for the formal assessments that follow.

Since this is a blended module, you should become familiar with the following myUnisa
tools:

Learning units: I divided the study material for this module into five topics and each topic
comprises a learning unit.
As you work through each learning unit, it is essential to determine whether you understand
the ideas presented in it.

You can test your understanding in several simple ways:

This module is structured into three learning units of work dealing with various chapters in
the guide as well as the different aspects of creativity according to CAPS.

Learning Unit 1: Introduction to Creative Arts Teaching

Learning Unit 2: Visual Art Education

Learning Unit 3: Performing Arts – Drama

Each learning unit in this guide provides specific learning outcomes as well as activities to
be done throughout the unit. In addition, use the terminology included at the end of each
unit.

This guide uses a variety of teaching techniques that include dialogues, scenarios, case
studies, debates and mind maps to make you think. It also gives structure to the teaching in
this module. It is written in an inductive manner, which means that you will arrive at the
answers yourself.

Complete the assignments on the ICA1501 Module site and send them in for marking
purposes. Adhere to the prescriptions for upload and format please.

This guide is written in the form of a conversation, and as with all good conversations, the
guide works best if you participate; in fact, your work is the most important part of the
guide. Another very important requirement of our conversation about the content of this
module is that you reflect on and understand what you read. It is important to know that
understanding (as opposed to rote learning) develops in layers. Think how we get to know
things in the world. When we are first introduced to an idea, it seems strange and confusing.
It is only once we think, talk, read and write about things on a regular basis that their full
importance becomes clear to us.
If you neglect to do the activities, you will skip a major part of the learning experience,
which is to practice your own understanding of particular concepts.

A vital learning skill is the ability to plot your own progress. This is only possible if you keep
a record of your understanding throughout the module. You may then return to
the earlier work and see how your understanding has changed.
Your guide is thus a very important part of your learning strategy. It will become a record
of how your thinking has evolved.

5. CLOSING REMARK

We hope that you will enjoy your online studies and that you will share our
enthusiasm for the arts once you have finished this module.

We trust that you will enjoy and do well in your studies. If you experience any problems with
your studies, you are welcome to contact us.

6. ICONS USED IN THIS STUDY GUIDE

7.1 Introduction to Creative Arts teaching

Reminder

The Arts consist of

 Visual Arts (art) and

 Performing Arts (Drama, Music, Dance)
In Learning Unit 1, you will read that a teacher needs to

 understand the influence of different approaches to the Arts

 interpret the CAPS curricula pertaining to the Arts

In Learning Unit 7, you will read that a teacher needs to

 choose appropriate teaching strategies for the different forms of Art

 interpret and apply the curriculum
 be able to comprehend the learning about the practical aspects of the Arts

8. TEACHING CREATIVE ARTS ACCORDING TO CAPS

8.1 What is CAPS?

The National Curriculum Statement Grades R–12 (NCS) stipulates policy on curriculum and
assessment in the schooling sector.

To improve implementation, the NCS was amended, and the amendments came into effect
in January 2012. A single comprehensive Curriculum and Assessment Policy Statement
(CAPS) document was developed for each subject to replace subject statements, learning
program guidelines and subject assessment guidelines in Grades R to 12.

8.1.1 Planning and developing visual expression through a practical Creative Arts
situation

Visual expression refers to the learners being able to express themselves freely. Visual
creativity is thought to consist of the following elements: originality, sensitivity, spontaneity
and creativity. Furthermore, visual expression should be unrestricted and,
although it may not be of aesthetic value to the observer, it should be of pleasurable
value to the learner.

It is worth saying that even though you may not be good in the Arts, it should not stop you
from becoming an excellent Arts teacher.

8.2 What is the subject Life Skills?

The subject for teaching Arts in the Intermediate Phase is called Life Skills, and it comprises
Creative Arts, Physical Education and personal and social wellbeing.

Life skills deals with the holistic development of the learner throughout childhood. It equips
learners with knowledge, skills and values that assist them in achieving their full physical,
intellectual, personal, emotional and social potential. The subject encourages learners to
acquire and practice life skills that will assist them in becoming independent and effective in
responding to life’s challenges and to play an active and responsible role in society. The
subject aims to develop learners through three different, but interrelated study areas,
namely personal and social wellbeing, physical education and Creative Arts.

8.3 Time allocation for the Arts in the Intermediary Phase

The instructional time in the Intermediate Phase is as follows:

SUBJECT HOURS
Home Language 6
First Additional Language 5
Mathematics 6
Natural Sciences and Technology 3,5
Social Sciences 3
Life Skills 4
 Creative Arts (1,5)

 Physical Education (1)

 Personal and Social Wellbeing (1,5)

TOTAL 27,5

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The national curriculum is the main guideline that supports and directs the teacher in
teaching Creative Arts. It recommends teaching methods according to learning styles.
. CREATIVE ARTS

Creative Arts is the expression or application of human creative skill and imagination,
typically in a visual form, producing works to be appreciated primarily for their beauty or
emotional power.

Creative arts provides exposure to and study of a range of Art forms, including Dance,
Drama, Music and Visual Arts. The purpose of Creative Arts is to develop learners as
creative, imaginative individuals, with an appreciation of the arts. It also provides basic
knowledge and skills for participating in creative activities. A safe and supportive
environment is created for learners to explore, experience and express thoughts, ideas and
concepts within an atmosphere of openness and acceptance.

Creative Arts provides opportunities for learners to give expression to their feelings and
understandings, individually and in collaboration with others. It creates a foundation for
balanced creative, cognitive, emotional and social development. Creative Arts education,
when successfully applied, has been proven to improve literacy and to reduce education
dropout levels. By the end of the Intermediate Phase Creative Arts education, learners
should have a basic knowledge and appreciation of all four Art forms, and should be able to
make an informed choice about the two art forms they would like to focus on during the
Senior Phase.

Creative arts will be studied in the following two parallel and complementary streams:

 Visual Arts
 Performing Arts (Dance, Drama, Music)

For learners, the creative arts are activities that engage a child’s imagination and can include
activities such as Art, Dance, Drama and Music. Creative Arts education provides guidelines
on how to teach Dance, Drama, Visual Arts and Music in a more lively, active and
practical manner to allow each child to reach their full potential in the Arts.

Being creative means solving a problem in a new way; it means changing your perspective.
It means breaking with routine and doing something different for the sake of doing
something different.
10. ARTS EDUCATION

10.1 Visual Arts

Visual Arts provides the learner with an opportunity to discover through play, while building
on the skills and techniques that were mastered in the Foundation Phase. Visual Arts
encourages knowledge and an understanding of Art Elements and Design Principles found
in the natural and the built environment, and enriches the learner’s personal experience of
the world. Opportunities are provided for social, emotional and intellectual development.
Through non-verbal expression and the process of creating art, the learner comes to
understand symbolic language. Visual Arts in the Intermediate Phase provides the learner
with the opportunity to explore, and to make decisions about the choice of this discipline in
the Senior Phase.

The visual Arts include Art forms such as ceramics, drawing, painting, sculpture, printmaking,
design, crafts, photography, video, filmmaking and architecture. Many artistic disciplines
(Performing Arts, conceptual art and textile arts) involve aspects of the Visual Arts as well
as other types of Art.

The three topics according to CAPS for Visual Arts are

 Visual literacy
 Create in 2D
 Create in 3D

10.2 Performing Arts

While performing arts recognises that integration is fundamental, it also notes the need for
learning skills separately in Dance, Drama and Music. There are many complementary and
overlapping areas of practice in these Art forms and the focus is on the inclusive nature of
the Arts. Since the nature of integrated arts practice is such that it may be difficult to
develop specialised skills in the classroom within the allocated time, it is suggested that
learners wanting to specialise in a particular musical instrument or in a particular dance
form, take extra-mural classes for this purpose.

The four topics according to CAPS for Performing Arts are as follows:

 Warm up and play – preparing the body and voice, and using games as tools for
learning skills
 Improvise and create – using arts’ skills spontaneously to demonstrate learning,
individually and collaboratively
 Read, interpret and perform – learning the language of the Art form, and interpreting
and performing artistic products in the classroom
  Appreciate and reflect – demonstrating understanding and appreciation of own and
others’ artistic processes and/or products

The focus of the learning should be on the development of skills through enjoyable,
experiential processes, rather than on working towards highly polished products in each
term. Classroom performances of short examples of learning should take place in a non-
threatening environment, where the contribution of each learner is valued and
acknowledged.

Formative assessment should be continuous and integrated into the program of learning
through ongoing feedback to learners.

11. THE ROLE OF CREATIVITY IN ART

The role of creativity in art is so people are best able to express their creative emotions as
well as the use of imagination or original ideas to create something. It also includes the
ability to use skill and imagination to produce something new or to produce art.

The basic elements of the concept of creativity include intelligence, intensive interest,
knowledge, originality (ideas), creative instinct, non-conformity, courage and persistence.
Creativity is related to curiosity.

Part conscious and part unconscious thought, the creative process can be broken down into
five key stages, namely preparation, incubation, illumination, verification and
implementation.

 Preparation. Examining the problem, where your brain is gathering information.

After all, creative ideas do not come from a vacuum.
 Incubation. Time needed to think of possible solutions you let your mind wander
and stretch your ideas.
 Illumination. By examining the problem and defining the limitations, you make
connections between ideas.
 Evaluation/verification: Putting pieces together and verifying solutions. Creative
ideas need to be polished by critical thinking in order to persuasively reach their
audience.
 Implementation: When you are actually creating a piece of work.
This provides an indication of WHY a teacher needs to know “creativity” through
understanding a Creative Arts situation, as well as the different forms of Creative Arts for
effectively teaching this subject.

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 Define the word “Creative Arts” and write this down in the column on the left.
 Define the word “Creativity” and write this down in the column on the right.

You will notice that the first paragraph describes the meaning of the word “Creative
Arts” and that the following paragraphs describe the word “Creativity”.

