# Dance Studies Grade 11 Eastern Cape November 2014 Memo > Grade 11 Dance Studies memorandum from the Eastern Cape November 2014, 34 pages. Read online or get the free PDF download, question paper linked when available. - Page: https://www.hlayiso.com/library/dance-studies-memo/53142bc7-30cb-4f36-96ea-375d0f3b83a5 - Updated: 2026-09-27 - Subject: Dance Studies - Grade: Grade 11 - Document type: Memorandum - Year: 2014 - Exam period: Eastern Cape November - Curriculum: CAPS - Pages: 34 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 11](https://www.hlayiso.com/library/grade-11) › [Dance Studies](https://www.hlayiso.com/library/grade-11/dance-studies) › [Dance Studies Grade 11 Eastern Cape November 2014 Memo](https://www.hlayiso.com/library/dance-studies-memo/53142bc7-30cb-4f36-96ea-375d0f3b83a5) ## About this document Dance Studies · Grade 11 · Eastern Cape November · 2014. Memorandum, 34 pages. Read online or download the PDF. 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Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE GRADE 11 NOVEMBER 2014 DANCE STUDIES MEMORANDUM MARKS: 100 This memorandum consists of 17 pages. ### Page 2 Downloaded from hlayiso.com 2 DANCE STUDIES (NOVEMBER 2014) NOTE TO MARKERS/TEACHERS: In assessing a candidate’s work, the following aspects, among others, drawn from the assessment rubric, must be borne in mind.  In the examples of possible answers, a great deal more information has been provided as a resource for teachers and markers, than is expected from the candidates.  Bullets have been used in the memo to aid marking.  Refer to the Ability levels in the 'Focus Question' table below each question to determine high, medium or low cognitive levels expected in the answers.  Markers should not penalise students if the grammar or spelling used is incorrect. As long as the student's answer is clear, understandable and meets the marking criteria (e.g. the naming of muscles). However, they may not be awarded full marks for essay/paragraph type questions if there are grammatical and spelling errors and the answer is not written in the correct format, or meaningfully addresses the question.  In many of the qualitative questions that require detailed explanations, one tick does not always equal one mark. Half marks may be awarded. • Markers should avoid awarding full marks for a question when the answer is superficial and minimal.  Where the learners have made careless mistakes e.g. numbering, they should be penalised by 10% but the marker and moderator should decide whether the learner is answering the relevant question correctly.  Look for what the candidate knows, not what they do not know. Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 3 SECTION A: SAFE DANCE PRACTICE AND HEALTH CARE QUESTION 1 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS Social values/safe dance 1 2 3 LOW MEDIUM HIGH practice/peer pressure/ positive body image √ Remembering – 1.1 3 Analysing – 1.2 3 Application – 1.3 2 Evaluate – 1.4 2 NOTE TO MARKERS: Many possible answers may be given. Use professional judgment when assessing candidates’ answers. Bullets added to aid marking. EXAMPLES OF POSSIBLE ANSWERS: 1.1 Allocate 3 marks for facts relating to social values in class. Learners could give other facts not included in this answer.  Always show respect to your teacher.  Be kind to your classmates.  Remember to be thoughtful to other dancers’ feelings.  Respect yourself and others.  Always greet your teacher when entering the room, because it shows respect.  Get changed very quickly so that you do not waste time.  Be kind to your classmates so that you do not hurt their feelings.  Be considerate to others so that no-one gets hurt.  Be punctual so that you do not waste time.  Remember to bring your dance clothing and be neatly groomed.  To ensure that you are comfortable for moving and to prevent injuries, wear the correct clothing.  Keep your uniform clean and have self-respect.  Be consistent in your attendance so that you can progress.  Attend all your classes.  Concentrate and apply corrections.  Show an awareness of, and apply safe dance practice.  Refrain from talking to other learners during the lesson unless asked to. (3) Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com 4 DANCE STUDIES (NOVEMBER 2014) 1.2 Allocate 3 marks for an explanation of THREE factors that are guidelines to safe dance practice in the dance class. Learners could give other facts not included in this answer.  Wear the correct dance clothes and ensure that your dance clothes are clean and that you have a towel and separate bag for your dance clothes.  Get changed very quickly and start your own warm-up exercise, like jogging on the spot to warm the muscles.  A class always starts with a warm-up and ends with a cool down session.  Please do not wear any jewellery, as it could get caught on clothing, or scratch or injure your fellow dancers.  Chewing gum or sweets during dancing can make you choke.  