MINISTRY OF EDUCATION JUNIOR SECONDARY PHASE

MINISTRY OF EDUCATION

JUNIOR SECONDARY PHASE

2010

INTEGRATED PERFORMING ARTS

SYLLABUS

GRADES 8 - 10

ii Integrated Performing Arts Syllabus Grades 8-10 NIED 2010

Ministry of Education National Institute for Educational Development (NIED) Private Bag 2034 Okahandja Namibia © Copyright NIED, Ministry of Education 2010 Integrated Performing Arts Syllabus Grades 8 - 10 ISBN: 0-86976-850-6 Printed by NIED Website: http://www.nied.edu.na Publication date: 2010

iii Integrated Performing Arts Syllabus Grades 8-10 NIED 2010

TABLE OF CONTENTS

1. INTRODUCTION .............................................................................................................. 1

2. RATIONALE ...................................................................................................................... 2

3. AIMS ................................................................................................................................... 2

4. COMPETENCIES AND LEARNING OUTCOMES ........................................................ 2

5. PARTICULAR FEATURES OF THE SUBJECT AT THIS PHASE ................................ 3

6. GENDER ISSUES .............................................................................................................. 3

7. LOCAL CONTEXT AND CONTENT .............................................................................. 3

8. LINKS TO OTHER SUBJECTS AND CROSS-CURRICULAR ISSUES ....................... 3

9. APPROACH TO TEACHING AND LEARNING ............................................................ 4

10. SUMMARY OF LEARNING CONTENT ......................................................................... 5

11. LEARNING CONTENT..................................................................................................... 8

12 ASSESSMENT ................................................................................................................. 14

12.1 Continuous assessment .................................................................................................... 14

12.2 Formative and summative assessment ............................................................................. 14

12.3 Informal and formal methods ........................................................................................... 14

12.4 Evaluation ........................................................................................................................ 15

12.5 Criterion-referenced grades .............................................................................................. 15

12.6. Grade descriptors in the Junior Secondary Phase ............................................................ 15

12.7 Conducting and recording assessment ............................................................................. 15

12.8 Assessment Objectives .................................................................................................... 16

12.9 Continuous Assessment: Detailed guidelines .................................................................. 16

12.10 End of year examinations: Detailed guidelines ............................................................... 18

12.11 Promotion marks ............................................................................................................. 19

12.12 Specification Grids .......................................................................................................... 20

ANNEXE 1: Assessment Record Sheet for Grades 8 & 9 ........................................................ 21

ANNEXE 2: Assessment Record Sheet for Grade 10 .............................................................. 22

ANNEXE 3: Calculation of Class Average .............................................................................. 23

ANNEXE 4: Learner Summary Mark Sheet: Prepared Work .................................................. 24

ANNEXE 5: Learner’s Summary Mark Sheet: Prepared Work (Group) ................................. 25

ANNEXE 6: Learner’s Summary Mark Sheet: Unprepared Work (Group) ............................. 26

iv Integrated Performing Arts Syllabus Grades 8-10 NIED 2010

1 Integrated Performing Arts Syllabus Grades 8-10 NIED 2010

1. INTRODUCTION

The need for a truly Namibian model in the performing arts (with the inclusion of drama, music and dance) has been developed over the years. The syllabus that you now have in hand, is a combination of the many facets of the performing arts or "ngoma". Through the Integrated Performing Arts Curriculum, Namibian learners will have the opportunity to express their inner feelings and life experiences. Ngoma (the combination of music, drama and dance in the African context) are appropriate for school-based performing arts programmes because:

• It is inclusive of the whole community, not just those performing. In true ngoma (or

integrated arts) the audience is an active part of the performance and not passive onlookers. It is therefore not a passive experience but an active one for all involved. This again implies that the learning process will take place through DOING.

• A secure environment is created in which group members may learn and perform in

whatever capacity is appropriate at the time. Skills are developed and passed on over time. Assessment of these skills involves every person who has been engaged in the creative process from the initial idea to the final performance. These assessors may include performers, supporting technicians, instructors and the audience.

• It involves far more than just the development of performance skills. It also involves

ways of knowing the self and others on a spiritual and values level. While a skilled performance is undoubtedly valued, it is only one part of the entire experience for all present. So important are the connection to self and others that in traditional ngoma, the performances will be abandoned if the spiritual link between participants is not forged, even though the skills of those performing may be technically excellent.

While the concept of ngoma comes from African tradition, instruction in the performing arte need not exclude the skills and influences of art forms from other cultures. It is the role of the teacher and his or her ability to engage the students that will capture the spirit of ngoma. The teacher must be interactive, creating a safe environment where learners feel comfortable to explore and take risks; flexible, responding to the needs and interests of the learners; and creative, utilising community resources rather than relying on the textbook.

In the spirit of ngoma, the implementation of the Integrated Performing Arts syllabus will require that:

• The presentation of performing arts as an elective subject for grades 8-10 differs from

region to region and from school to school, depending on cultural environment, facilities, needs of the learners and the community, as well as the field of expertise (and restrictions) of the teacher;

• The teacher with a strong background in e.g. music, will adopt a facilitating role in

Drama and Dance, with assistance of local resource persons; • Certain topics within the various arts disciplines will need special attention, but the

borders dividing the three arts components should disappear to a large extent and elements and competencies common to all three are strongly explored.