Now in your own words describe the difference between these two concepts.

13. CHARACTERISTICS OF A COMPETENT CREATIVE ARTS TEACHER

The Arts teacher will be responsible for developing in each student an interest in, and the
ability for, creative expression in visual terms, using skills and techniques of artistic
expression consistent with school guidelines; to develop aesthetic understandings and
appreciations; and to discover and develop the talents of each learner.
It takes a special person to be a great arts teacher. To inspire not just a great learner, but a
great person, a teacher must rise above the crowd and make a lasting impression.

Which characteristics make a great teacher?

 Empathy. A great Arts teacher is sensitive to the learners’ needs. An Arts teacher is
patient, understanding and available to talk to. When faced with the task of planning
their future, learners looks for a teacher to provide insight and wisdom.
 Curriculum developer. An arts teacher must be able to implement curriculum
policies when teaching and doing assessment. The teacher must also be able to plan
and organise the chosen content into proper aims and objectives.
 Specialist in teaching and learning. The Arts teacher should be able to examine
and change instructional practices in order to improve learner participation.
 Enthusiasm. Learners reflect what a teacher projects. To excite and inspire a learner
require excitement and a passion for the material itself. Enthusiasm is contagious. All
it takes for a learner to get excited about going to class is a teacher who is excited
and whose positive energy fills the classroom.
 Creativity. Creativity is key to captivating a learner. Showing a learner something
they have not seen before or even showing them something familiar but in a new
way is the surest way to leave an impression that lasts for years.
 Dedication. A great Arts teacher must be dedicated to their learners, with an
unwavering commitment to their education and wellbeing. A dedicated teacher
continuously tries to reach each of their learners, and exercise the patience needed
to
 ensure that disinterested learners want to participate in the arts. This requires being
flexible and adapting to each learner. A great teacher never gives up.
 Discipline. It is important to establish trust and communication with learners
through structure and organisation in the arts classroom. Having fair expectations of
learners ensures they learn how to prioritise, manage their time and listen attentively.
A great teacher imposes rules and makes demands of learners, but in a way that is
not intimidating. Having structure in the arts classroom does not have to include
being overly strict; over time learners appreciate the value of discipline.
 Specialist in a particular subject or phase. The Arts teacher must be well trained
and knowledgeable in the content, skills and values that are applicable to a specific
grade, phase or subject. In this instance, the Arts in the Intermediary Phase.
 Assessment specialist. The arts teacher must be competent in assessing and
recording the outcomes of learning activities, as well as in providing learners with
detailed feedback and constructive comments on assessed activities.

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14. CONCLUSION

In this learning unit you learned more about the CAPS document and what it requires of you as a
prospective arts teacher. You also learned about the Arts and the characteristics required of you
to provide excellent arts teaching. This knowledge will assist you in preparing lessons in the arts
to accommodate all your learners.
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15. TERMINOLOGY

Start with your terminology list at the back of your book and find explanations for terms. The
following units will also have this part so it will be in your interest to start this list now.

16. ENRICHMENT
If you have access to the internet, you could consider visiting the following websites. It
is NOT compulsory, but these websites all contain interesting information and teachings about
this learning unit.

You can use the following links to learn more about the topics discussed in chapter/ Unit 1:

YouTube:
Play Video

The secret sauce of creativity

Play Video

African creativity
Play Video

The secret to creativity

Play Video

How to use creativity in the classroom

Play Video

Can creativity be taught?

Dear Students,

In this Discussion Forum: Please ask any questions you have on LEARNING UNIT
1: Introduction to Creative Arts

I will be answering your question posted here in the DISCUSSION FORUM in our
Teams meeting session on Monday, 15 May 2023 @ 3pm

Please start posting - this Discussion Forum closes on Monday, 15 May 2023 @ 8am.

Find the PPP presentation link on the Summary of Aims and Outcomes for Learning Unit 1. If
in doubt, go back to your learning content material on the site. Click on the hyper link
above.

Watch the PPP presentation on Lesson - Mind Map, Activity 1.6 Advantages of Creative Arts
teaching by clicking the hyper-link.

Regards

Dr Van Deventer

Lectu17.1 Visual Arts Education

Please take note that you are required to study all the sections of Learning Unit 2 to
achieve the learning outcomes of this learning unit.

18. INTRODUCTION

It is argued that Art Education not only has personal, cognitive and developmental value,
but also fosters cross-cultural appreciation and awareness. Art is a form of self-expression
which learners can indulge in anywhere any place. The following unit is about this self-
expression and how to teach it adequately.

19. THE RATIONALE FOR ART EDUCATION

People of the 21st century need to know how to put art characteristics such as creativity to
work for them.

“Quality Art Education creates individuals who have a heightened awareness of the
uniqueness of perceptions, the capacity to make connections with others who hold beliefs
different from their own, and the capacity for empathy and imagination.”

(Odendaal & de Jager 2017:29)

20. THE RATIONALE FOR TEACHING ART

There are very good arguments supporting the rationale for teaching art.

Art Education is central to any rationale for arts teaching. It also addresses aspects such as
what Visual Arst is, quality art education and an art philosophy as well as the aim/value

and purpose of Art teaching. These aspects have a big impact and influence on the rationale
of teaching Art.

The rationale also conveys meaning and knowledge about the world through 2D, 3D
drawings and sculptures as well as architecture, which are different from the written word.
Self-expression, imagination, creative and collaborative problem-solving are all important
aspects in the rationale for teaching Art. The rationale for art education emphasises that
“…we form new patterns of perception that enable us to see the world with fresh insight”
(Odendaal & de Jager 2017:29).

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21. ART EDUCATION

Good Art teaching depends on the abilities of those who teach it. At the classroom level this
refers to both teachers and parents. The following are some suggestions to help beginner
Art teachers:

Art Education is the process of learning about different types of artistic expression, including
different media and formats for artwork and different movements and styles
throughout art history. It is commonly taught to learners of many age ranges and
can be a focus of learning during tertiary education such as at a college or university.

Art education, at present, tends to emphasise the production of an art product rather than
the development of artistic attitudes. It is rather the process (how to make art) in the
teaching of art to learners that is important and not the products themselves. This process
includes feeling, thinking and perceiving in an artistic manner.

Thus, teaching art should include practical understanding of the subject, such as how to use
different tools to create artwork, or an understanding of how to appreciate artwork. Art
education will usually focus on basic types of artistic creation, such as drawing, painting and
sculpture. Art Education can be seen as the holistic instruction of children as part of their
general education.

According to Hwang Lynch (n.d.), the following are some of the many developmental
benefits of Art Education:
  Fine motor skills. These are improved through the motions involved in making art,
such as holding a paintbrush or scribbling with a crayon.
 Language. Children learn new words for colours, shapes and actions and extend
their vocabulary as they describe and explain their artworks to friends or talk about
what feelings were elicited when creating them.
 Decision-making. Problem-solving and critical-thinking skills are developed in the
course of making decisions and choices in the creation of art.
 Visual learning. Drawing, sculpting with clay and threading beads on a string
develop visual-spatial skills, which are now more important than ever because of
modern technology. Before they can read, children are taking in visual information
and know how to operate a smartphone or tablet. This visual information consists of
cues that we get from pictures or three-dimensional objects from digital media,
books and television.
 Interpret, criticise and use visual information. Learners need to develop and use
these skills to make choices in their artistic creations.
 Inventiveness. When children are encouraged to express themselves and take risks in
creating art, they develop a sense of innovation that will be important in their adult
lives.
 Cultural awareness. The images of different groups (race or gender) in the media
encourage mindfulness of various cultures in society.

Westraad (2014) expands on these by adding the following:

 Cognitive development (intellect, thinking and reasoning)

 Perceptual development (attention to detail)
 Emotional and spiritual development (volition and desire)
 Aesthetic development (recognising and appreciating beauty, but also
acknowledging differences in taste and style, and accepting individuality)
 Social development (ties up with language development, where spontaneous
interaction between learners is encouraged in an Art experience)
 Lifestyle development (individuality and uniqueness; also pertains to healthy,
critical consumer behaviour, productivity and good working habits)

The importance of Art in education.

With the knowledge that you already have, describe in your own words why teaching art is
important at school.
Nkosi: “These were great reasons (to study art), but I worry that sometimes the conversation
around art gets shifted to looking for the external benefits of art (e.g. art helps kids to do
better academically). While it is true that art has many developmental benefits, there is
something to say about doing art for art’s sake. I think that opening our children’s eyes to a
new, exciting world found in art is reason enough to do art.”

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Respond to below comment, defending whatever point of view you take.

Substantiate your answer by using a few academically sound sources of your own.
22. ELEMENTS AND PRINCIPLES OF ART

A work of art consists of many aspects, which become clear when we analyse it. These
aspects include the elements of art and the principles of art.

22.1 Elements of Art

The Elements of art include the colour, line, shape, space and texture that make up an
artwork.

22.1.1 Colour

Here we primarily focus on the colour wheel, where colours have different names.

Primary colours are red, blue and yellow.

Secondary colours are created when you mix the primary colours with each other:

 red + blue = purple

 red + yellow = orange
  blue + yellow = green

Intermediate colours are a mixture of the secondary colours with the primary colours and
include the following six:

 red-orange
 yellow-orange
 yellow-green
 blue-green
 blue-purple
 red-purple

Complementary colours are colours opposite each other on the colour wheel, and include
the following:

 red-green
 purple-yellow
 blue-orange

Interestingly enough, white and black are not considered colours.

Monochromatic combinations refer to the different values of a single hue. The physical
properties of colour are hue, value and intensity:

 Hue refers to the pure colour and simply means the name we give to a colour,
for example yellow and blue.
 Value or tone refers to the lightness (tint) or darkness (shade) of the colour; the
purity of the colour.
 Intensity or saturation value will show the surface texture of the object. Tonal
values can also be used to create emotions or feelings. The second property is
intensity, which refers to the vividness of the colour. A colour’s intensity is sometimes
referred to as its colourfulness, saturation, purity or strength.