Attempting big uncontrolled movements before you are warm, e.g. cartwheels, tumbles, splits, etc. can cause injury.  Avoid attempting movements you are unsure of/have not been taught or are above your level of ability.  Whilst others are dancing do not run across the dance floor.  Do not bump into others so that no-one gets hurt.  Maintain a good posture without slouching between exercises.  Consequences of poor behaviour may include detention/labour squad – cleaning the classroom or the school / paying a fine/20 push-ups, etc. (3) 1.3 Allocate 2 marks if the learner can explain how to avoid negative peer pressure. Learners could give other facts not included in this answer.  You need to have a positive image of yourself.  Choose friends who have similar values to yours and who can also say ‘NO’.  You can try to have inner strength and self-confidence to help you stand firm, walk away, and resist doing something when you know better.  Try to help others who might be facing peer pressure and struggling to cope with it.  Break the chain and be a leader. (2) 1.4 Allocate 2 marks if the learner can justify why a positive body image is important for developing confidence and pride in yourself. Learners could give other facts not included in this answer.  To develop confidence and pride in yourself.  You will feel at home in your body.  You will be able to resist unrealistic pressure to look like someone else.  You will feel more positive emotionally and physically. (2) [10] Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 5 THERE IS A CHOICE BETWEEN QUESTION 2 AND QUESTION 3. QUESTION 2 (CHOICE QUESTION) MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS 1 2 3 LOW MEDIUM HIGH Joints/bones √ Remembering – 2.1, 2.2 2 Application – 2.3, 2.4 4 Remembering – 2.5 2 Application – 2.5 2 NOTE TO MARKERS: Use professional judgement when assessing the quality of the answer. ANSWERS: 2.1 Hinge joint (1) 2.2 Ball and socket joint (1) 2.3 Flexion and extension (2) 2.4 Rotation, flexion, extension, abduction and adduction (2) 2.5 Any TWO types of bones and an example may be used. 2.5.1 Long bones – femur, tibia and humerus 2.5.2 Short bones – bones of the tarsus and carpus 2.5.3 Flat bones – scapula and breast bone 2.5.4 Irregular bone – the skull and hip bones 2.5.5 Sesamoid bones – patella (4) [10] OR Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com 6 DANCE STUDIES (NOVEMBER 2014) QUESTION 3 (CHOICE QUESTION) MEMO FOCUS OF QUESTION TOPICS ABILITY LEVELS 1 2 3 LOW MEDIUM HIGH Muscles/anatomical actions √ Remembering – 3.1 – 3.4 4 Application – 3.5 2 Application – 3.6 – 3.7 4 ANSWERS 3.1 Quadriceps (1) 3.2 Pectoralis major (1) 3.3 Gastrocnemius (1) 3.4 Trapezius (1) 3.5  Core stability will involve the muscles in the front (anterior) of the body:  Rectus Abdominus  Internal/external obliques  Transverse Abdominus  This will involve the muscles at the back (posterior) of the body:  Erector spinae  Multifidus  Gluteus muscles (2) 3.6 Flexion, extension and rotation (2) 3.7 Flexion, extension and rotation (2) [10] Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 7 QUESTION 4 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS 1 2 3 LOW MEDIUM HIGH Flexibility √ Remembering – 4.1 1 Application – 4.2 3 Remembering – 4.3 2 Analysis – 4.4 4 NOTE TO MARKERS: Use professional judgement when assessing the quality of the answer. Bullets are used to aid marking. EXAMPLE OF POSSIBLE ANSWERS: 4.1  Flexibility is broadly defined as range of movement (ROM) around a joint. It can be more accurately defined as freedom of movement (mobility) and an absence of restriction to movement (stiffness).  Flexibility is joint specific and is influenced by structural and functional factors. (1) 4.2  To increase your range of movement  To move freely with ease  To add ease and grace to all movements  To move the joints and body through its full range of movement  To avoid stress and tension on body parts (3) 4.3  Age, sex and body fat  Inactivity and disease  How you are built – your anatomical structure, bones and joints  Tightness of the ligaments.  Unable to increase the length of the muscles and tendons  Improper posture and alignment (2) 4.4  Always warm-up correctly  Work within your physical limitations  Follow with relevant stretching exercises – sustained stretch is preferred, especially in the early stages of activity. During a slow stretch, the brain can override the stretch reflex.  Breathing correctly while stretching is also important to help relax the body and override the stretch reflex.  To overcome muscle soreness and stiffness – follow a programme of gradual stretching at the beginning of an intense exercise period and to follow up with the same stretching regimen at the end of the class.  Stretching at the end of a class helps to reduce muscle tension.  