Assessment of learners is not viewed as an isolated event at the end of term. It cannot be separated from learning. Instead assessment is an intrinsic and ongoing process, interwoven with the learning process. It is also no longer the sole responsibility of the teacher to assess learners. Learners should engage in assessment of their own learning


and in that of their peers as well.

The syllabus for Arts Core in the Junior Secondary Phase deals with DOING various things, cultivating deeper values. The end product of the syllabus will be learning and understanding, through DOING, KNOWING, and APPRAISING.

Only through involvement of all teachers, learners and artists in the community, will this venture be a success and will the Arts find its rightful place in the broad curriculum.

2. RATIONALE

Integrated Performing Arts provides a unique opportunity for the learner to rediscover meaning and value of a variety of cultural practices. It speaks to the whole person in ways no other subject can. It creates a stimulating yet secure environment for the learner to venture into new situations, learning through exploration, self discovery and self expression. This subject encourages an emphasis on Namibian cultures, without losing sight of the global role culture has to play in being human.

3. AIMS

Integrated Performing Arts provides opportunities for the learner to:

• develop an awareness of the importance of dance, drama and music as communal activities which foster personal growth and development

• develop performance skills in a secure and nurturing environment • find movement, musical or dramatic solutions to stimulating situations as an individual

or as part of a group • develop an understanding of and appreciation for the spiritual energy, meaning and

values in a variety of cultural practices within Namibia and beyond • value the contribution of each person to the overall success of a communal effort • discover the joy that dance, drama and music can bring to their lives • develop an awareness of the causes, consequences and prevention of social ills such as

violence and abuse, social and environmental issues (including HIV and AIDS). Through the above opportunities the learner can progress towards self knowledge and self growth.

4. COMPETENCIES AND LEARNING OUTCOMES

One of the most fundamental modes of human learning is through play, imitation, music, movement and visual expression. Before they start school, learners have a repertoire of acquired competencies, which when refined, become artistic expression. The areas where the acquired competencies are strongest will vary from learner to learner. During the Junior Secondary Phase nearly all learners will be able to achieve more than a minimum level of competence; some will be able to do much more. A few learners will need support teaching through adapted materials, flexible approaches, assistance from peers and individual attention by the teacher to reach the minimum competence. A very small number of learners have special educational needs to a degree which requires additional attention or resources. Some will have disabilities, which do not necessarily limit cognitive and affective learning and development (visually impaired, hearing impaired, physically challenged). The Arts lend themselves especially well to developing perception and expressive skills in learners with special educational needs. Teaching, materials and assessment for these learners should be more specifically adapted in inclusive classes.


5. PARTICULAR FEATURES OF THE SUBJECT AT THIS PHASE

Integrated Performing Arts is first and foremost an expressive, aesthetic and developmental subject. The content and competencies are generic. As the learner develops, the command of arts expression will become more sophisticated. It is important to constantly sustain and develop the learners’ interest in expressing themselves through the arts. Selected subject contents will be presented through formal teaching. Learners will be expected to learn through discovering and expressing. Learners will explore all the performing arts forms as an individual as well as in group situations.

6. GENDER ISSUES

Gender issues are not only a topic to be dealt with through artistic expression, but also through how the work is organized. Boys and girls have different ways of receiving and reacting to the world around them, and by working together in arts they can enrich each others’ ways of understanding and expressing themselves.

7. LOCAL CONTEXT AND CONTENT

By taking the learners’ own interests and questions as a point of departure, much of arts education will take on local content. The arts also provide many opportunities for contact with local artists, performers and crafts persons. African traditions in music, dance and drama are strong in some areas of Namibia. Close links with the community should make it possible to use local instructors and materials.

8. LINKS TO OTHER SUBJECTS AND CROSS-CURRICULAR ISSUES

The performing arts help learners to access their multiple intelligences. As such, the value of integrating music, dance, and drama into other subject areas can not be understated. The skilled teacher can help learners identify areas of interest from other subject areas such as Environmental Science, Religious Education, etc. to use as the subject of their performing arts compositions. Through the creation of performance pieces whether in music, dance, or drama, the learners will improve their understanding of the subject matter content. Adolescents are also consumed with big ideas. Through the creation of performing arts pieces, cross-curricular issues such as the environment, human rights, and democracy can be explored. Performing arts can also be used to help learners reflect on, grapple with and express complex feelings regarding death and illness caused by HIV and Aids, social issues such as alcoholism and violence, and gender equity issues. At its best, the performing arts can help learners to gradually build empathy and support for the victims and self-confidence, assertiveness and hope for themselves.

Role-play, mime and dramatisation are used as part of learner-centred teaching methods in other subjects. Developing the learners’ skills in these areas in arts will help improve their learning when using them in other subjects and thus enhance learning across the curriculum.


What follows below are examples only and are intended to guide teachers towards integrating these cross curricular issues. Teachers should add their own ideas and activities.