Colour may also be used to create moods or feelings. We refer to

 cool colours (e.g. blue and green)

 warm colours (i.e. the reds and oranges). Warm colours have the tendency to
appear as if they are moving towards us from the picture plane, while cool colours
appear to be receding from us.

22.1.2 Line
Lines and curves are marks that span a distance between two points. A line has a width,
direction and length. A line’s width is most times called its “thickness”. The quality of line
can differ, in that it can be thin, thick, light, dark, geometric or organic in character. Line can
also be implied. Expressive, sensitively drawn lines vary in weight, width and emphasis. They
may be delicate, bold, static, flowing, rhythmic, ponderous, hesitant, violent or dynamic.
They are achieved through thoughtful and deliberate action. An object or image is visually
more exciting when delineated by a variety of expressive lines.

Lines can be seen all around in the environment; in human-made objects as well as in
nature. Nature, especially, provides a limitless source of line variety.

The artist uses line to create shape, describe textures, suggest a sense of depth and
structure, and a sense of volume and roundness. Line can be used as decoration, and even
in an expressive way to create a mood or feeling. Learners should be provided with as many
opportunities as possible to study and express their ideas in lines and patterns in their many
forms.

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21.1.3 Shape (2D) and mass (3D)

Shape refers to a two-dimensional, enclosed area. Shapes can be geometric, such as

squares, circles, triangles and rounded.
Mass is the three-dimensional equivalent of shape. The cube, pyramid and sphere are the
geometric equivalents of the square, triangle and circle. Mass refers to the volume or bulk of
objects in a work of art and space to the areas that surround the mass. The aesthetic effect
of mass is more readily appreciated in architecture and sculpture.

21.1.4 Space

Space includes the background, foreground and middle ground, and refers to the distances
or area(s) around, between and within things.

There are two kinds of space, negative space and positive space:

 Negative space is the area in between, around, through or within an object.

 Positive space is the area that is occupied by an object and/or for

21.1.5 Texture

Texture, another element of art, is used to describe how something feels or looks. Texture is
the degree of roughness or smoothness of the surface. A few examples of the descriptions
of texture include furry, bumpy, smooth, rough, soft and hard. Examples of textures include
surfaces like fur, tweed, wool, cotton wool, a sheet of glass and cement. There are many
forms of texture; the two main forms are actual and visual.

Every surface has texture, and we feel sensual pleasure when touching texture. Texture
appeals to people because it is both aesthetically pleasing (beautiful) and feels different to
the touch. Both these reasons are important when experiencing texture.

Visual texture is strictly two-dimensional.

Actual texture (tactile texture) is not only visible, but can be felt. It rises above the surface
transitioning it from two-dimensional to three-dimensional.

22.2 The Principles of Art

When artists arrange the art elements in the creation of a visual product, they have to
consider design principles, namely harmony, variety, movement, accent, proportion and
balance.

22.2.1 Harmony

Harmony, or unity, is the way in which an artwork is treated as a single, indivisible whole,
and can be defined as follows:

Harmony is created through rhythm, repetition, proximity (nearness) and similarity. Rhythm
in Visual Arts products is created by the repetition of identical or similar design elements. A
repeated pattern is called a motif and can be a line, a shape, form, texture or colour. The
motif is repeated at regular intervals. This creates harmony and visual order because the eye
moves continuously from motif to motif or from element to element.

If over emphasised, harmony can become monotonous, with the result that the work will
cease to interest the viewer.

22.2.2 Variety

Variety describes the differences in the artwork and can be created through contrast and
emphasis. It is one way of preventing harmony from becoming monotonous. Through
variety one stresses the differences to increase visual interest.

22.2.3 Movement

Movement is used by the artist to direct the eye through the artwork. It shows action. The
artist leads the eye of the viewer towards a focal point in the artwork. Lines, repetition and
the size of objects are important in the movement principle.
22.2.4 Accent

Accent, or emphasis, is the area that dominates the work and which the eye notices
immediately. There are various ways to create emphasis, such as using contrast, more detail
or the placement of an area within the format.

22.2.5 Proportion

Proportion, or scale, is the relative size compared with, for example, the human body.
Proportion is the comparison between the scale, size, position and space of motifs or design
elements.

Proportion can also refer to the relationships among the various parts and the relationship
of the part with the whole within an individual piece.

The golden section was formulated by the Greek mathematicians in the fifth century BC. It is
a mathematical formula by means of which a line or a shape is divided into areas which are
proportionately in perfect relation to one another.

22.2.6 Balance

Balance refers to stability. There are three types of balance, namely symmetrical,
asymmetrical and radial. Balance is also the means an artist uses to organise elements within
an artwork by the careful placement of repeated elements to cause a visual tempo or beat.

Symmetrical balance is when both sides of a piece are equal; that is, they are identical or
almost identical. Symmetrical balance can be established by drawing an imaginary line
through the centre of the work, either horizontally or vertically, and making each half
identical or visually similar. This kind of balance creates a sense of order, stability, rationality,
solemnity and formality. Symmetrical balance is often used in institutional architecture
(government buildings, libraries, colleges and universities) and religious art.
Symmetrical balance may be a mirror image (an exact copy of the other side),
or it may be approximate,
with the two sides having slight variations but being quite similar.

In asymmetrical balance,
the two sides of a composition are not the same but appear to have an equal visual
weight, nonetheless. Negative and positive shapes are unequal and unevenly distributed
throughout the artwork, leading the viewer’s eye through the piece. Asymmetrical balance is
a bit more difficult to achieve than symmetrical balance because each element of art has its
own visual weight relative to the other elements and affects the whole composition. For
example, asymmetrical balance can occur when several smaller items on one side are
balanced by a large item on the other side.

Radial symmetry is a variation of symmetrical balance in which the elements are arranged
equally around a central point, as in the spokes of a wheel or the ripples made in a pond
where a stone is dropped. Thus, radial symmetry has a strong focal point. Radial symmetry is
often seen in nature, as in the petals of a tulip, the seeds of a dandelion, or in certain marine
life, such as jellyfish.

These aspects are often used together in such a way that it says something about a
completed work.

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Example: In one of the bubbles in the Elements of Art, you are going to write “Colour” and
explain more about what aspects it entails, what the difference between primary colours,
secondary colours and Intermediate colours are, what complementary colours are and what
monochromatic colours are. This is only one descriptive bubble (you are not finished with
this bubble yet, you need to add more information to this bubble to make it complete).
Now tackle the next one and then the next on your own.

23. THE REALISTIC STAGE OF ART DEVELOPMENT

From about nine to twelve years old, the realistic stage (pre-adolescent) is present in a
learner’s artistic development. This is the age group that is studied in the Intermediary
Phase.

23.1 General characteristics

Group friendships of the same sex are most common. This is a period of self-awareness to
the point of being extremely self-critical. The attempts at realism need to be looked at from
the child’s point of view. Realism is not meant to be real in the photographic sense, it is
rather an experience with a particular object.

One of the outstanding characteristics of this age is that learners discover that they are
members of society. Peer groups and friends become important. It is during this stage that
the foundations are laid for the ability to work in groups and cooperate in adult life. This is
the age for group friendships and peer groups. We should see this stage as one where
children become more sociable and, as part of this new-found sociability, associate or want
to associate with others of their own age. There is evidence of learning about social
structures in a personal way. This is an essential part of the developmental process and an
important step in social interaction. In addition, the child is provided with opportunities to
become more independent.

With this new social independence, children tend to move away from complete adult
domination. This can be seen in the importance of friendship within a peer group. These
groups are usually of the same sex. The child is less egocentric, thinks more socially and
considers the opinions of others.

As the world around them becomes more important and interests change, the child’s actual
environment becomes a great source of inspiration for art experiences. There is a clash
between the child’s fantasy world and the real world. This can be seen clearly in the art
produced by children from this age group: their fantasy worlds are replaced by “realism” in
the sense that their art production is not a photographic representation but rather an urge
to portray reality. The child seeks a way of portraying the concepts of the world by using
more than just symbols, with the result that the schematic representation is discarded.

More emphasis is placed on detail. There is a greater awareness of the world around them,
which means that the child will not easily omit or exaggerate certain parts of a drawing. In
contrast with the younger child, children of this age group tend to emphasise those parts
that have a strong emotional connotation by detailing them. The younger child, especially a
child who is stimulated visually, will draw detail on clothing, jewellery, hair styles and more.
Overlapping of objects, types of point perspective and use of small to large objects are
evident in this stage. Objects no longer stand on a baseline. Three-dimensional effects are
achieved along with shading and use of subtle colour combinations. Because of an
awareness of lack of ability, drawings often appear less spontaneous than in previous
stages.

Learners are now drawing the human figure, making a very definite effort to distinguish
between females and males in the way they portray clothing and the physical characteristics
that they draw and paint. Learners acquire a feeling for detail even if it is not an exact
portrayal of reality. Learners gain a sense of detail, but often lose their sense of action, and
therefore a greater stiffness can be seen in drawings of the human figure.

Although at this stage children still exaggerate the size of the human figure, studies have
shown that this exaggeration tends to disappear at some time during this stage of
development.

Perspective is another characteristic of this stage. Basic principles of perspective are applied
in landscapes and cityscapes by making objects and people smaller the further away they
are, thus a kind of perspective is applied.

There is an awareness of the space between the baseline and skyline. Light and shadow
(shading techniques) are used to make forms look more solid, cylindrical and realistic, and
different shades and tints of a colour are used.

Part overlapping is also investigated to create an illusion of depth. Approaches when

composing a picture vary quite a bit. Children at the pre-adolescent stage may occasionally
sketch the major directional lines before starting to draw the main figures or shapes, but
tend to use the additive method. They start drawing the main figure, complete it in full
detail, then move on to the next figure or shape, and so on, and then fill in the background
as the last step.

