# Dramatic Arts Grade 12 NSC June 2025 Memo (English) > Grade 12 Dramatic Arts memorandum from the NSC June Exam 2025 (English), 44 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/dramatic-arts-may-june-2025-mg-eng/1ca47d26-a583-48d4-b7e6-350802a91a45 - Updated: 2026-09-27 - Subject: Dramatic Arts - Grade: Grade 12 - Language: English - Document type: Memorandum - Year: 2025 - Exam period: NSC June Exam - Curriculum: CAPS - Pages: 44 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Dramatic Arts](https://www.hlayiso.com/library/grade-12/dramatic-arts) › [Dramatic Arts Grade 12 NSC June 2025 Memo (English)](https://www.hlayiso.com/library/dramatic-arts-may-june-2025-mg-eng/1ca47d26-a583-48d4-b7e6-350802a91a45) ## About this document Dramatic Arts · Grade 12 · NSC June Exam · 2025 · English. Memorandum, 44 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 SENIOR CERTIFICATE EXAMINATIONS/ NATIONAL SENIOR CERTIFICATE EXAMINATIONS DRAMATIC ARTS MAY/JUNE 2025 MARKING GUIDELINES MARKS: 150 These marking guidelines consist of 42 pages and 2 annexures. Copyright reserved Please turn over ### Page 2 Dramatic Arts 2 DBE/May/June 2025 SC/NSC – Marking Guidelines GENERAL NOTES FOR THE CHIEF MARKER AND MARKERS 1. The purpose of assessment/examination processes is not only to measure the content, concepts, skills, knowledge, techniques, cognitive processes and complexity of thinking learnt by candidates. It is also to determine the complexity of the thinking process the candidate applies to the content 2. The tool to assess the two components, cognition and thinking, is Anderson and Krathwohl's revised Bloom's Taxonomy. This taxonomy is designed to measure: • 6 cognitive levels of difficulty • 4 thinking processes of complexity 3. Markers: • Spend the first day unpacking the quality and quantity of the evidence in the marking guidelines. • Find common definitions and concepts • Assimilate and standardise the: o Expected responses for each question o Cognitive level of difficulty/complexity required from the candidate o Type of thinking process and complexity of thinking required from the candidate o Action verbs used at each of the cognitive levels and the type of evidence required (content, concepts, skills, knowledge, techniques, cognitive processes and complexity of thinking) 4. Tick clearly next to the required content, concepts, skills, knowledge, techniques, cognitive processes and complexity of thinking evidence from the candidate when a mark is awarded. 5. Engage actively with the answer 6. Refer to the rubrics in the annexures at the end of the marking guideline to ensure the marking is fair, valid and reliable and measured against clear criteria 7. Have regular rounds of consultation during the marking process, to ensure marking remains standardised 8. The marking guidelines cannot predict all responses. Provincial markers must take this into account and be receptive to candidates' unique responses 9. Accept other correct, relevant, well-motivated/explained/described and focussed answers which reflect the candidates' knowledge, understanding, application, analysis, evaluation and creative application/thinking of Dramatic Arts' content, concepts, knowledge, skills, techniques and complexity of thinking in relation to the question 10. The Dramatic Arts question paper consists of short, medium and long essay questions which in some instances require candidates to provide content to support their own personal, unique and subjective opinions, viewpoints, reasoning or experiences and apply original and creative thinking. 11. Mark holistically and with an all-inclusive view and accept any correct and relevant answers other than what might be in the guideline 12. Check that candidates' responses align with the Curriculum Assessment Policy Statement's four Broad Topics and Grade 10/11/12 Topics, Content (concepts, skills and knowledge) and with the specific question demands 13. Note the marking guideline may not always have all options for an answer. Make a short comment next to the candidates answer if you awarded a mark to content that might not be in the marking guideline, but is relevant 14. New or inexperienced markers' marking and marks must be moderated throughout the marking process by either the Chief Marker or Internal Moderator. Copyright reserved Please turn over ### Page 3 Dramatic Arts 3 DBE/May/June 2025 SC/NSC – Marking Guidelines 15. Markers marks do not necessarily decide where the final pre-determined Tolerance Range is effected. When a markers script/question/s are remarked or moderated, the Chief Marker and Internal Moderator may change where the Tolerance Range is effected. 16. All markers must be rigorously trained to be able to analyse and apply Blooms Taxonomy and the rubrics to candidates' answers to determine a fair, valid and reliable mark. 17. Markers must not be trained only at the start of the marking process. Training must be conducted throughout the marking process from the first day until the last. Copyright reserved Please turn over ### Page 4 Dramatic Arts 4 DBE/May/June 2025 SC/NSC – Marking Guidelines STANDARDISATION OF MARKING ACROSS THE PROVINCES Marking the Essay and Response Questions The chief marker in each province must clarify the paradigm from which the questions and the accompanying marking guidelines were designed and set: 1. Item difficulty (Question): How complex/difficult is the design of the actual question/item itself? 