Cross-Curricular Issue Suggested ActivitiesEnvironmental Education

Play, mime, shadow play, puppet theatre, songs, story telling

HIV/AIDS Education

Play, poems, dance, songs, puppet theatre

Population Education Play, poems, dance, songs, puppet theatre Human Rights and Democracy Education

Stories, plays, dance, songs

Gender Equality Stories, plays, dance 9. APPROACH TO TEACHING AND LEARNING

The approach to teaching and learning is based on a paradigm of learner-centred education described in Ministry policy documents, curriculum guides, and the conceptual framework. This approach ensures optimal quality of learning when the following principles are put into practice. The aim is to develop learning with understanding, and the skills and attitudes to contribute to the development of society. The starting point for teaching and learning is the fact that the learner brings to school a wealth of knowledge and social experience gained continually from the family, the community and interaction with the environment. Learning in school must involve and extend the learner’s prior knowledge and experience. Learners learn best when they are actively involved in the learning process through a high degree of participation, contribution and production. At the same time, each learner is an individual with his/her own needs, pace of learning, experiences and abilities. The teacher must be able to sense the needs of the learners, the nature of the learning to be done, and how to shape learning experiences accordingly. Teaching strategies must therefore be varied but flexible within well-structured sequences of lessons. The teacher must decide, in relation to the learning objectives and competencies to be achieved, when it is best to convey content directly; when it is best to let learners discover or explore information for themselves; when they need directed learning; when they need reinforcement or enrichment learning; when there is a particular progression of skills or information that needs to be followed; or when the learners can be allowed to find their own way through a topic of area or content. Work in groups, in pairs, individually or as a whole class must therefore be organised as appropriate to the task in hand. Wherever possible, co-operative and collaborative learning should be encouraged and in such cases, tasks must be designed so that pair or group work is needed to complete it: otherwise, the learners will not see any relevance in carrying out tasks together. As the learners develop artistic, personal, social and communication skills, they can gradually be given increasing responsibility to participate in planning and evaluating their work, as well as the work of peers, under the teacher’s guidance. The objective of performing arts education is to introduce the various media of music, dance and drama as ways of expressing oneself and understanding the world. Teachers can select from a range of options and specialities and can add to the content where necessary. From the many varied activities suggested, teachers may select those which best suit the development of learners, and what they feel they can facilitate themselves, but must cover all the competencies. Within each of the three areas and topics, due regard must be given to starting with simpler activities and gradually increasing to more complex activities year by year.


Except where work has to be taught in a directed way (e.g. songs), work should be presented in such a way that there are no boarders between the three areas and project which integrate the arts (e.g. dance drama with masks and costumes or puppet theatre), should be encouraged. Time must be used to discuss what learners themselves are interested in around them. The arts can help learners explore and express their ideas, feelings and fears. They should be encouraged to use performing arts to develop their identity, to express joy and hope, and to celebrate, and also to deal with tough issues around them. The performing arts lend themselves to presentation to parents and the community. The arts also provide many opportunities to bring in or visit members of the community who are known for their skills, to expose the learners to practising artists. This should be done for motivational purposes, and not in such a way as to give the learners a feeling that they cannot do as well as the adults they see. This syllabus serves as a guiding document in the Namibian context, bearing in mind the level of training in specific subject areas, availability of teaching and learning materials, and learners’ background and school environments. It is the process of educating through the arts that should be emphasized, not necessarily the arts products in them. There are several reasons why the integrated approach to the performing arts has been adopted as the mode of implementation for performing arts subjects in Namibian schools at the Junior Secondary level. On a practical level, it is unlikely that schools will be able to find physical, time or human resources to teach music, dance and drama as separate subjects. On a pedagogical level, the integrated approach to performing arts is seen as a more effective way to fulfil the aims of arts education in schools. It allows learners to explore a variety of performing arts media and to identify those that they feel that they can use to develop themselves in the domains of listening, organising, performing, creating and appraising.

10. SUMMARY OF LEARNING CONTENT With the basic competencies in mind, during performing arts activities teachers should be aware of learner progression in the following aspects of learning: Listening

• Learners' aural alertness: recognition of and response to sounds when directed or on their own initiative

• Classification of sounds according to method of sound production • Recognition of differences of duration, pitch, dynamics, tone colour,

structure • Recognition of patterns • Aural memory span • Degree of recognition - large differences, subtle differences • Recognition of differences in style • Awareness of musical and social contexts of examples heard • Quality of sound and criteria for evaluating this

Organising

• Confidence in making decisions and solving problems • Fluency and style of expression in the performing arts • Flexibility in work patterns • Sense of appropriateness of creative choices • Awareness of the quality and effect of decisions made by others • Feeling for change and/or progress in the performing arts


Performing

• Inclusion of singing, playing, dancing, role play among performance activities

• Level of technical skill required in singing, playing, dancing, role play activities

• Performance with sensitivity and accuracy in ensembles (groups) • Confidence to perform effectively as a soloist as well as part of a

group • Understanding of written notation techniques for music, dance and

drama • Awareness of the roles of listening and inventiveness in performance

Creating • Ability to compose, choreograph, script original works • Ability to improvise or decorate using voice, instruments, movement • Inventiveness of compositional and arranging work • Develop effective means of recording created work