Cool-down. (4) [10] Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com 8 DANCE STUDIES (NOVEMBER 2014) QUESTION 5 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS 1 2 3 LOW MEDIUM HIGH Safe landing/injuries √ Remembering – 5.1 1 Analysis – 5.2 3 Application – 5.3 2 Analysis – 5.4 4 ANSWERS: 5.1 You need to land through the foot – three quarter, half, quarter, lower the heel. (1) 5.2  Over exercising  Inflammation of tissues (tendons and muscles)  Stress on the tibia  Dancing on hard surfaces e.g. concrete (3) 5.3  Stretch out cramped muscles slowly.  Stop activity until cramps cease.  Drink fluids – water and electrolyte solutions. (2) 5.4 Allocate ½ a mark for the name and ½ for the explanation. R.I.C.E stands for: Rest – Ice – Compression – Elevation  Rest - helps the body with the healing process as energy is focused on healing.  Ice - should be applied to the area as soon as possible to decrease swelling.  Compression - is used when there is excessive bleeding to help stop the bleeding at the site of injury.  Elevation - is done to decrease swelling. (4) [10] TOTAL SECTION A: 40 Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 9 SECTION B: DANCE HISTORY AND LITERACY QUESTION 6 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS 1 2 3 LOW MEDIUM HIGH Cultural/theatrical √ dances/indigenous dance costumes/why we study dance from other cultures Remembering – 6.1 1 Remembering – 6.2 1 Analysis – 6.3 2 Analysis – 6.4 3 Evaluation – 6.5 3 NOTE TO MARKERS: Many possible answers may be given. Use professional judgment when assessing candidate's answers. Bullets are used to aid marking. POSSIBLE ANSWERS: 6.1  They are dances that are performed with the purpose of entertaining the audience.  These dances are done mostly by professional dancers/performers.  Classical ballet, contemporary dance and musical theatre are all examples of theatrical dance. (1) 6.2  Dance forms involve the members of the community that they represent.  The dances are passed on from generation to generation, telling the history and the culture they represent.  These dances join people together as they celebrate rites such as birth, initiation, marriage or death. (1) 6.3 Allocate 2 marks for any ONE type of cultural dance and an example.  Traditional dance: These are dances handed down from generation to generation by people belonging to that culture, e.g. the reed dance, Zorba Greek dances etc.  Indigenous dance: these are dances that originate where they are found, e.g. Pantsula dance (a township dance), the Rumba (from Brazil).  Social dance: these are dances that reflect popular trend of a certain time, like the disco dancing of the 1970’s. Another example is Hip-Hop which includes a wide variety of styles like breaking, locking and popping, Social dances are danced for a social occasion like parties, clubs, etc. (2) Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com 10 DANCE STUDIES (NOVEMBER 2014) 6.4 Below are some examples of costumes worn in indigenous dance. Many other examples may be given.  iBeshu (a skin buttock covering, worn by men, being the rear part of umutsha, a loin covering; extending to the knees)  isiShababa (a skin buttock covering, longer than ibeshu, extending to the calves of the legs)  umQhelo (a head dress of beads, or skin worn encircling the head)  iziNcabulela (sandles with straps made of leather, with soles cut from a car tyre) (3) 6.5  To understand other people’s culture, and to learn about their backgrounds.  To break any stereotypes which we might have toward another’s culture.  Allows us to see things from a different perspective and perhaps have a greater respect for that culture and its traditions.  We are also widening our knowledge about the world around us and this gives room for self-discovery.  This study will keep the traditions and symbolisms of that culture from dying out and therefore prolonging their lifespan.  It increases our own dance vocabulary. (3) [10] QUESTION 7 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS International 1 2 3 LOW MEDIUM HIGH Choreographer √ Remembering – 7.2 4 Analysis – 7.3 4 Evaluation – 7.4 4 Evaluation – 7.5 3 NOTE TO MARKERS: Use professional judgment when assessing the quality of the candidates answer. Candidates may have given more information in one section than in another. Evaluate the whole answer in context to what the candidate knows and award marks accordingly. No mark allocation for the name of the choreographer. Bullets are used to aid marking. ONE POSSIBLE ANSWER: 7.1 Christopher Bruce Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 11 7.2 Allocate 4 marks for a description of the choreographer’s training.  As a young boy he contracted polio, which damaged his legs.  His father encouraged him to dance believing it would help improve his legs and it could provide a good career.  He began taking classes at the Benson Stage Academy in Scarborough where he was taught ballet, tap and acrobatic dance.  Elements of all these early styles are evident in his choreography.  At the age of thirteen Bruce joined the Ballet Rambert School and was accepted into the Company in 1963.  