2. Task difficulty (Marking guideline): What is the complexity/difficulty of the cognitive level and thinking process required from the candidate? 3. Stimulus difficulty (Source): How complex/difficult or easy is it to understand and apply the source? 4. Expected response difficulty expected from the answer: What is the quantity (how much) and quality (how well) of the expected response required from the candidate, as provided in the marking guidelines? Does it align with the question, task and stimulus? Are the marks appropriately weighted and allocated? – Leong: 2002 In the training of markers at the beginning of the marking process, the chief marker in each province must: • Ensure there is standardisation of the scoring of candidates' answers and responses for each part of the examination • Standardise the national marking procedures, processes and results • Follow the procedure below: Interrogate the item (question) and task (marking guidelines): o Read the question and determine the level of complexity and difficulty of the design of the question: low, middle, or high level o Read the task (marking guidelines) and determine what content is required from the candidate to answer the question. Summarise the content o Share response plans and summarise expectations for learner responses. o Share not only the quantity of evidence (how much), but also the quality of evidence (how well) Facilitate the training of the marker on the marking guidelines and the rubrics o Review the rubric with reference to the item and the task o Review the procedures for assigning holistic scores (i.e. by matching evidence from the response to the language of the rubric and by weighing all qualities equally) Practise marking individually o Mark a set of training scripts individually o Markers must score the papers independently The chief marker/internal moderator must record the markers' scores and must lead the discussion. (Training scripts should contain scores and commentaries.) Copyright reserved Please turn over ### Page 5 Dramatic Arts 5 DBE/May/June 2025 SC/NSC – Marking Guidelines SECTION A: 20th CENTURY EUROPEAN THEATRE MOVEMENTS QUESTION 1 The candidate must: • Answer this question in the form of an essay. Refer and integrate the following: • The information contained in SOURCE A • The play text you studied • The relevant 20th Century Theatre Movement you studied (Theatre of the Absurd OR Epic Theatre OR Postmodern Theatre) • The question • Demonstrate that the question and source have been understood, analysed, applied, evaluated and integrated into their essay • Contextualise rote learnt knowledge in an original argument which displays factual, contextual, procedural and metacognitive thinking Markers' note: • Candidates must demonstrate that the above have been understood and critically analysed and applied in their essay • The rubric is a guide to the marker to assess the: o Cognitive levels (remembering, understanding, applying, analysing, evaluating and creating) o Complexities of thinking displayed by the candidate (factual, conceptual, procedural, metacognitive) • All the questions' levels, elements and instructions must be considered when the essay is marked • To award a fair, valid and reliable mark, markers must be competent in the meaning and application of Anderson and Krathwohl's Revised Bloom's Taxonomy as well as the design, purpose, use and application of a rubric's: o Criteria (skills, knowledge, concepts, techniques and content) o Level descriptors o Word descriptors o Action verbs o Cognitive levels o Thinking processes • Markers must be trained rigorously how to identify, use and apply all six of the cognitive levels as well as the four thinking processes to measure candidates' achievement • Match learner responses/evidence to the criteria in the rubric and weigh all qualities and quantities as applicable to the level descriptors Copyright reserved Please turn over ### Page 6 Dramatic Arts 6 DBE/May/June 2025 SC/NSC – Marking Guidelines DESCRIPTOR MARKS THE CANDIDATE 'S RESPONSE DEMONSTRATES AN ABILITY TO: • Cognitive level and thinking process: Create, discover, renew, change in an outstanding manner with metacognitive thinking about 27–30 the content Outstanding • Argument: 90–100% Create a new, unique and differentiated argument which shows reflexive, creative, critical Metacognitive and analytical thinking on an outstanding level A+ • The dramatic movement, play text, question and source: Create Use and contextualise outstanding additional sources from the play text, the theatre movement in an outstanding manner. Examples are from the play text and the theatre movement within an expansive range of insightfully chosen content • Cognitive level and thinking process: Judge, critique, and evaluate in an excellent manner with metacognitive thinking about the content Excellent 24–26 • Argument: Compile an argument in an interesting pattern which shows evidence of reflective, critical Metacognitive 80–89% and analytical thinking on an excellent level • The dramatic movement, play text, question and source: Evaluate A Use and contextualise outstanding additional sources from the play text and the theatre movement in an excellent manner. Examples are from the play text, the theatre movement within a significant range of appropriately chosen