Appraising • Learners' enjoyment of performing art activities • Participation - when directed, self-directed, spontaneous • Learners' attempts to evaluate their own efforts • Development of preferences within the performing arts • Tolerance of the creative choices made by others • Empathy with music, dance, drama as forms of expression

Elements to be developed Elements of Performing Arts

Aspect

Rhythm

• length of sounds and silences • patterns of long and short sounds • beat - underlying, steady pulse • grouping of beats

Tempo

• speed of the beat - constant - relatively fast or slow - changes of speed

Pitch • comparatively high or low sounds • direction of pitch movement - up, down, same level • patterns - motifs, phrases, shape • melody - succession of pitched sounds • definite pitch - tuned sounds • indefinite pitch - unturned sounds

Texture • harmony - pitches sounded together • thick, thin layers • consonance, dissonance

Dynamics • relative loudness and softness • changes of loudness, contrast • emphasis - accent/articulation • climax • intensity

Tone Colour (Continued)

• sound production - blowing, hitting, plucking, scraping, clapping, vocalising, stamping, body percussion

• single or combined source of sound


Structure • design or form - unity, variety • repetition, contrast • motif, phrase, theme, section

Style • historical period • cultural influence - internal and external • geographical location • beliefs, customs, traditions • theatrical conventions • dress/costume/clothing/adornment • characteristic movement • genre/type • personal style (individuality)

Role • characterisation • making material appropriate to the audience • tableau • interview • questioning • hot seating • alter ego • simulation • role play • teacher in role • animator • child in role

Language • verbal - narrative, text/script, story telling, solo, choirs • non-verbal - mime, ritual, movement • subject terminology


11. LEARNING CONTENT Art is first and foremost a developmental rather than incremental subject, and is difficult (nor is it desirable) to try and prescribe a rigid progression. The content and competencies are generic, and as the learner develops, the command of art themes and expression should become more sophisticated. Themes Learning Objectives

The learners will:

Basic Competencies

The learners should be able to:

Listening • critically listen to performances given by themselves and others

• develop criteria in order to evaluate their listening • isolate sound events from each other in a performance describe specific sound events in a given performance using appropriate

terminology ( e.g. duration, pitch, quality, volume, entry of a new sound) • use sound as a raw material for

performance

• analyse the use of sound in the performing arts (to create mood/atmosphere, sounds capes sound effects, programmatic elements, etc.)

experiment with new sound-sources in order to achieve a desired effect • discriminate aurally between sounds • recognise and be able to name instrumental and vocal timbres

• classify instruments (according to the method of sound production) as chordophones, idiophones, membranophones, aero phones, electrophones

Organising

• develop performance notation skills • read semibreve, minimum, crotchet, quaver and dotted notes and rest in: 2. 3. 4. 6. 3. 4 4 4 8 8 • develop notation skills to record musical, choreographic and dramatic ideas

(including dialogue and action) • read at sight simple melodies in both the treble and bass clefs • identify and define standard notation symbols for pitch, rhythm, dynamics,

tempo articulation, expression, pulse-line notation and graphic notation. • analyse and describe their own

performances, as well as the performances of others

• analyse descriptions, dialogue, and actions to discover, articulate and justify character motivation and invent character behaviours based on the observation of interactions, ethical choices, and emotional responses of people

• demonstrate knowledge of the basic concepts of metre, rhythm, tempo, pitch, texture, dynamics, tone colour, structure, style, role and language

• identify and clearly demonstrate a range of movement qualities


Themes Learning ObjectivesThe learners will:

Basic Competencies The learners should be able to:

Organising (Continued) • analyse and construct meaning from improvised and planned performances and develop an awareness of the environment in which these performances occur

• articulate and support the meaning constructed from their own and others' performances

• explain the functions and interrelated nature of scenery, props, lighting, music, sound, in creating an environment-appropriate for performance

• analyse improvised and planned performances for technical requirements • develop thematic ideas for the environment using elements (line, texture,

colour, space, repetition, balance, emphasis, contrast, unity, variety) along with aural qualities (pitch, rhythm, dynamics, tempo, expression) from traditional and non-traditional sources

• describe and analyse the effect of the physical environment, publicity, programmes, and the like on audience response and appreciation of performances

• work collaboratively and safely to select and create elements as part of their performances

• develop an understanding of performance as a way to develop and communicate their own ideas

• articulate and demonstrate the importance of being able to create character through their performance

• observe and explain how different accompaniments (such as sound, music, the spoken word) can affect the meaning of a performance

• incorporate elements of dance, music and drama to express ideas and emotions in planned and improvised performances

• demonstrate and/or explain how various material traits can contribute to the meaning of a performance

• organise and direct rehearsals for improvised and planned performances

• lead small groups in planning dramatic, musical and movement elements of a performance and develop these using social, group and consensus skills

• develop research skills by using cultural and historical information to support improvised and planned performances

• use research from print and non print sources to script writing, writing/arranging music and songs, designing, choreographing, playing instruments, dancing and acting


Themes Learning Objectives

The learners will:


Performing • develop basic performance skills in drama, music and dance in order to fully participate in both improvised and planned performances

• demonstrate acting skills (such as sensory recall, concentration, breath control, direction, body alignment, control of isolated body parts) to develop characterisation that suggests artistic choices

• interact as the invented characters in an ensemble • sing accurately and with good breath control throughout their singing

ranges, alone and in small and large ensembles • perform with expression and accuracy a repertoire of dramatic, musical

and dance works of appropriate level including some works performed from notation/script and some from memory

• perform on at least one instrument accurately and independently, alone or ensembles, good posture, good position, and good technique

• perform music from diverse genres and cultures, with expression appropriate for the work being performed

• demonstrate the following movement skills and explain the underlying principles: balance, initiation of movement, articulation of isolated body parts, weight shift, elevation and landing, fall and recovery

• demonstrate increasing kinaesthetic awareness concentration, and focus in performing movement skills

• demonstrate accurate memorisation reproduction of movement sequences • understand the underlying principles

processes, and structures which go into successful performance

• clearly demonstrate the principles of contrast, repetition and transition in their performance work

• effectively demonstrate the process of re-ordering and chance • successfully demonstrate the structuring or form of performances • demonstrate the ability to work co-operatively in a small group during the

development of a performance



The learners will:


Performing (continued) • demonstrate and understand performances in various cultures and historical periods

• competently perform works from various cultures and describe similarities and differences in these performances, using a variety of performing arts activities

• learn from resources in their own community (such as people, books/scores, video and/or tape recordings) performance works of a different culture or time period and the historical/cultural context of that performance, effectively sharing the performance and its context with their peers

• accurately describe the role of performances in at least two different cultures or time periods

Creating • create (composing/arranging/ choreographing/ scripting) performance works (both planned and improvised within specified guidelines

• compose/choreograph original works (in a particular form, style, genre, instrumentation, compositional technique) that demonstrate how elements of music, drama and/or dance are used to achieve unity and variety, tension and release as well as balance

• arrange simple pieces for voice or instruments • use a variety of traditional and non-traditional materials when

composing/choreographing and arranging • improvise simple performance works in music, drama and dance • choreograph a dance that successfully communicates a topic of personal

significance, demonstrating sequence, development of ideas leading to climax and resolution, both as solo and part of a group

• through dramatic improvisation, create characters, environments and actions that show tension, conflict and resolution

• refine and record improvised ideas in the form of a scripted (written) dramatic work


Themes Themes

Learning Objectives The learners will:


Appraising • appraise their own performances and the performances of others

• develop criteria for evaluating the quality and effectiveness of performances by others and apply these criteria to their own performances

• evaluate the quality and effectiveness of their own and others' performances, compositions, arrangements, improvisations, by applying specific criteria appropriate for the style of the performance and offer constructive suggestions for improvement

• describe and evaluate the perceived effectiveness of other learners' contributions (as playwrights, musicians, dancers, actors, composers/arrangers, designers, directors, choreographers) to the collaborative process of developing improvised and planned performances

• understand and value the relationships between the performing arts (music, dance and drama) and also the relationships with other disciplines outside the performing arts

• identify and appreciate the ways in which the characteristic materials of different art forms (that is, sound in music, visual stimuli in visual art, movement in dance, and human relationships in drama) can be used to transform similar events, scenes, emotions, or ideas into performances

• compare and contrast the presentation of characters, environments and actions in each of the performing arts

• express and compare personal reactions to the various performing arts forms

• describe the ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of the performing arts

• understand the performing arts in relation to history and culture

• describe distinguishing characteristics of representative performing arts genres and styles from a variety of cultures

• classify by genre and style a variety of exemplary performances and explain the characteristics that cause the performance to be considered exemplary

• compare in several cultures of the world, the functions the performing arts serve, the roles of performing artists and the conditions under which the performing arts typically occur



The learners will:


Appraising (continued) • understand the role the performing arts play in their community and in other cultures

• describe and compare universal characteristics of performances from and about various cultures and historical periods and illustrate these in performance. Discuss how the performing arts reflect a culture.

• explain the knowledge, skills, and discipline needed to pursue careers and non-vocational opportunities in the performing arts

• analyse the emotional and social impact of the performing arts in their lives, in the community and in other cultures

• explain how culture affects the content and production values of performances

• explain how social concepts such as co-operation, communication, collaboration, consensus, self-esteem, risk-taking, sympathy and empathy apply in the performing arts and daily life


12 ASSESSMENT A learner-centred curriculum and learner-centred teaching use a broad range of knowledge and skills, which are relevant to the knowledge-based society. The basic competencies in the syllabuses state what understanding and skills a learner must demonstrate because of a teaching-learning process, and which will be assessed. However, it is intended that the curriculum be learning-driven, not assessment and examination driven. Assessment and examination are to support learning. 12.1 Continuous assessment In order to capture the full range and levels of competence, a variety of formal and informal continuous assessment situations is needed to give a complete picture of the learner’s progress and achievements in all subjects. Continuous assessment must be clear, simple and manageable, and explicitly anchored in learner-centred principles and practice. Teachers must elicit reliable and valid information of the learner’s performance in the basic competencies. The information gathered about the learners’ progress and achievements should be used to give feedback to the learners about their strong and weak points, where they are doing well, and why, and where they need to try more, how, and why. The parents should be regularly informed about the progress of their child in all subjects, be encouraged to reward achievements, and given suggestions as to how they can support their learning activities. The learner’s progress and achievements in all subjects must be reported to parents on the school report. 12.2 Formative and summative assessment The two modes of assessment used are formative continuous assessment and summative assessment. Formative continuous assessment is any assessment made during the school year in order to improve learning and to help shape and direct the teaching-learning process. Assessment has a formative role for learners if and when:

- it is used to motivate them to extend their knowledge and skills, establish sound values, and to promote healthy habits of study

- assessment tasks help learners to solve problems intelligently by using what they have learned - the teacher uses the information to improve teaching methods and learning materials

Summative assessment is an assessment made at the end of the school year based on the accumulation of the progress and achievements of the learner throughout the year in a given subject, together with any end-of-year tests or examinations. The result of summative assessment is a single end-of-year promotion grade. 12.3 Informal and formal methods The teacher must assess how well each learner masters the basic competencies described in the subject syllabuses and from this gain a picture of the all-round progress of the learner. To a large extent, this can be done in an informal way through structured observation of each learner’s progress in learning and practice situations while they are investigating things, interpreting phenomena and data, applying knowledge, communicating, making value judgements, and in their participation in general.

When it is necessary to structure assessment more formally, the teacher should as far as possible use the same sort of situation as ordinary learning and practice situations to assess the competency of the learner. The use of formal written and oral tests can only assess a limited range of competencies and therefore should not take up a great deal of time. Short tests in any subject should be limited to part of a lesson and only exceptionally use up a whole lesson. End-of-term tests should only be written in the first lesson of the day, so that teaching and learning can continue normally for the rest of the time.

In Grade 10 a mock examination may be held to learn examination skills and to identify areas of the syllabus which may need extra attention. Mock examinations only serve a useful purpose if they are used as a learning experience in how to organise oneself, how to read the paper, how to interpret and answer examination-type questions, and how to allocate time in an examination. This involves the teacher going through the paper systematically with the class when their answers are returned.


12.4 Evaluation Information from informal and formal continuous assessment is to be used by the teacher to know where it is necessary to adapt methods and materials to the individual progress and needs of each learner. At the end of each main unit of teaching, and at the end of each term, the teacher together with the learners should evaluate the process in terms of tasks completed, participation, what the learners have learnt, and what can be done to improve the working atmosphere and achievements of the class.

12.5 Criterion-referenced grades When grades are awarded in continuous assessment, it is essential that they reflect the learner’s actual level of achievement in the Basic Competencies, and are not related to how well other learners are achieving or to the idea that a fixed percentage of the learners must always be awarded a Grade A, B, C, and so on (norm-referencing). In criterion-referenced assessment, each letter grade must have a descriptor for what the learner must demonstrate in order to be awarded the grade. Grade descriptors must be developed for each subject for each year. It is important that teachers in each department/section work together to have a shared understanding of what the grade descriptors mean, and how to apply them in continuous assessment, so that grades are awarded correctly and consistently across subjects. Only then will the assessment results be reliable.

12.6. Grade descriptors in the Junior Secondary Phase In the Junior Secondary phase, grades A-G and U (ungraded) apply as follows:

12.7 Conducting and recording assessment Continuous assessment should be planned and programmed at the beginning of the year, and kept as simple as possible. Marks given for class activities, practical activities, project work, assignments, homework, and short tests on completion of a topic may be recorded for continuous assessment. Non-promotional subjects in the Upper Primary and Secondary grades should be assessed through informal continuous assessment methods and letter grades awarded directly. These grades must be reported to the parents on the termly school report, but will not count for promotion purposes.

Grades Mark range Grade descriptor

A 80%+ Achieved Basic Competencies exceptionally well. The learner is outstanding in all areas of competency.

B 70-79% Achieved Basic Competencies very well. The learner is highly proficient in most areas of competency.

C 60-69% Achieved Basic Competencies well. D 50-59% Achieved Basic Competencies satisfactorily.

E 40-49% Achieved a sufficient number of Basic Competencies to exceed the minimum competency level.

F 30-39% Achieved the Basic Competencies needed to be considered competent. The learner needs learning support.

G 20-29% Achieved the minimum number of Basic Competencies worthy of a grade. The learner needs learning support

U 0-19% Did not achieve the minimum level of competence. The learner needs learning support


12.8 Assessment Objectives The assessment objectives for Integrated Performing Arts are: A. Understanding Learners should be able to understand the performance possibilities of text and other stimuli. B. Devising

Learners should be able to demonstrate the ability to devise dramatic material and reflect on its effectiveness.

C. Performing Skills

Learners should demonstrate performing skills in Dance, Drama and Music.