At this stage it was primarily a ballet company. In 1966 the artistic director, Norman Morrice reformed Rambert to include contemporary work into the repertoire 7.3 Allocate 4 marks for a detailed discussion of his/her choreographic career.  Bruce’s choreographical talents were both inspired and encouraged by the Rambert Company.  The company had a reputation for nurturing young choreographers and the variety and experimentation of the work of the company stimulated Bruce’s natural talent.  He is recognised as the last choreographer to be nurtured by the company’s founder, Marie Rambert.  Bruce created his first work, George Frideric in 1969.  He choreographed a further twenty works for the company, and was assistant director and then associate choreographer.  Bruce was increasingly in demand as a choreographer all over the world.  He has built a relationship with the Nederlands Dance Theatre, Royal Danish Ballet and the Houston Ballet and has choreographed for musicals, operas, film and television.  From 1994 to 2002, Bruce was the director of the Rambert Dance Company and in this role he commissioned many new works by famous international choreographers such as Merce Cunningham (USA) and Jiri Kilian (Netherlands). 7.4 Allocate 4 marks for a detailed explanation of the choreographer`s characteristics of the dance style used in his/ her dance works.  His works usually have a clear theme and there is a strong sense of character, but room is left for individual interpretation.  “In a sense, my ballets have a narrative quality or some kind of subject matter.”  “However, it is often not a specific one-line narrative, but a layer of images which form a kind of collage and leave room for the audience’s imagination to work.”  Bruce has often dealt with political and social themes in his choreography and his work generally develops from a particular stimuli such as music, art or writing. Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com 12 DANCE STUDIES (NOVEMBER 2014)  In re-working his chosen theme into movement he abstracts the idea rather than interpreting it in a literal way.  Bruce has used a wide range of music from classical to folk to popular tunes.  In Rooster (1991) he used the music from the Rolling Stones.  Costume, lighting and design contribute to the development of his ideas but it is important to Bruce that these elements allow freedom of movement, and do not detract from the choreography.  Bruce’s movement vocabulary is drawn from classical ballet and contemporary dance, most notably the Graham technique which formed a large part of his training.  His choreography will draw on other dance styles namely folk and social dance and tap sequences depending on the ideas behind the work.  Everyday’ movements and gestures are incorporated and often used. (4) 7.5 Allocate 3 marks if the learner can justify what the choreographer contributed to world of dance.  Christopher Bruce is one of Britain's leading choreographers, working with both classical and contemporary companies throughout the world.  In June 1998 Christopher Bruce’s role as one of Britain’s leading choreographers in both ballet and contemporary companies was acknowledged as he was awarded a CBE for a lifetime of service to dance.  He has popularised dance for a broad audience and continues to produce exceptional choreography.  He has developed a vast repertoire of works that companies are still using today.  He continues to have great success as a choreographer and is known for his skill in grafting folk dance steps into balletic movement vocabulary, and his use of social themes as a source of inspiration for dance works. (3) [15] QUESTION 8 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS South African 1 2 3 LOW MEDIUM HIGH choreographer/dance √ work Remembering – 8.2 5 Application – 8.3 3 Application – 8.4 4 Evaluation – 8.5 3 Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 13 NOTE TO MARKERS: Use professional judgment when assessing the quality of the candidates answer. Candidates may have given more information in one section than in another. Evaluate the whole answer in context to what the candidate knows and award marks accordingly. No mark allocation for the name of the choreographer and dance work. Bullets are used to aid marking. ONE POSSIBLE ANSWER: 8.1 Alfred Hinkel – Bolero/Last Dance 8.2 Allocate 5 marks for a detailed description of the story/synopsis.  Bolero is a work that has traced a fairly political path, Bolero has continually transformed through the process of being reworked on each of the several occasions that it has been staged.  The original version was about, “overcoming prejudice,” and focused specifically on the Immorality Act – arguably the most controversial of the legislative acts of the South African Apartheid government which attempted to forbid intermixing of couples of different races.  The costumes for this version were tie-dyed T-shirts – gum boots had not yet been introduced to the piece.  