It is up to the teacher to teach learners how to compose a picture and to keep guiding
them, based on the principles of composition, so that they become familiar with and master
concepts such as balance, unity, emphasis and the like.

A strong curiosity and the need to experiment with a variety of tools and materials develop
and the child enjoys becoming involved in more complex processes. As a result, the child
experiments with light and dark colours and with different textures.

23.2 Different approaches to Art

There seems to be three different approaches to art production, with the majority of
learners of this age group roughly falling into one of three groups (although most children
are a combination of all three):

 Visual type. These children respond strongly to visual stimulation and they want to
draw things as they see them. They tend to choose colours based on actual visual
appearance.
 Emotional type. These children want to interpret their emotional experiences, want
to express themselves through art and will choose colours according to their
emotional response to them.
 Constructive type. These children approach their art with logical thought and are
interested in doing design work. The use of colour forms an inherent part of their
development and contrast is important to these types of children. These children are
more interested in the decorative aspect of art, and they therefore enjoy doing
design work using a wide variety of materials and processes.

23.3 Ways of overcoming blocks to creative expression in pre-adolescence

Teachers should give all children the opportunity to be expressive by choosing

suitable themes for the different types of expression, namely the visual, emotional or
decorative kind of art-making. Every child should be encouraged and supported in their
individual artistic expression. Children should be shown that artists have individual styles,
thus encouraging them to accept themselves and other people more readily.

23.4 The pre-adolescent’s tendency to copy

The pre-adolescent stage is also the period when children turn to copying. The need to
copy can be turned to an advantage, but this requires individual attention and analysis. If a
learner were to copy horses, for example, show him or her paintings and drawings where
artists have handled the subject expertly and in different ways and have worked from life.
Create opportunities for sketching trips, drawing from real life. Provide a wide variety of
mixed media which will require differences in approach. In other words, copying should be
dealt with in a creative, rather than a negative, way.

23.5 Development of skill

One can consciously work with the principles of design when working with the pre-
adolescent. The children can learn to analyse their own work, and with the teacher’s
guidance, learners can learn to look at their work objectively. As children need a lot of
support when struggling with a skill, the teacher must be prepared to discuss, give advice
and demonstrate. Undirected and uninformed, the child will be lost. Teachers should
capitalise on the preadolescent’s liking of technical experimentation. At the same time,
children should be made aware that skill is not all, but that the medium, the idea, and the
skill are all interwoven in personal expression. What is important, is that which is uniquely
the child’s own.

The above is mainly the characteristics of learners in this stage of artistic development. It is
important to be aware of these as a teacher so that you are able to teach and value each
learner’s attempt at art making. But a teacher should, while preparing learners for the future,
never forget the present. The curriculum should be suitable for the learner of a particular
age and at a particular stage. This should bring knowledge to everyone that does encounter
a problematic conversation with someone about the importance of art training.

24. CREATIVITY IN ART

Creativity in art ties in with creativity discussed in the first chapter, however, here it is more
applicable to art. Creativity means flexibility of thinking or fluency of ideas, or it may be the
ability to come up with new and novel ideas, or to see things in new relationships, or to
think in ways that are different from other people.

The following characteristics are defined to go hand-in-hand with creativity:

 the ability to express feeling and emotions

 the ability to improvise with commonplace materials
 enjoyment of and ability in visual arts (e.g. drawing, painting and sculpture)
 enjoyment of and ability in creative movement, dance, dramatics, and the like
 expressive speech
 fluency and flexibility in nonverbal media
 enjoyment of and skills in group activities, problem-solving, and the like
 responsiveness to the concrete
 responsiveness to the kinesthetic
 expressiveness of gesture, body language, and the like
 humour
 richness in imagery in informal language
 originality of ideas, problem-solving
 problem-centredness
 emotional responsiveness

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
 25. CREATE IN 2D AND 3D
 Two-dimensional work has no physical depth. Two-dimensional (2D) arts are usually
that which is on a flat surface. In this sense, a movie, photographs and an image on a
computer screen are all truly 2D. Anything physical, like a drawing or painting or a
print, has a minimal amount of depth but for practical purposes, these are
considered to be 2D as well. We can trick our eyes, using light and shade and colour,
to give the impression of depth in a 2D object, but this is just an illusion.
 However, a person can portray three-dimensional (3D) work as 2D. Look at the
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Three-dimensional works have depth and space. In 3D artworks, you add physical
depth to height and width. In many cases this means you can walk around the object
or see it change as you move from one side to the other. In some ways, you may
think of it as being more real rather than a representation, although paintings and
drawings are just as real as objects. So the main difference is the projection into
space.
 26. VISUAL LITERACY AND AESTHETIC AWARENESS
 The term “visual literacy” is described as “visual reading”. Art is a visual language and
people can become visually literate in interpreting works of art. Teachers should
include opportunities for visual literacy in their art classroom, showing learners how
to interpret and to analyse visual impressions. Interpretation and appreciation of
various visual art products (e.g. paintings, cartoons in books and on the computer)
are essential to the value of art education. Visual literacy allows learners to start
analysing works of art.
 Aesthetic awareness is defined as an intellectual or scholarly investigation of specific
works of art; it is a branch of knowledge or learning creating in learners the ability to
judge within a range of forms.
 Studying the history of art in the primary school classroom will enable children to
become aesthetically aware of the great ideas that are recorded in visual forms.
Throughout the ages human beings have left traces of their culture; a legacy that
bears witness to how they enriched and gave meaning to their lives through
expression in art forms. A critical study of these art forms, both past and present,
should enable the learner to read or interpret works of art to gain insight into the
beauty of our surroundings, whether in nature or in our personal lives.
 The teacher can help to unwrap the mystery of the masterpieces and show the
learners how to look at them as a special kind of heritage left by people of that
specific time. This can be done at any level if it is structured for understanding of the
specific age group.
 The subject of art history is so expansive that the teacher must decide what
information is important to a specific class and can be explained in simple and
concise terms. An increasing number of books about art history are being written for
learners. A wide range of art magazines are also available, many of which would be
suitable and appropriate for the primary school classroom.
 Children are fascinated by the content of art history and art images when teachers
succeed in engaging them at levels appropriate for their abilities and interests. In
primary school, the teacher should attempt to develop the learners’ art appreciation,
which requires some knowledge of history of art. Conveying such knowledge in an
interesting way may present the teacher with a challenge, especially in the
Intermediary and Senior Phase. Children tend to learn more and perceive more
carefully when actively engaged in tasks that relate to the art being studied.
 Learners should be encouraged to visit art galleries or artists in the area to get as
much exposure as they can to works of art and how they are produced.
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27. THE ARTS CLASSROOM

A teacher cannot just teach art in any kind of classroom. In a rural setting, there may be
more challenging issues than in urban schools. Sometimes even urban schools do not have
the right equipment.

But let us work from an ideal situation. Both art learners and teachers benefit from a
classroom setting that is organised, productive and supportive. Classroom rules,
arrangement and teaching methods should create an environment that encourages learners
to enjoy and appreciate the visual arts. A sense of calm and productivity should rule.
Learners may work alone, in pairs or in groups to throw clay, draw, paint or work in papier-
mâché. They may laugh, talk and whisper, while moving around the room with purpose, and
be focused and productive.

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28. AFRICAN ART

African art was made long before recorded history began. It is therefore extremely precious.
The themes of African art portray the different aspects of what people considered important
at the time.

Humans with elongated necks, enlarged heads and arms, pointed breasts, and the like are
frequently depicted in African art. These are examples of the notable dynamic forms in this
art, representing the vitality, power and boldness of humanity.

28.1 African masks

The traditional African mask is one of the elements of great African art that influence Europe
and Western art in general. In the 20th century, artistic movements such as cubism, fauvism
and expressionism often took inspiration from the vast and diverse heritage of African
masks.

Ritual and ceremonial masks are an essential feature of the traditional culture of the peoples
of a part of sub-Saharan Africa, roughly between the Sahara and the Kalahari Deserts. While
the specific implications associated with ritual masks vary widely in different cultures, some
traits are common to most African cultures. For instance, masks usually have a spiritual and
religious meaning and are used in ritual dances, and social and religious events. A special
status is attributed to the artists that create masks and those that wear them in ceremonies.
In most cases, mask-making is an art that is passed down from father to son, along with the
knowledge of the symbolic meanings conveyed by these masks. African masks come in
different colours, such as red, black, orange and brown.

The most commonly used material for masks is wood, although a wide variety of other
elements can be used, including light stone such as steatite, metals such as copper or
bronze, different types of fabric, pottery, and the like. Some masks are painted, for example
using ochre or other natural colorants. A wide array of ornamental items can be applied to
the mask surface, for example, animal hair, horns or teeth, sea shells, seeds, straws, eggshell
and feathers. Animal hair or straw is often used for a mask’s hair or beard.

28.2 Rock paintings

The general character of San or Bushman rock art is naturalistic. Many of the images can be
seen as pictographs as they express ideas. The large majority of the figures are men and
animals, but there are a few other objects that are probably symbolic, although their
meaning is not always clear. In some regions the pictures are painted in colour, while
elsewhere only engravings or chippings occur. The difference is due to the natural
conditions of the country, although it is generally assumed that engravings are more ancient
than paintings. The prehistoric colour palette San artists used in their cave paintings
consisted of earth pigments: red and brown from bole or hematite; yellow from iron ochre;
white from zinc oxide; black from charcoal or soot; and blue from iron and silicic acid. The
blue is particularly unusual and does not occur in the cave paintings of Europe. The fine
lines found in San paintings were drawn with thin hollow rods sharpened and used like
quills.