12.9 Continuous Assessment: Detailed guidelines Continuous assessment at Junior Secondary level consists of informal and more formal assessment. The table in 11.9.2 specifies how formal assessments are required for assignments, projects and shorter tests, in order to give an overall picture of the learner’s knowledge and skills. 12.9.1 Types of Continuous Assessment The nature of this course requires that assessment be both ongoing and shared between learners and teachers. At the first lesson learners should be clearly informed of how their assessment will take place over the period of the 3 year course. Just as the approach to the teaching of this course varies from that of other subject areas, so too must the approach to assessment. Each of the following areas should be completed after every theme. These marks are then added together and expressed as a percentage with the same weightings in order to arrive at the year mark. Assessment Record Sheets are included at the back of this syllabus (Annexes 2 & 3). Performance All learners will be required to participate in a performance at the end of each theme. Performances can be varied depending on the theme and the particular student input. The important thing is to see how the student demonstrates his/her development in the theme based on their chosen method of presentation. Teachers, other learners, along with community members with particular skills can be involved in this assessment process. The important thing is to keep the learning objectives and competencies as key criteria in assessing the learners' performance work. Information from the assessment rubrics should be used to assess learners. (Annexes 4, 5; 6). Each learner will perform a solo prepared piece, a prepared piece in a group context and one unprepared piece in a group context. Each learner will perform two pieces for 70 marks each and one piece for 50 marks. Topic Tests Written tests should consist of questions that aim at assessing the learners' understanding of the subject area. Areas included in such tests would be historical, cultural and social background information, terminology, and other cognitive material learners have learned during the theme. The learners will write one topic test per term.


Journal Learners will keep a journal each week of their personal responses to the activities, and the concepts being developed. It is hoped that these reflections will help learners to discover their areas of strength and weakness. The journal offers the teacher a unique opportunity to see into these processes as they happen. The content of the journal should be as wide as possible. Lesson notes, ideas for music, dance, drama activities, drawings, photographs, compositions, reviews, magazine and newspaper cuttings, a glossary of terms used, even tape recordings are acceptable. The more creative and diverse the effort is the better. It needs to be clearly organised so that the teacher can see the progression of ideas. The teacher should be reading and commenting on the journal on an ongoing basis, both to make sure that the learner is doing his or her journal and to ask questions and give comments that will guide the learner towards deeper reflection, and increased clarity and creativity. The journal will be assessed by the teacher on the following criteria: Content: are all the group's activities included, along with ideas and personal reflections? Clarity: are the ideas well thought out and clearly expressed in words/drawings, etc? Creativity: do the ideas show evidence of a progression of new ideas? The journal will formally be assessed in the third trimester. 12.9.2 Summary of Continuous Assessment Tasks

CONTINUOUS ASSESSMENT GRADES 8 & 9

COMPONENTS TERM 1 TERM 2 TERM 3

Number & Marks Total Number

& Marks Total Number & Marks Total

Performances 1×70 70 1×70 70 1×50 50

Topic Tests 1×30 30 1×30 30 1×30 30

Journal 1×20 20

Term Marks 100 100 100 Weighted Term Marks 100 100

CONTINUOUS ASSESSMENT GRADE 10

COMPONENTS TERM 1 TERM 2

Number & Marks Total Number &

Marks Total

Performances 1×70 70 1×50 50

Topic Tests 1×30 30 1×30 30

Journal 1×20 20 Term Marks 100 100

Weighted Term Marks 100 100


12.10 End of year examinations: Detailed guidelines In Grades 8 and 9 there will be internal end-of-year examinations. As before, the purpose of these examinations is to focus on how well learners can demonstrate their thinking, communication, and problem-solving skills related to the areas of the syllabus, which are most essential for continuing in the next grade. Preparing for and conducting these examinations should not take up more than two weeks altogether right at the end of the year. There will be an external examination at the end of Grade 10. The purpose of the examination is to assess how far each learner can demonstrate their achievement in reaching the competencies as a preparation for everyday life and for further studies or training, and to what extent the system as a whole is enabling learners to achieve optimally.

WRITTEN EXAMINATION GRADES 8-10 Grade Description of papers Duration Marks

8

Paper 1 Section A: Musical Section B: Mime/Stage/Drama Section C: Silent Movies/Film Section D: Classical and Modern Music/ Music Instruments/Theory of Music Section E: Contemporary/Traditional Namibian Music and

Instruments Section F: Dance Section G: Poetry The paper consists of the seven sections above and each section consists of one or more questions of 5 to 20 marks each.

2 Hours 100

9


Instruments Section F: Dance Section G: Poetry The paper consists of the seven sections above and each section consists of one or more questions of 5 to 20 marks each.

2 Hours 100


Grade Description of papers Duration Marks

10


Instruments Section F: Dance Section G: Poetry The paper consists of the seven sections above and each section consists of one or more questions of 5 to 20 marks each. The content of sections to be examined will be communicated through a circular at the beginning of the year.