Then, in the 1980s, various artists boycotted the Grahamstown Festival and held an alternative, non-segregated festival at the Durban University of Westville.  This was an era of imminent violence during which the South African government declared a national ‘State of Emergency’.  The volatile, turbulent tone of the era reflected in Hinkel’s 1987 version of Bolero is augmented by the addition of gum boots.  Hinkel said, “The dance with the gum boots came from a working class people, mostly miners and dock workers. The boots represented oppression. They were the shackles that bound not only those being oppressed directly, but also those bound by ignorance.” (5) 8.3 Allocate 3 marks for a detailed explanation of the costume.  ‘Costume design’, is perhaps a deceptive term when referring to the first version of Bolero on the tape. In this version the dancers seem to be donning studio wear, in varying colours and styles.  In the following version of Bolero, costume design has clearly been considered. All of the dancers, save one, are wearing outfits of a similar style and the same colour: black.  In the following versions, black is the colour of choice. The costumes that Hinkel refers to as the, “S & M Version,” consist of imitation leather skirts, black fishnet tights, suspenders, black bras and metal chains. Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com 14 DANCE STUDIES (NOVEMBER 2014)  The leather look makes a bold statement in the all-female version of Bolero, suggesting that women are strong beings.  In other versions, both men and women wear leather skirts which could be interpreted as an indication of gender equality.  In Jazzart’s collaboration with CAPAB, costume design and lighting complement each other in that the reflective characteristic of the materials used on the costumes, enable the audience to see the essential movement taking place when lighting is dim or has a dark filter.  The costume design of the performance of Last Dance is arguably a perfect marriage of individuality and consistency. As in the first version on the tape, each dancer is wearing a unique costume but in this case individual costumes seem to have been considered more carefully as there is a degree of cohesion in the appearance of the cast as a whole.  Bolero, as it was staged at the Spier Amphitheatre makes the most effective use of costume and lighting design. The costumes are not entirely uniform and yet the individuality does not compartmentalise dancers (3) 8.4 Allocate 4 marks if the learner includes the composer/artists/genre/ instrumentation used.  This dance work originally took its title from the music title – Bolero written by Maurice Ravel.  The music score is written for a full orchestra and requires many instruments.  It is classical with a Spanish flavour.  The structure of Bolero is remarkably simple.  It consists principally of a single melody repeated with different orchestrations for each repetition.  The melody played in C-major by the flutes begins the piece piano (softly).  A snare drum simultaneously pounds a rhythm which is sustained throughout the piece.  Toward the end of the piece, two drums are played in unison.  Bolero makes good use of counterpoint.  The melody is passed between different instruments.  The accompaniment broadens until the full orchestra is playing forte (loudly) at the end. (4) 8.5 Allocate 3 marks if the learner can substantiate what has made this dance work innovative.  While it may not be innovative by today’s standards, Bolero was a novelty in its time. Hinkel’s work featured elements seldom (or never) seen on stage before:  African dance was staged as performance art Previously, African dance had been viewed as a quaint tourist attraction. The staging of the earlier versions of Bolero was vital in asserting a recognised place for African contemporary dance in the world of South African performance art.  African dance was set to classical music Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 15  Gumboots were worn by women and in particular, white women One needs to appreciate that gum boot dancing arose from, “a working class people, mostly miners and dock workers,” and that it was not a practice performed by women, let alone white women. Thus, when the female cast of Bolero, marched proudly onto stage, they crossed a cultural and societal threshold.  Gumboots were used in an ‘avant-garde’ way. Traditionally performed with a bent back, Hinkel demonstrated how an established technique could be manipulated for creative purposes when his dancers were seen performing their own, upright version of gum boot dancing.  The contact work featured in Bolero was very innovative for its time. One version of the contact work was unquestionably an exploration of homosexuality – a controversial issue in the light of the country’s historical context. Bolero comes from a time when the conventions of the society was not openly defied. The traditional roles of men and women were disregarded. In Bolero, men lift men, women lift women, women lift men and so on. The traditional roles of the male and female were turned upside down when Hinkel’s piece subversively suggested that women were entitled and able to initiate action and assume leadership and that men could feel weak and vulnerable.  