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 29. CONCLUSION

In this learning unit you were exposed to the teaching of art. Two-dimensional (2D) and
three-dimensional (3D) as well as visual arts were discussed. You had to actively take part by
expressing your own views through activities in this regard. Art education in the
contemporary classroom as well as the role of the art teacher and the philosophy of the arts,
as well as assessment in art as required by CAPS were explored. Finally, modern African
artists and their work were presented in an interactive mode. For the first time, art
educators, along with their colleagues in music, theatre and dance education, have access
to the guidance of national standards. The CAPS 2012 insists that art education should not
be a hit-or-miss effort but a sequenced and comprehensive enterprise of learning. Arts
instruction entails hands-on orientation where learners are continually involved in the work,
practice and study required for effective and creative engagement.

30. ENRICHMENT

If you have access to the internet, you could consider visiting the following websites. It
is NOT compulsory, but these websites all contain interesting information and teachings
about this learning unit.

You can use the following links to learn more about the topics discussed in chapters 2
and 3:

Play Video

How art can help you analyse

Play Video
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How to look at art – the elements of art

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How to look at an artwork

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Teaching art or teaching to think like

an artist? | Cindy Foley | TEDxColumbus

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What is African rock art?

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Talking stone – rock art of the cosmos

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On the job art teacher

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Art teacher interview – questions and answers

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Art teacher interview – questions and answers
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Art teacher interview – questions and answers

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Art-making demonstration

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31.1 Performing Arts – Drama

The following three art forms can be viewed as Performing Arts: Drama, Dance and Music.

As an example of how the Performing Arts should be taught, drama was chosen to illustrate
this aspect. Thus, please take note that you are required to study all sections of chapter 4 to
complete the learning outcomes of this learning unit.

31.2 DRAMA

31.2.1 Drama
Drama is a very broad concept that comes from the Greek word
dran which means to do or to experience. Theatre means to see or to look at.

These two meanings bring us to the essential differences between drama and theatre:
formal theatre is where there is an audience sitting and watching a pre-prepared
performance on stage; and informal (or creative) drama, is primarily concerned with
participation and what a person learns from the experience, thus that which takes place in
the classroom.

31.2.2 Aims of Drama

The following are the general aims for drama-in-education. Here the term “drama” refers to
informal dramatisation in the classroom, which links up with drama-in-education.

 Development of language and communication skills. Drama is regarded as the

basic skill which forms the foundation for all language development (Heinig &
Stillwell 1981:6). Drama cannot take place without communication, by which we
mean verbal as well as nonverbal communication, including body language, which
naturally play an important role in drama activities.
 Developing children’s interpersonal relationships with others. Learners are
dependent on their ability to express themselves through speech and movement.
This includes the following skills: asking questions, investigating, exchanging ideas,
making deductions and solving problems. The learners learn to understand
themselves, as well as other people and cultures, by means of effective
communication. Communication is also essential for role-play and the accompanying
planning and improvisation. Through role-play the learners encounter language
situations, which also occur in daily living, but because they are acting out a fictitious
situation, they can make mistakes without any repercussions and weigh up and enact
alternative behaviour. In this way, they reach the most acceptable solution. This is
why we can talk about creative drama as being a laboratory for life.
 Problem-solving. This is one of the most important skills that is developed by
drama- in-education. Problem-solving and creativity go hand in hand. The learners
are given an open-ended problem that they must solve, in other words, there is no
prepared plan of action, so they must set to work creatively. Consequently, they are
encouraged to guess, to try out alternative possibilities, to evaluate, and even to
redefine the problem. In order to do this, they have to harness their powers of
imagination, which is part of the creative process.
 Creativity. Every person has the potential to think creatively, but many of us never
really develop this potential. One of the most important objectives in speech and
drama is the total development of every individual, and also the cultivation of
independent thought. However, this is not enough – an opportunity must be created
 to give expression to these independent thoughts. Creative drama fulfils this need.
Creative thought (thinking) and actions can only take place in the right atmosphere,
in other words, one in which the learners feel secure and safe, and are accepted just
the way they are. They will not be scared to dare or even to make mistakes in such an
atmosphere.
 Cultivating a positive self-image. The main aim of education is undoubtedly for
the learners to reach their full potential. They can only achieve this if they have a
positive self-image, in other words, when they believe in themselves and have self-
respect, that is, are aware of their own worth. The learners will only be prepared to
take chances, to experiment and to reach greater heights if they have a healthy self-
image. In this respect teachers have an indispensable role to play. Teachers who lack
empathy and inspiration, will not really be able to accompany the learners on the
road to achieving their full potential.
 Social awakening. This is one of the umbrella objectives of drama, because drama
activities offer the learners the opportunity to practise for life by enacting real-life
situations and confrontations through role-play. In this way, they can experience and
relive important human experiences from, for example, history or their social or
ethnological knowledge, and form their own opinions. Humanness and all that goes
with it, such as discrimination, religious convictions and recognising cultural
differences, become part of their consciousness. They discover that there is “a
common bond of humanness that transcends time, age and geographical
boundaries”.

However, it is important that drama should not become a political or social excuse to further
specific objectives. Of great importance is the mutual trust and good relationships that can
develop in a group, because the learners plan together, organise together and feel together.
They also realise the value of cooperation and that they cannot always enforce their own
opinions or ideas.

 Empathy. This is closely related to role-play where the learners get the opportunity
“to see life from another’s perspective and to feel with that person.” Empathy is really
what is expected from the learners in role-play; they then become less egocentric,
forget about their own selves and open themselves to the problems of others. As a
result they are better able to communicate with people who think or feel differently
to them, and can develop a balanced outlook on life.
 Developing a value system. Drama exposes the learners to other ways of thinking
and doing. They must make decisions, take a stand on an issue and accept
responsibility for the consequences of their behaviour. In order to do this, the
learners must know what they think and believe, and why.

Drama-in-education helps the learners to grow, and to gain insight into human behaviour
and its outcomes or effects. Subsequently, they start to evaluate their own values and
norms. They are thus formed as humans into people who are able to make responsible
choices and decisions about their own lives. At a later stage they could also ask and try to
answer universal questions about life.

 A feeling for the art of the theatre. Creative drama is based on various elements of
the theatre, such as acting, conflict, intrigue, mood and characterisation.
Consequently, the learners will naturally learn something about this art form while
they are engaged in creative drama. Thus the discipline and traditions of the theatre
will play a role in the learners’ education.

The rationale for teaching drama is the same as that for teaching other art forms, namely to
develop creative, imaginative and innovative thinkers.

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31.2.3 Objectives of Drama-in-education

Drama-in-education should strive for the following specific objectives:

 Acquiring communication skills. Drama can make an important contribution in the

field of literature, language usage, vocabulary expansion, listening skills and even
creative writing (it is method language teachers also use), which all lead to the
development of communication skills.
o Literature. The learners should be exposed to new authors, poets and their
works, leading them to make their own discoveries. Learners should learn to
exercise their own taste and preferences. Literary works can even be reworked
and then portrayed and/or dramatised.
o Language usage and vocabulary expansion. Learners can perform
dramatisations in which they use new terms and vocabulary, for example, a
court scene, a news report, a radio interview or a television advertisement.
o Listening skills. Learners should react to sound stimuli, build up a story
around them and enact the story. Listening activities may also be used to
impress on learners how important it is to convey an oral message correctly.
 o Creative writing. The learners should get the opportunity to put into writing
their own portrayal of a situation they have experienced. Thus, it should not
be an abstract theme for which they have no feeling or understanding.
o Body language. The practice of mime is another communication skill which
can be developed. In mime the whole body is used as a medium to
communicate. Mime and dance drama can lead to experimentation with
rhythm and patterns of movement. Learners can learn how to use different
levels within a given space to exploit all possible bodily movements and to
promote expressive, creative movement.
 Dealing with social problems. The learners can acquire methods for dealing with
conflict and crisis by means of dramatising situations such as a mine disaster, a flood
or a fire. The learners should be encouraged to enact social problems they
experience such as child abuse, divorce, violence, alcohol and drug abuse. The
learners should get the opportunity to view a situation from all sides. The teacher
must prepare the learners for this and give them the necessary insight into the
problem. The more learners know about a problem, the better prepared they are to
deal with it.
Drama can give rise to major projects as a result of the enthusiasm the learners
develop for a cause. In this way, rubbish removal from an area in their environment
could become a project through which they experience that they “can make a
difference”. Techniques of drama-in-education such as role-play, problem-solving,
visualisation and leaps in time can be applied very successfully to the search for
solutions to social problems.
o Exposure to other cultures and cultural groups. Through literature (myths,
legends and fairy tales) and with the aid of drama the learners are exposed to
the cultural riches of other nations.
o Practising life skills. Through drama the learners are exposed to life skills
such as problem-solving, role-play, time leaps, visualisation, and question and
answer techniques.
o Stimulation for creative work. By using aids such as sound effects, music,
visual stimuli, pictures and photographs, objects, costumes, masks, songs and
poems the learners can be stimulated to produce creative work. (As we have
already mentioned, these methods are also recommended for language
teaching.)

To summarise, we can say that the aims and objectives of speech and drama are so wide
that they can be applied to almost any area of life. The teacher’s approach will be crucial
and will determine whether this subject is an unforgettable growth and learning experience,
or not. The rationale for teaching drama is the same as that for teaching other art forms,
namely to develop creative, imaginative and innovative thinkers.

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32. BREATHING – THE SOURCE OF POWER FOR THE VOICE

Correct breathing is the starting point of speech because it influences voice quality and
usage.

32.1 Physiology of the breathing organs

(We will not discuss the physiology in detail, but it is essential for you to know the function
of each organ.)