2 Hours 100

PRACTICAL EXAMINATION GRADES 8-10

Grade Description of papers Duration Marks8 Practical Performance: Individual performance (35 marks)

Group performance (35 marks) Unprepared group performance (30 marks)

2 Hours 100

9 Practical Performance: Individual performance (35 marks) Group performance (35 marks) Unprepared group performance (30 marks)

2 Hours 100

10 Practical Performance: Individual performance (35 marks) Group performance (35 marks) Unprepared group performance (30 marks)

2 Hours 100

12.11 Promotion marks In Grades 8-10, continuous assessment contributes 50% of the summative mark. The weighting of each assessment component is as follows:

COMPONENT DESCRIPTION MARKS WEIGHTING

Continuous Assessment Consist out of performance, topic tests and a journal. 200 50%

Written Examination Paper 1: Consist out of seven sections of various lengths 100 25%

Practical Examination Performance: Individual; group; unprepared. Each of the components will contribute about 8% of the total mark

100 25%

TOTAL MARKS (400÷4) 100

100%


The promotion marks are calculated as follows:

PROMOTION MARK FOR GRADES 8 & 9

Term Mark Term 1 Term 2 Term 3 Total 300 100 100 100

CA mark (300÷3)×2 200 End-of-year

examination (written) 100

End-of-year examination (practical) 100

Promotion Mark (400÷4) 100

PROMOTION MARK FOR GRADE 10

Term Mark Term 1 Term 2 Total 200 100 100

CA mark 200 End-of-year

examination (written) 100

End-of-year examination (practical) 100

Promotion Mark (400÷4) 100

12.12 Specification Grids The Specification Grids below indicate the weighting allocated to each objective for both Continuous Assessment and for the Written Examination.

1. Written Examination Weighting Assessment Objectives for Written Examination:

Objective A: Understanding 20% Objective B: Devising 30%

Objective C: Performing Skills 50% Total 100%

2. Continuous Assessment (CA) Weighting

Assessment Objectives for Continuous Assessment: Objective A: Understanding 20%

Objective B: Devising 20% Objective C: Performing Skills 60%

Total 100%


ANNEXE 1: Assessment Record Sheet for Grades 8 & 9 ASSESSMENT RECORD SHEET: INTEGRATED PERFORMING ARTS Grade: Year:

School: Teacher:

Term

Topi

c Te

st

Perf

orm

ance

Perf

orm

ance

Jour

nal

Tota

l

Tota

l CA

Mar

k

CA

Mar

k (3

00÷3

)

Prac

tical

Exa

min

atio

n

Writ

ten

Exam

inat

ion

Tota

l

Prom

otio

n M

ark

(200

÷2)

Name of Learner 30 70 50 20 100 300 100 50 50 200 100 1 2 3 1 2 3 1 2 3 1 2 3


ANNEXE 2: Assessment Record Sheet for Grade 10 ASSESSMENT RECORD SHEET:INTEGRATED PERFORMING ART Grade: Year: School: Teacher:

Term

Topi

c Te

st

Perf

orm

ing

Tota

l

Jour

nal

Perf

orm

ing

Tota

l

Tota

l CA

Mar

k

Ave

. CA

Prac

tical

Exa

m

Theo

ry E

xam

Prom

otio

n M

ark

Name of Learner 30 70 100 20 50 100 300 100 50 50 200

1 2 1 2 1 2 1 2 1 2 1 2


ANNEXE 3: Calculation of Class Average

Term 1 Total Mark: Class Average Mark: Class Average %: Class

Term 2

Total Mark: Class Average Mark: Class Average %: Class

Term 3

Total Mark: Class Average Mark: Class Average %: Class

Class Average %: for the year


ANNEXE 4 : Learner Summary Mark Sheet: Prepared Work Name of Learner…………………………. Grade:……………..

Prepared Work (individual) This individual presentation must cover the following aspects: • Drama • Music • Dance All the aspects do not have to be covered equally. The teacher must look at the following Maximum

MarkTotal

• Facial expression 5

• Body expression 5

• Voice production 5

• Use/interpretation of musical instrument 5

• Correct interpretation of work 5

• General standard/impression of presentation 10

Total 35


ANNEXE 5: Learner’s Summary Mark Sheet: Prepared Work (Group) Names of Learner’s: 1. ……………………………… Grade:…………….. 2. ……………………………… 3. ……………………………… 4. ………………………………

Prepared Work (Group) The teacher should note the following of the various group members

MaximumMark

Total

• Presentation of the group as a whole 10

• Interpretation of the theme 5

• Use of space and levels 5

• Correct application/interpretation of music 5

• Correct interpretation of movement/dance 5

• Dramatic interpretation 5

Total 35


ANNEXE 6: Learner’s Summary Mark Sheet: Unprepared Work (Group) Names of Learner’s: 1. ……………………………… Grade:…………….. 2. ……………………………… 3. ……………………………… 4. ……………………………… 5. ……………………………… 6. ………………………………

Unprepared Work (Group) The teacher should note the following of the various group members

MaximumMark

Total

• Presentation of the group as a whole 5

• Interpretation of the theme 5

• Use of space and levels 5

• Correct application/interpretation of music 5

• Correct interpretation of movement/dance 5

• Dramatic interpretation 5

Total 30

The National Institute for Educational Development P/Bag 2034 Okahandja NAMIBIA Telephone: +64 62 509000 Facsimile: + 64 62 509073 E-mail: [email protected] Website: http://www.nied.edu.na © NIED 2010

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MINISTRY OF EDUCATION JUNIOR SECONDARY PHASE