Bolero made bold political assertions. In the earlier versions of Bolero, Hinkel intended to say things that were not meant to be said (this almost became one of Jazzart’s policies) about politics, abuse, sexuality etc. (3) [15] Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com 16 DANCE STUDIES (NOVEMBER 2014) QUESTION 9 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS Music elements/ 1 2 3 LOW MEDIUM HIGH instruments/categories √ Application – 9.1 – 9.5 5 Remembering – 9.6 – 9.8 3 9.1 Tempo (1) 9.2 Beat (1) 9.3 Duration (1) 9.4 Polyrythms (1) 9.5 Pace (1) 9.6 Trumpet/trombone (1) 9.7 Flute/recorder/pan pipe (1) 9.8 Drum/cymbals (1) [8] QUESTION 10 MEMO: FOCUS OF QUESTION TOPICS ABILITY LEVELS Job titles/performance 1 2 3 LOW MEDIUM HIGH space/space in dance √ Remembering – 10.1 5 Application – 10.2 4 Application – 10.3 3 10.1 10.1.1 C (1) 10.1.2 E (1) 10.1.3 B (1) 10.1.4 A (1) 10.1.5 D (1) Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com (NOVEMBER 2014) DANCE STUDIES 17 10.2 10.2.1 Centre stage (1) 10.2.2 Theatre in the round (1) 10.2.3 Upstage (1) 10.2.4 Wings (1) 10.3  Space is one of the elements used in improvisation.  There are different types of space, like: o Negative space – the unoccupied space surrounding the body. o General space – the space you share with other people. o Positive or personal space – the space around the body, or the space your body takes up while still or moving. (3) [12] TOTAL SECTION B: 60 GRAND TOTAL: 100 Copyright reserved Please turn over ### Page 18 (NOVEMBER 2014) DANSSTUDIES 17 10.2 10.2.1 Middel-verhoog (1) 10.2.2 Ronde-verhoog (1) 10.2.3 Agter-verhoog (1) 10.2.4 Vlerke (1) 10.3  Ruimte is een van die elemente wat gebruik word in improvisering.  Daar is verskillende tipes van die ruimte, soos: o Negatiewe ruimte – die ongebruikte ruimte rondom die liggaam. o Algemene ruimte – die ruimte wat jy met ander mense te deel. o Positief of persoonlike ruimte – die ruimte rondom die liggaam, of die ruimte wat jou liggaam in neem wanneer jy stil is of terwyl jy beweeg is. (3) [12] TOTAAL AFDELING B: 60 GROOTTOTAAL: 100 Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 19 16 DANSSTUDIES (NOVEMBER 2014) VRAAG 9 MEMO: FOKUS VAN VRAAG ONDERWERP VERMOËNSVLAKKE Musiekelemente/ 1 2 3 LAAG MEDIUM HOOG instrumente/kategorieë √ Toepassing – 9.1 – 9.5 5 Herkenning – 9.6 – 9.8 3 ANTWOORD: 9.1 Tempo (1) 9.2 Maat (1) 9.3 Duur (1) 9.4 Poliritmes (1) 9.5 Spoed (1) 9.6 Trompet/tromboon (1) 9.7 Fluit/blokfluit/panfluit (1) 9.8 Trom/simbale (1) [8] VRAAG 10 MEMO: FOKUS VAN VRAAG ONDERWERP VERMOËNSVLAKKE Werktitels/opvoerings 1 2 3 LAAG MEDIUM HOOG ruimte/ruimte in dans √ Herkenning – 10.1 5 Toepassing – 10.2 4 Toepassing – 10.3 3 10.1 10.1.1 C (1) 10.1.2 E (1) 10.1.3 B (1) 10.1.4 A (1) 10.1.5 D (1) Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 20 (NOVEMBER 2014) DANSSTUDIES 15  Rubberstewels word deur vroue en in die besonder deur wit vroue gedra. ʼn Mens moet besef dat die dans met rubberstewels gekom het van “werkersklasmense, meestal myners en dokwerkers”, en dat dit nie iets was vroue gedoen het, veral nie wit vroue nie. Toe die vrouedansers van Bolero dus met koppe hoog op die verhoog opstap, steek hulle ʼn kulturele en maatskaplike drumpel oor.  Rubberstewels word op ʼn ‘avant-garde’-manier gebruik. Tradisioneel word die dans met ʼn geboë rug uitgevoer, maar Hinkel demonstreer hoe ʼn bestaande tegniek gemanipuleer kan word vir skeppende doeleindes toe hy sy dansers hul eie, regop weergawe van rubbersteweldans laat uitvoer.  Die kontakwerk wat in Bolero voorkom is baie innoverend vir sy tyd. Een weergawe van die kontakwerk was ʼn besliste verkenning van homoseksualiteit – ʼn kontroversiële kwessie gesien die land se historiese konteks. Bolero kom uit ʼn tyd toe die konvensies van die gemeenskap nie openlik teëgegaan is nie. Die tradisionele rolle van mans en vroue word verontagsaam. In Bolero tel mans mans op, vroue tel vroue op, vroue lig mans op, ensovoorts. Die tradisionele rolle van die man en die vrou word omgekeer toe Hinkel se werk op ʼn revolusionêre manier voorstel dat vroue geregtig en in staat is om aksie te inisieer en leierskap te aanvaar, en dat mans swak en weerloos kan voel.  Bolero maak sterk politieke stellings.  In die vroeëre weergawes van Bolero het Hinkel dinge oor politiek, mishandeling, seksualiteit ens. gesê wat nie bedoel was om gesê te word nie (dit het byna ʼn Jazzart-beleid geword). (3) [15] Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 21 14 DANSSTUDIES (NOVEMBER 2014)  Die leervoorkoms maak ʼn sterk stelling in die net-vroue weergawe van Bolero, deur te suggereer dat vroue sterk is.  