The following organs are involved in breathing:

 Lungs. The lungs are a pair of organs situated within the ribcage, consisting of
elastic sacs with branching passages into which air is drawn, so that oxygen can pass
into the blood and carbon dioxide can be removed.
 Trachea. It connects the lungs to the pharynx and is the canal along which the air
flows from the atmosphere to the lungs and the other way round. The larynx is at the
top end of the pharynx through which air must flow for breathing in and out
 Diaphragm. It is a curved and moveable muscular tissue, and is dome shaped in its
condition of rest. Contractions of the muscles flatten it and in so doing, enlarge the
chest cavity.
 Ribs and intercostal muscles. Twelve pairs of ribs (attached at the back to the
dorsal vertebrae) and ten pairs (attached in front to the breast bone) as well as the
intercostal muscles ensure that the chest cavity enlarges with inhalation and
decreases with exhalation, whereby air is forced out of the lungs.

32.2 Phases of breathing

 Inhalation. The air usually moves through the nose (after great exertion, through the
mouth as well). The chest cavity enlarges because the diaphragm contracts and
becomes flatter. Now air flows to the lungs where the pressure is less (lower) than
the pressure of the atmosphere.
  Exhalation. This takes place as a result of the elasticity of the lungs which return to
their original shape and the diaphragm which becomes dome shaped in its position
of rest. The chest cavity decreases, and air is forced out.

32.3 Breathing for speech

A strong, controlled and gradual outflow of air is necessary for good speech. The best
inhalation for speech is central breathing. For this to occur, the diaphragm drops, thus
enlarging the chest cavity and more air can be inhaled. It is also the most controllable
breathing during exhalation.

 Inhalation for good speech takes place quickly through the mouth, but without an
audible sound. The depth of inhalation depends on our feelings towards the subject,
as well as the length of the phrase (a mental group of words), because we usually
inhale between mental word groups.

Example: “Neither that evening/nor the days that followed/did Evert speak of her again,/and
his mother did not mention her name once.

 Exhalation occurs when air is consciously forced out of the lungs by muscle action so
that there is sufficient air to allow the vocal chords to vibrate. This outflow of air must
be strong, even and controlled. In order to ensure this, the muscles of the neck and
throat must also be relaxed, otherwise a poor voice quality is achieved.

Controlling tone strength is important – both loud and soft tones must flow, without jerking
or shaking. It is for this reason that breathing practice is essential.

Bodily posture is just as important for the air flow: stand up straight with shoulders back,
stomach pulled in and hands relaxed at the sides – the body must be relaxed.

Also note that not too much air must be drawn into the lungs as this would cause a breathy
voice.

A learner should first learn to breathe correctly and to control the flow of breath before
attempting to produce sound with the help of the breath.

32.4 Relaxation

Relaxation is important in almost every aspect of our lives. We must learn to relax – tension
causes many problems, such as a poor posture (which influences speech), incorrect
breathing and resonance, speech and voice defects and psychological problems such as
excessive anxiety and depression.

Fortunately, the bodies of young children are still very relaxed, so the teacher can easily
rectify problems. However, with advancing age, ever more problems caused by tension
arise. This psychological tension also causes muscle tension and incorrect posture.

32.4.1 Exercises for relaxation

 Play a recording of a soothing and peaceful song. Let the learners lie on their backs
and listen.
 The learners should lie on their backs and focus on tensing their muscles, and then
relaxing the muscles: the feet and legs, the fingers and arms, then the neck,
shoulders and facial muscles – everything must be limp and relaxed.
 The learners should lie on their backs with their eyes closed and listen to all the
sounds they can hear outside the classroom. Then, with their eyes still closed, they
should listen to the sounds inside the classroom and then to the sounds inside their
own bodies (heartbeat, breathing, and so on).
 Let every child be a burning candle and stretch their arms and fingers upwards. They
should show the flickering of the flame by moving their arms and fingers. The
candles should burn lower, until they eventually lie in a pool of melted wax on the
ground.
 Learners should lie on their backs and stretch out each limb in turn as far as possible.
 Stand and shake lose all the muscles, accompanied by lively music.
 Stand dead still like a tin soldier. Now relax the neck, then the shoulders, then simply
double over the upper part of the body.
 Sit on a chair and contract all the muscles till the teeth are clenched and the fists are
balled. Now concentrate on relaxing all the muscles and loosening each limb until
the whole-body hangs limp in the chair. (Be warned: Some children do this exercise
so well that they even fall off the chair.)
 Do exercises to relax the throat muscles, for example, yawning exercises and shaking
the head and jawbone to-and-fro.

32.5 Good posture

The speech and drama teacher should teach learners how to sit, stand and walk correctly.
The children must become aware of good posture, which creates the impression of a
positive and strong personality (through body language).

Unfortunately, many people neglect their posture for different reasons, such as emotional
problems, environmental and inherited factors. Bad posture develops in the following ways:
hanging head and shoulders, a bent back, not picking up lazy feet, standing with the weight
on only one leg and slouching.

A poor posture creates a certain perception of a person’s personality in the outside world
that can easily lead to the person’s disadvantage, for example, when being considered for
appointment to a post, or being chosen as a prefect. This is why it is extremely important to
cultivate a good posture – then we feel good about ourselves, and the community has a
good opinion of us.

32.5.1 Exercises for good posture

 Lengthen the spine, neck and head, as if there is a piece of rope tied to the head that
is pulling the spine up straight. In this way the correct position for the chin is also
obtained in order to look people in the eye. (This position is known as the Alexander
technique, which is also very beneficial for neck and back pain.)
 Let the arms and hands hang calmly and relaxed at the sides.
 Only use the necessary hand gestures: too many gestures make you look nervous,
while too few make you look lifeless.
 Establish a comfortable and natural standing position which places the weight on
both feet, with the one foot slightly away from and in front of the other foot. Do not
rock or shuffle.
 Float when you walk and think again of the rope at the top of your head: stretch.
Consult your list of sources for more posture exercises.

“Since every tension in the body is registered in the voice, and consequently communicated to
the listener, it is important that the speaker should be trained to relax”.

32.6 Volume

Volume refers to whether we speak loudly or softly. The volume is determined by the
emotion or meaning that we are conveying, for example:

[A] (soft): “First she peeps slyly over the mountain top, and her eyes are shy and she laughs
softly”.

[B] (loud): “The big game career across the plains, they huddle on the hilltop, they stretch
their nostrils wide and they gulp the wind”.(Extract from “The dance of the rain” by Eugene
Marais)

32.7 Tempo
Tempo is the speed with which we say sounds, phrases or sentences and it usually depends
on our emotion. Our tempo is fast when we are happy or excited as in [B] above, and our
tempo is slower when we are unhappy or reserved as in [A] above. We need to practice
changing and varying tempo in order to prevent monotony.

32.8 Pitch

Pitch is a low or high tone of voice, based on emotion. We use a low tone of voice when we
are unhappy or anxious, and a high tone of voice when we are happy, excited or nervous,
for example, hysteria. We use a middle tone of voice in normal speech or when recounting,
for example, a newsreader. Different pitches give rhythm and colour to speech.

32.9 Emphasis

Emphasis indicates the strength with which we pronounce sounds, words or syllables, once
again to indicate emotion or meaning. For example, in [B] the verbs “career”, “stretch” and
“gulp” carry strong emotions.

32.10 Rhythm

Rhythm is the repetition of certain utterances, such as stronger and weaker emphasised
syllables (stresses), inflection, tempo and pauses. However, it should not be a monotonous
repetition, because it is precisely the variation of rhythm that makes speech colourful.
Rhythm is also an indication of emotions, see the extract from “The dance of the rain” in
3.2.6 above.

32.11 Projection

Our voices must be clearly audible for the situation in which we have to speak. We must
control the breath well whether we whisper, or address an audience in a hall. In the case of
speaking in a hall we must be able to project well, in other words, our voices must be
audible from afar without us having to shout. Lots of exercise and control is needed for this
and especially the help of another person who listens and comments on the audibility or
lack thereof. Articulation also plays an important role here.

The two most important factors for good speech are RELAXATION and GOOD POSTURE

33. SPEECHES
There are two main kinds of speeches, namely formal speaking and informal speaking.
However, both need planning and the planning of both are the same.

All speeches follow the same procedure in planning. The recipe stays the same even though
the procedure in delivery is different. Formal speech is for delivery in a formal setting like a
political setting, and the latter for a competition like a speech competition at school.
However, planning is the same for both.

33.1 Speech planning

33.1.1 The introduction

The kind of introduction you use will depend on the kind of speech you plan, be it serious
or in lighter vein. The purpose of the introduction is to catch the attention of the audience
and thus make them willing to listen. It must also prepare them for what follows later.

There are different ways of achieving this:

 Say something about yourself, preferably a comical reference (if suitable). This
introduces a personal element that makes the audience receptive to you as a person.
 Use an anecdote as your starting point, but make sure that it comes to the point and
is not long winded. People like stories and relax immediately.
 Make a striking statement or ask a strongly worded rhetorical question. This causes a
kind of shock reaction and you will get the attention of the audience.
 A striking quotation can also compel attention, particularly if it is a statement that
has been made by a well-known or popular person.
 A reference to a historic event usually carries considerable weight – just be careful
that nobody is offended by it – so stay away from politics.
 A joke may be told provided it is really funny and applicable to the theme, otherwise
the introduction falls flat all too easily.

33.1.2 The body or exposition of the speech

This part of the speech must build on, that is, take advantage of the attention already
gained. The main ideas must now be presented in a logical sequence and must lead up to a
climax. Do not start losing the attention of the audience by sounding incoherent and
uncertain. There must be real substance because the facts must speak for themselves.
Analyse the subject fully and do not stray.
33.1.3 The conclusion

The final impression is often the most permanent, therefore it is important to keep the
conclusion in mind. All the speaker’s arguments are carried to a high point here.

There are various possibilities:

 Make a conclusion that is a logical outcome of all the preceding arguments. This is
not a very exciting conclusion, but it can work nevertheless.
 Give a summary of the main ideas. This ensures that the audience have all the main
points fresh in their memory. It is a fairly predictable conclusion.
 Make a plea that exhorts the audience to some course of action. If this is handled
well it can inspire and motivate the audience.
 Make a prediction or prophecy that inspires the audience for the future.
 A suitable quotation or part of a poem can be quite striking so long as it really
supports the speaker’s message.