In ander weergawes dra beide mans en vroue leerrompe wat ʼn aanduiding van geslagsgelykheid kan wees.  In Jazzart se medewerking met KRUIK komplementeer kostuumontwerp en beligting mekaar in dié sin dat die reflekterende eienskappe van die materiale wat op die kostuums gebruik word, die gehoor in staat stel om die essensiële beweging te sien plaasvind wanneer die beligting dof is of ʼn donker filter het.  Die kostuumontwerp van die opvoering van die Last Dance is sonder twyfel ʼn volmaakte huwelik van individualiteit en konsekwentheid. Soos met die eerste weergawe op die band, dra elke danser ʼn unieke kostuum, maar in hierdie geval lyk dit asof daar met meer aandag na die individuele kostuums gekyk is, aangesien daar ʼn mate van kohesie in die voorkoms van die groep as geheel is.  Bolero, soos opgevoer by die Spier Amfiteater, maak die mees effektiewe gebruik van kostuum- en beligtingontwerp. Die kostuums is nie heeltemal uniform nie, en tog plaas die individualiteit die dansers nie in kompartemente nie. (3) 8.4 Ken 4 punte toe as die leerling die komponis/kunstenaars/genre/ instrumente insluit.  Hierdie danswerk het oorspronklik sy titel ontleen van die musiektitel – Bolero, geskryf deur Maurice Ravel.  Die partituur is geskryf vir ʼn volle musiekorkes en vereis baie instrumente.  Dit is ʼn klassieke werk met ʼn Spaanse gevoel.  Die struktuur van Bolero is merkwaardig eenvoudig.  Dit bestaan hoofsaaklik uit ʼn enkel melodie wat herhaal word met verskillende orkestrasies met elke herhaling.  Die melodie in C-majeur deur die fluite begin die stuk met piano (sag).  Terselfdertyd slaan ʼn snaardrom die ritme wat deurgaans volgehou word.  Nader aan die einde van die stuk word twee dromme gelyktydig (almal saam) gespeel.  Bolero maak goeie gebruik van kontrapunt.  Die melodie word tussen verskillende instrumente oorgedra.  Die begeleiding brei uit totdat die volle orkes in forte (hard) speel teen die einde (4) 8.5 Ken 3 punte toe as die leerling kan bewys wat hierdie danswerk innoverend maak.  Hoewel dit volgens vandag se standaarde nie innoverend is nie, was Bolero op sy tyd ʼn nuwigheid. Hinkel se werk word gekenmerk deur elemente wat selde (indien ooit) voorheen op die verhoog gesien is:  Afrika-danse word as verhoogkuns opgevoer Afrika-danse is voorheen beskou as ʼn rare toeriste-aantrekking. Die opvoering van die vroeëre weergawes van Bolero was kardinaal in die vestiging van ʼn erkende plek vir Afrika kontemporêre dans in die wêreld van die Suid-Afrikaanse uitvoerende kunste.  Afrika-danse word op klassieke musiek getoonset Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 22 (NOVEMBER 2014) DANSSTUDIES 13 NOTA AAN NASIENERS: Gebruik professionele oordeel wanneer die kwaliteit van die kandidate se antwoorde geassesseer word. Kandidate het dalk meer inligting in een afdeling as in ʼn ander gegee. Evalueer die hele antwoord om te assesseer wat die kandidaat weet en gee punte daarvolgens. Geen puntetoekenning vir die naam van die choreograaf en die danswerk nie. Kolpunte word gebruik om merk te vergemaklik. EEN MOONTLIKE ANTWOORD: 8.1 Alfred Hinkel – Bolero/Last Dance 8.2 Ken 5 punte toe vir ʼn gedetailleerde beskrywing van die storie/ sinopsis.  Bolero, ʼn werk wat ʼn redelike politieke pad volg, word voortdurend verander soos dit verwerk word vir elk van die geleenthede waartydens dit opgevoer word.  Die oorspronklike weergawe gaan oor die “oorwinning oor vooroordeel”, en fokus spesifiek op die Ontugwet – ongetwyfeld die mees kontroversiële van al die wette van die Suid-Afrikaanse apartheidsregering, toe daar probeer is om die vermenging van paartjies van verskillende rasse te verbied.  Die kostuums vir hierdie weergawe was knoopgedoopte T-hemde – rubberstewels is nog nie op daardie stadium gebruik nie.  Toe, in die 1980’s, boikot verskeie kunstenaars die Grahamstad Kunstefees en hou ʼn alternatiewe, nie-gesegregeerde fees by die Universiteit van Durban Westville.  Dit is ʼn tydperk van dreigende geweld waartydens die Suid-Afrikaanse regering ʼn nasionale “noodtoestand” afkondig.  Die plofbare, onstuimige toon van die era soos weerspieël in Hinkel se 1987-weergawe van Bolero word aangevul deur die toevoeging van rubberstewels.  Hinkel het gesê: “Die dans met rubberstewels het gekom van die werkersklasse, meestal myners en hawewerkers. Die stewels het verdrukking verteenwoordig. Hulle was die toue wat nie alleen dié wat onderdruk was gebind het nie; maar ook dié wat was deur onkunde gebind.” (5) 8.3 Ken 3 punte toe vir ʼn gedetailleerde verduideliking van die kostuums.  “Kostuumontwerp” is miskien ʼn misleidende term wanneer ʼn mens na die eerste weergawe van Bolero op die band verwys. In hierdie weergawe kom dit voor asof die dansers ateljeedrag in wisselende kleure en style aanhet.  In die volgende weergawe van Bolero is daar duidelik aandag aan die kostuumontwerp gegee. Al die dansers behalwe een dra uitrustings in dieselfde styl en kleur: swart.  In die volgende weergawes is swart ʼn keusekleur. Die kostuums waarna Hinkel verwys as die “S & M Version” bestaan uit nagemaakte leerrompe, swart visnetkouse, kousbande (suspenders), swart bra’s en metaalkettings. Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 23 12 DANSSTUDIES (NOVEMBER 2014)  In die verwerking van sy gekose tema in beweging abstraheer hy die idee eerder as om dit op ʼn letterlike manier te interpreteer  Bruce gebruik ʼn wye verskeidenheid musiek in sy werke, vanaf klassieke werke tot populêre deuntjies.  In Rooster (1991) het hy musiek van die Rolling Stones gebruik.  Kostuums, beligting en ontwerp dra by tot die ontwikkeling van sy idees maar dit is belangrik vir Bruce dat hierdie elemente bewegingsvryheid toelaat en nie afbreuk doen aan die choreografie nie.  Bruce se bewegingskat word uit klassieke ballet en kontemporêre dans gehaal, veral die Graham-tegniek wat ʼn groot deel van sy opleiding gevorm het.  Sy choreografie kom uit ander dansstyle, naamlik volksdanse en sosiale dans en klopdans reekse afhangende van die idees agter die werk.  ‘Alledaagse’ bewegings en gebare word ook geïnkorporeer en gebruik (4) 7.5 Ken 3 punte toe as die leerling kan regverdig wat die choreograaf bygedra het tot die danswêreld.  Christopher Bruce is een van Brittanje se vernaamste choreograwe, en werk saam met beide klassieke en kontemporêre maatskappye regoor die wêreld.  In Junie 1998 was Christopher Bruce se rol as een van Brittanje se vernaamste choreograwe in beide ballet en kontemporêre geselskappe erken deur dat hy ʼn CBE vir ʼn leeftyd se diens aan dans ontvang het.  Hy het dans meer gewild gemaak vir ʼn breë gehoor en gaan voort om uitstekende choreografie te produseer.  Hy het ʼn groot dansregister van werke ontwikkel wat geselskappe tot vandag nog gebruik.  Hy gaan voort om groot sukses as ʼn choreograaf te verwerf en is bekend vir sy vaardigheid om volksdanspassies in balletbeweging woordeskat te omskep, en sy gebruik van sosiale temas as ʼn bron van inspirasie vir danswerke. (3) [15] VRAAG 8 MEMO: FOKUS VAN VRAAG ONDERWERP VERMOËNSVLAKKE Suid-Afrikaanse 1 2 3 LAAG MEDIUM HOOG choreograaf/danswerk √ Herkenning – 8.2 5 Toepassing – 8.3 3 Toepassing – 8.4 4 Evaluering – 8.5 3 Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com ### Page 24 (NOVEMBER 2014) DANSSTUDIES 11 7.2 Ken 4 punte toe vir ʼn beskrywing van die choreograaf se opleiding.  As jong seun doen hy polio op, wat sy bene beskadig.  Sy vader moedig hom aan om te dans, omdat hy glo dat dit sou help om sy bene te herstel en ʼn goeie loopbaan kon wees.  Hy begin klas neem by die Benson Verhoogakademie (Stage Academy) in Scarborough, waar hy onderrig kry in ballet, klop- en akrobatiese dans.  Elemente van al hierdie vroeë style is in sy choreografie sigbaar.  Op die ouderdom van dertien sluit hy by die Ballet Rambert School aan, en word in 1963 in die Geselskap opgeneem.  Dit is op hierdie stadium hoofsaaklik ʼn balletgeselskap. In 1966 oortuig die artistieke direkteur, Norman Morrice, Rambert om kontemporêre werke in die repertoire op te neem. (4) 7.3 Ken 4 punte toe vir ʼn gedetailleerde bespreking van sy/ haar choreografiese loopbaan.  Bruce se choreografie-talente word deur die Rambert-geselskap geïnspireer en aangemoedig.  Die geselskap het ʼn reputasie vir die voeding en koestering van jong choreograwe gehad, en die verskeidenheid en eksperimentering in die werk van die geselskap stimuleer Bruce se natuurlike talent.  Hy word beskou as die laaste choreograaf wat deur die geselskap se stigter, Marie Rambert, opgelei is.  Bruce skep sy eerste werk, George Frideric, in 1969.  Hy choreografeer nog twintig werke vir die geselskap, en was assistent- direkteur en daarna mede-choreograaf.  Bruce word oor die hele wêreld toenemend as ʼn choreograaf gesog.  Hy bou ʼn verhouding op met die Nederlandse Dansteater, Koninklike Deense Ballet en die Houston Ballet Geselskappe, en choreografeer vir musiekblyspele, operas, film en televisie.  Van 1994 tot 2002 was Bruce die direkteur van die Rambert Dansgeselskap en in hierdie rol gee hy opdrag vir baie nuwe werke deur beroemde internasionale choreograwe soos Merce Cunningham (VSA) en Jiri Kilian (Nederland). (4) 7.4 Ken 4 punte toe vir ʼn gedetailleerde verduideliking van die choreograaf se karaktertrekke of die dansstyl wat gebruik word in sy/ haar danswerke.  Sy werke het gewoonlik ʼn duidelike tema en daar is ʼn sterk gevoel van karakter maar ruimte word gelaat vir individuele interpretasie.  “In ʼn sekere sin het my balletwerke ʼn verhalende kwaliteit of tipe onderwerpmateriaal.  Dit is egter dikwels nie ʼn spesifieke een-reël narratief nie, maar eerder lae beelde wat ʼn soort collage vorm en wat ruimte laat vir die gehoor se verbeelding om te werk.  Bruce hanteer dikwels politieke en sosiale temas in sy choreografie en sy werk ontwikkel dikwels vanuit ʼn bepaalde stimuli soos musiek, kuns of skryfwerk. Kopiereg voorbehou Blaai om asseblief Downloaded from hlayiso.com Text truncated here. 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