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34. MIME

Techniques of mime in creative drama is endemic to drama. Of course, mime is in itself a

very old art form that originated among primitive peoples when the spoken word was still
very elementary. It was expressed in ritual dances and other ceremonies.

Mime is therefore the simplest form of dramatic art. It developed through the centuries and
reached a zenith in France in the mimic art of Marcel Marceau, who is regarded as the
greatest ever mime artist.

34.1 The requirements of mime

The requirements of mime are intense concentration, a controlled and receptive body,
imaginativeness and dedication.

34.2 Method

The method to prepare the learner for mime is to do exercises to make the whole body
supple and relaxed. Start with free, energetic movement that produces a sense of
satisfaction. Proceed with more concentrated movements for every part of the body. The
purpose is to prepare the body to react immediately to a stimulus.

34.3 Kinds of mime

We use the following two kinds of mime:

 Occupational mime depicts specific occupational acts such as digging in the garden,
brushing one’s teeth or throwing a ball.
 Emotional mime reflects certain emotions such as a stomachache, fear or joy.

Occupational and emotional mime cannot really be seen in isolation, because only a robot
works without any sign of emotion – the body cannot interpret without using the mind. That
is why the two kinds of mime must be combined. Once the technique of a certain
occupation has been mastered, the element of emotion should be added. What you need to
do is create an emotional moment for the learner in which to perform a certain occupation.
Characterisation also plays a vital part in mime activities.

 The need for facial expression in mime should be brought home to the learners. To
be credible, emotion must also be conveyed by means of facial expression.
 The hands are just as important when they are used expressively to convey emotion,
for example, a beggar pleading for alms.

34.4 The value of mime

 Mime is a means of self-expression – a way of expressing emotions and needs

without the help of the spoken word.
 The focus shifts from the spoken word to body language with the realisation that the
body can be an expressive instrument for communication.
 Mime makes the learner aware of the ways in which we move
and teaches grace and a feeling for the flowing rhythm of the simplest movement.
  The powers of observation are honed. To represent characters by means of mime
one must do character studies from everyday life (watch people) to play them
realistically and convincingly.
 The ability to concentrate improves because mime requires a high degree of
concentration, control and coordination, and the result is high-quality work. At the
same time, mime activities reduce stress because they give the learner the
opportunity to try without the fear of criticism if they make a mistake. The withdrawn
learner, in particular, and the learner lacking in self-confidence benefit from this.
 The imagination is stimulated and originality developed.
 Self-discipline is an important element of mime activities – the learner must be able
to discipline their body and mind.
 Mime is a creative activity in which you have to use your body, mind and intellect,
and learn to improvise.

The value of mime as a drama activity is not in dispute, but unfortunately there is still a
great deal of uncertainty on the approach to and practical handling of mime. We have
referred to the origin and development of mime as a specialised art form, but the use of
mime in the classroom is more spontaneous and natural. Think, for example, of the
important role it plays in storytelling and dramatisation.

Activities in which mime is used, include concentration exercises in front of an imaginary

mirror (mirror-image exercises) and freer creative activities for the whole body in which
emotion and characterisation play an important role.

The close emotional link between mime and music means that they can be combined in
freer and more creative ways, as in dance drama.

35. IMPROVISATION

Improvisation means to deliver or perform something without preparation. As a drama

activity, improvisation means that children are stimulated by, for example, a picture, sounds,
music, an object or a word. They must react spontaneously to it and depict something with
the help of movement and speech. The following are all parts of improvisation.

35.1 Use of improvisation

Improvisation is the unprepared interpretation of a given situation in which the learner is

given the opportunity to use and develop their intelligence, imagination and powers of
concentration. It is a spontaneous way of solving problems, coming to terms with emotions
and investing life experiences with meaning. From this we can deduce that improvisation is
a natural learning method for the child and therefore plays a role in the education of the
child. As we have already seen, improvisation is used in some way in every drama lesson.

35.2 Value of improvisation

 The learner learns to act quickly.

 It develops the learner’s imagination.
 The learner gains insight into human relations and problems by interpreting different
characters in different situations.
 The learner’s emotional experience is broadened.
 The learner remains healthy as a result of emotional expression (the psychological
“abreaction”).
 The learner’s ability to think and their social background comes into operation.
 It promotes voice use and language proficiency – it therefore teaches the learner to
communicate.
 The learner learns to think logically.
 The learner learns that a play (drama) must have a dramatic form and a climax.
 The learner learns to listen and to observe more closely.
 The learner learns to function within a group: to work together and to control their
emotions.
 The learner learns to think independently and to act extemporaneously.
 The learner learns to act in a controlled manner.

35.3 Improvisation hints

Bear the following in mind when using improvisation:

 Every lesson must demonstrate progress. Bring the message home to the learners
that they have to work towards a certain point, and that they must have a focus
point.
 Discipline must be maintained, or the lesson can easily degenerate into chaos. Do
not address the class until everyone is quiet and calm and attentive.
 The teacher’s instructions must be clear – everyone must have a clear grasp of
what is expected of them.
 The improvisation process is usually more important than the final product since
during the lesson the learner grows and develops at various levels.
 Encourage the learners to use their own ideas and to start thinking independently.
However, do not coerce a withdrawn child to participate – induce the child to
participate voluntarily.
  Do not interfere in the improvisation process – give little criticism and do not
suppress spontaneous creativity. However, help the learners to engage in self-
evaluation so that they begin to realise which elements of their improvisation are
more successful than others.

35.4 Activities for relaxation and warming up

The first activity is usually a warm-up activity. It must create a pleasant relaxed atmosphere
so that the learners will want to participate spontaneously – and for this reason it should
also not be too difficult.

Use, for example, movements in a circle with a strong rhythmic musical accompaniment or
the “follow-my-leader” exercise in which one learner takes the lead and performs certain
clear movements and gestures to the music. The others then have to imitate this learner. A
specific movement should be done long enough for each one in the circle to imitate the
movement. (Do not make the circle too large – two smaller circles work better than one
large one.)

Sometimes the learners are already too active and stimulated by a sports period,
gymnastics, physical education period or other activity. Then it is better to do a calming
exercise with them, or something very controlled which will capture their attention quickly.

Have them begin with a relaxation exercise: the learners lie on the floor, eyes closed and the
different body parts are exerted and relaxed one by one, as directed by the drama teacher.
Slow breathing exercises are also conducive to relaxation. Have them breathe in as deeply
as possible and then expel the air with jerky breaths so that all the tension is removed from
the diaphragm too. The last little bit of air must be forced out to get rid of all the “old” air.

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36. REQUIREMENTS FOR GOOD EVALUATION

Evaluation must be specific and direct, not a vague general assessment. Identify precisely
what worked well and concentrate more on that than on aspects that were not as successful.
If evaluation is done in the correct manner, the learner will know how to repeat the
successful action and will be motivated to do so.

Credibility is always the ideal to aim at; something which is important to the child as well.

Before any evaluation is done, it is a good idea for the teacher to assure the learners that
the approach to their contributions is the following:

The learner knows that sometimes more than reality is called for, perhaps a leap of the
imagination into a world that does not yet exist. Assure them that you will guide them and
assist them where necessary.

An honest and genuine effort without affectation is worth a great deal. Point out to the
learners that they do not have to be actors to play roles; all they have to do is believe in
and concentrate on what they are doing.

Let us summarise: The teacher must make certain decisions – other decisions should be left
to the class or the groups. The teacher should know what they are aiming at so that
indirectly and sometimes directly they can lead the learners there; the teacher and the
learners should decide together how they will get there. For this the teacher needs certain
structures, otherwise the teacher and the learners may never attain their ultimate goal. The
teacher must therefore be able to organise and to give guidance – without the learners
being aware of it. Once the lesson is under way the teacher must always know what is going
on, do evaluation, make adjustments and take risks if need be.

37. THE PERFORMING ARTS CLASSROOM TERMINOLOGY

 Planning of movement and groupings

This is often the most difficult aspect of directing, and initially the movements can be
changed if they are not working. However, after the second week of rehearsals, there
should not be radical movement changes as these confuse the players. Minor
changes can, however, be made.

 Dramatisation
According to the Collins Dictionary, to dramatise means “to express something in a
striking, effective way”. The story, poem or incident already exists and is presented
dramatically. The existing content is adapted to a little drama.

 Role-play
Role-play means taking on a role within a situation with the aim of trying to
experience what someone else experienced, without using a written text. Placing
yourself in another person’s shoes (someone from history, the local community, the
school, government, home) to try to determine how other people think and feel and
 why they behave the way they do.

 Formal theatre
Formal theatre is drama in the form of a dramatic performance, with the emphasis on
the finished end product. It is learnt from a written text and presented to an
audience in a hall or theatre with the necessary theatre aids, such as decor, lighting,
costumes and sound effects.

 Children’s play-acting
A children’s play is a dramatic performance for children by children and is usually
presented on a stage. It should be done by a sensitive director who understands the
requirements of child drama. In most cases a written text is used along with theatre
aids such as lighting and decor. However, nowadays there is a strong trend towards
moving away from a formal text. Increasingly an informal approach is being followed,
especially in primary schools, by falling back on improvisation techniques in order to
evoke spontaneity and creativity in the child.

 Children’s theatre
Children’s theatre is a stage performance for children by adults or young trained
actors who understand the requirements of children’s theatre. What comes to mind
here is the importance of audience participation, where the children in the audience
are encouraged to react to the actors. As a result of the children’s participation
(commenting, shouting answers and asking questions) there is a lot of improvisation.
Consequently the actors are not as bound to the text as they are in formal theatre.

 Educational theatre
A lot of attention is presently being given to educational texts which portray social
problems such as divorce, child molestation and violence. This is known as
educational theatre and it is often presented in the form of a workshop production
(improvisation also plays a big role here). Different thoughts concerning a central
theme are thrown together and a brain-storming session takes place. The director
decides which ideas can be used and a text is drawn up via improvisation. The
finished product is later presented to a children’s audience. It does not necessarily
have to happen on a stage, but can be presented in a hall at ground level. The
children sit on the floor around the actors. This is called theatre-in-the-round.

 Creative drama
In this informal drama the focus is not on the end product, but on the creative
process which is constantly taking place. Thus, creative drama is not aimed at an
audience. The actors never work from a written text. It is thus completely improvised,
and the child’s powers of imagination and sensual experiences play an important
 role. Creative drama can take place in any space, as long as there is sufficient room
for each child to move.

Creative drama is “an improvisational, non-exhibitional, process-centred form of

drama in which participants are guided by a leader to enquire, enact and reflect
upon human experiences”.

The fact that creative drama does not depend on an audience, means that there is no
question of performance on the child’s part. Performance can be very stressful,
precisely because the emphasis falls on the end product and the accompanying
technical skills.

Creative drama should be the starting point for all drama because the children’s
powers of imagination are harnessed and they can come forward with original,
dynamic thoughts and ideas.

 Folk drama or ritual drama

There are elements of drama in the rituals of primitive races and in mythology, which
can be rich sources of inspiration for children’s drama. Examples of folk or ritual
drama are traditions and songs in which rhythm and dance, imitation, humour and
the heroic figure occur, tales of hunting and travelling, portrayals of the super-
natural (magical), and the importance of the circle and the repetition of refrains.

 Child drama
It is based on the child’s natural, spontaneous play (child’s play) in which the child is
the dramatist, director and actor in his or her own little drama. The teacher still gives
guidance in order to stimulate the child’s creative abilities and powers of imagination
still further, thus helping the child’s further development. This form of drama can
also contain dramatic elements such as conflict and problem-solving. The child takes
on a certain role and acts it out in the context of the story.

 Drama-in-education
In the subject speech and drama, the focus is firstly on drama as a teaching activity.
That is why we call it drama-in-education.

With drama-in-education the child takes on the roles of dramatist, actor and
audience and is enriched by the drama experience (De Kock 1987:16).

The two forms of drama, namely mime and improvisation movements, deserve a
great deal of attention because they form the basis of virtually all dramatic work and
are used in most drama activities. They should be indicated throughout in a
particular colour in the director’s book.
  Hints on movement
o Be careful of masking (i.e. when one player stands in front of another).
o Use the full depth of the stage – do not simply move to -and -fro in the
front of the stage.
o All movement should be motivated (have a reason) and be directed with
purpose towards a point, otherwise it looks uncertain and unplanned.
o A movement or gesture is often the natural result of an emotion.
o Stand close to the other player during a confrontation,
but do not play to the back of the stage, or the audience will lose contact
with the players.
o Watch out for half-moon grouping – it is very unoriginal and unimaginative.
o A player may only walk in front of another player if he or she is speaking at
the time.
o Watch out for straight lines during movement.

 Placing of stage sets

These must not get in the way of movement. Turn chairs a little to face one another.
Do not stick to stereotypes – think of using lower levels such as cushions or poufs.

 Use of props

Practice with these from the beginning if at all possible. Use only the most essential props,
otherwise they can become a hindrance and slow the pace. Props can play an important role
in reinforcing or establishing a character.

 Pace and rhythm

The pace and rhythm of a piece are determined by the speed with which players pick up
cues rather than how fast or slowly the players speak.

Picking up cues occur between dialogue, in other words when character number one has
spoken, number two follows with his or her dialogue. If number two picks up the cue slowly,
it slows the pace. Sometimes this is done on purpose. If the following speaker breaks in
quickly, it speeds up the pace.

The rhythm of a play is also affected by the picking up of cues. If the pace is drawn out it is
easy for the audience to become bored and lose interest.
Variation of pace is therefore important in order to hold the audience’s attention.

 Performance

The keywords here are naturalness and audibility. Young players will often “perform for their
parents” and forget all that they have been taught when mummy and daddy are sitting
there. Prepare them for this beforehand and tell them that they must not look towards the
audience.

Give them a number of articulation and resonance exercises to improve projection. Help
them to create a convincing character with costumes and make-up.

Teach them to concentrate throughout on what the other players are saying, and to remain
in role. It must always sound and look as if they are hearing those words for the first time.

Movements and gestures must suit the character and the dialogue and must look natural
and spontaneous. This calls for a lot of practice and concentration. Purposeless wandering
to-and-fro is distracting and must be avoided.

Players must learn to stand still as well – and not to shuffle or sway from one foot to the
other.

Players must enjoy performing. This is infectious and makes all the hard work worthwhile. It
helps the player to communicate energy and vitality and makes the role more convincing.

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38. CONCLUSION
In this learning unit, you learned about the rationale for teaching drama and the importance of
teaching Drama to educate learners in the Arts. Different teaching methods and activities were
discussed. You also learned more about the assessment methods suitable for the dramatic arts.
The elements of Drama were put into perspective as well as the interpretation and performance
of the different dramatic forms. Indigenous African drama and its history was dealt with. Various
important contributors to African drama were considered. The background was discussed and
should be noted. The terminology most applicable to the dramatic art form was also pointed out
as it is a meaningful, practical aspect of teaching drama.

39. ENRICHMENT

If you have access to the internet, visit the following websites. It is NOT compulsory, but these
websites contain interesting information about this learning unit.

You can use the following links to learn more about the topics discussed in chapter 4.
Play Video

Elements of Drama
Play Video

The five Elements of Drama

Play Video

Teachers’ TV: Teaching Drama – a structured approach

Play Video

Facial and vocal warm-up

Play Video

Acting for kids

Play Video

How to memorise lines – the best memorisation techniques

Sources used:

1. Professional Studies: Intermediate and Senior Phase Arts and Culture: Art (Study guide 1
for PST210-G/CCA101-A).
2. Professional Studies: Intermediate and Senior Phase Arts and Culture: Speech and Drama
(Study guide 2 for PST210-G/CCA101-A).
3. Odendaal, RM & de Jager, T. 2017. Creative Arts Education. Pretoria: Van Schaik
Publishers.

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WHAT IS INCLUSIVE EDUCATION? INTRODUCTION

Inclusive Education recognises the right of ALL children to feel welcomed into a supportive educational
environment in their own community. It refers to the capacity of ordinary local schools and ECD Centres
to respond to the needs of ALL learners, including those requiring extra support because of learning or
physical disability, social disadvantage, cultural di erence or other barriers to learning. In South Africa we
now have a strong legislative and policy framework promoting an Inclusive Education system. The South
African Constitution,

The South African Schools Act, White Paper 6, The UN Convention on the Rights of Persons with
Disabilities, UN Convention on the Rights of the Child all place obligations on the state to ensure ALL
children are given access to meaningful participation in learning in the general education system .

WHAT IS AN INCLUSIVE ETHOS? ETHOS IS THE DISTINCTIVE CHARACTER, SPIRIT AND ATTITUDE OF A
SCHOOL, AN ORGANISATION OR A CULTURE

● Inclusive schools celebrate diversity through recognising potential, increasing participation,

overcoming and reducing barriers, and removing stigmatisation.

● The abilities, talents and aspirations of all learners are equally valued.

● The school re- ects respect for all people in the school and the community

● The school seeks to adopt a holistic, - exible and accommodative approach to development and
upholds a spirit of collaboration among all members of the school community and the community.

● Educators and parents recognise that all learners have the potential to learn.

● Learners with disabilities and other learners who experience barriers to learning are valued in the
classroom and treated like all others.

● Prejudice and all forms of discrimination are actively addressed by the school. (Extracted from The
Guidelines for full service / inclusive schools, 2010, DBE)

WHAT IS DIVERSITY? Diversity means that each person is unique in his or her own special way. This can
be according to interests, race, ethnicity, gender, sexual orientation, socio-economic status, parental
status, age, cognitive abilities, physical abilities, and religious or political beliefs. When a teacher values
the diversity in the classroom, learners will feel that they are all equally important and that their di
erences are positive and enriching, not negative and devaluing. 1 2 3 IESA EU Factsheet 14_What is
Inclusive Education.indd 1 2019/05/09 2:01 PM DEVELOPING INCLUSIVE PRACTICES Diversity in
classrooms is a given in our country where so many children have been educationally and socially
disadvantaged and will need di erentiated teaching. Planning ahead for diversity as shown below will
develop a strong inclusive educational practice ion the school: ● di erent styles of learning ● ensuring
quality education to all through: ● appropriate curriculum, ● assessment and evaluation ● supporting
learners and teachers ● organisational management, ● teaching strategies – cooperative, multi-level ●
resource use ● involvement of parents ● and partnership with their communities. PROVIDE SOCIAL –
EMOTIONAL SUPPORT For many children, school is the only place where they can feel accepted and
cared for and con dence and self-esteem has a major impact on his/her ability to learn. ● Create a
positive environment which rewards good behaviour in your class. ● Each learner feels accepted and
valued by his/her teacher and peers. ● A ection, support and fairness will greatly enhance his/her ability
to learn and promote good behaviour. ● Psychological and social problems, due to societal ignorance,
fear and stigmatisation are often much more signi cant than the barrier itself. 4 5 RESOURCES u The
Guidelines for full service / inclusive schools, 2010, DBE) u The NCS: Curriculum, Assessment and Policy
Statement: Guidelines for Responding to Learner Diversity in the Classroom Grade R – 12 u
www.thutong.doe.gov.za Responding to diversity through curriculum and policy statements u UNESCO,
2003. Embracing Diversity:Toolkit for Creating Inclusive, Learning-Friendly Environments. Bangkok,
Thailand: UNESC