content and additional sources • Cognitive level and thinking process: Infer, deconstruct concepts, discover in a meritorious manner with procedural thinking about Meritorious 21–23 the content • Argument: Procedural 70–79% Compile an argument which shows critical and analytical thinking on a meritorious level • The dramatic movement, play text, question and source: Analyse B Use and contextualise examples from the play text, the theatre movement or other additional sources within a broad range of appropriately chosen content and additional sources • Cognitive level and thinking process: Substantial 18–20 Apply, construct, integrate on a substantial level with procedural thinking about the content • Argument: Procedural 60–69% Compile an argument which shows critical and analytical thinking on a substantial level • The dramatic movement, play text, question, and source: Apply C Integrate examples from the play text, the theatre movement or other additional sources within a substantial range of chosen content • Cognitive level and thinking process: Adequate 15–17 Interpret, exemplify, classify on an adequate level with conceptual thinking about content • Argument: Conceptual 50–59% Compile an argument which shows understanding and conceptual thinking on an adequate level Understand D • The dramatic movement, play text, question and source: Provide adequate examples from the play text within a general range of predictable content • Cognitive level and thinking process: Moderate 12–14 Explain on a moderate level with conceptual thinking about content • Argument: Conceptual 40–49% Compile an argument which shows an explanation and thinking on a moderate level • The dramatic movement, play text, question and source: E Use a few examples from the play text, the theatre movement or other additional sources Understand within a limited range of content • Cognitive level and thinking process: Elementary 10–11 Identify, list, define on an elementary level with limited factual thinking about content • Argument: Factual 30–39% Write an essay which shows basic thinking on an elementary level • The dramatic movement, play text, question and source: Remember F Select a few examples from the play text, the theatre movement or other additional sources • Cognitive level and thinking process: Not Achieved 1–9 On a limited level identify, list with limited factual thinking about content • Argument: Factual 20–29% Write facts on a predictable limited level • The dramatic movement, play text, question and source: Remember G Provide ideas or information, but on a limited level • Cognitive level and thinking process: 0 No information. Unable to express thoughts in words • Argument: Not Achieved 0–19% An inability to compile a basic essay, identify, list, relate and provide sufficient facts • The dramatic movement, play text, question and source: H No evidence of any factual knowledge TOTAL SECTION A: 30 Copyright reserved Please turn over ### Page 7 Dramatic Arts 7 DBE/May/June 2025 SC/NSC – Marking Guidelines SECTION B: SOUTH AFRICAN THEATRE: 1960–1994 The candidate must answer only ONE question in this section. QUESTION 2: WOZA ALBERT! BY PERCY MTWA, MBONGENI NGEMA AND BARNEY SIMON 2.1 Markers accept relevant answers which demonstrate an understanding of the aims of Protest Theatre. Award full marks for: • Two well-identified statements OR • Four separate thoughts/ideas The following is a guide: The aims of Protest Theatre are to: • Protest against society's ills (problems) such as racism, discrimination, violence, poverty etc. • Create awareness of the social political issues faced by the people • Train and educate people on serious issues in society, education, health etc. • Call people to action and change of the socio-political issues faced by them • Mobilise (encourage) people to protest against society's problems and take action • Remind people of their struggle heroes to inspire and motivate them to take action (protest/stand/resist) (4) 2.2 Markers accept relevant answers which demonstrate an understanding of relevant subject matter of contemporary Protest Theatre. Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas The following is a guide: Contemporary socio-political issues might include: • Gender-based violence • Human trafficking • Homelessness • Abuse (psychological, emotional, financial, physical, sexual etc.) • Forced geographical removals • Racism • Xenophobia (4) Copyright reserved Please turn over ### Page 8 Dramatic Arts 8 DBE/May/June 2025 SC/NSC – Marking Guidelines 2.3 Markers accept relevant and well-explained answers which demonstrate an understanding, knowledge, application and analysis of the value of improvisation in the creation of new scenes. Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas The following is a guide: The value of improvisation is that: • The whole cast can be involved in the creation process • It frees the actor to be imaginative and creative • It integrates a group of actors who work together with each other • Views and opinions of a group of people, rather than one individual, can be included • A variety of ideas can be generated • It develops characterisation, listening skills and creativity • The play's structure can be as varied as the talents of the group because of the collective input of the group • A script can be created as and while the actors improvise scenes • Changes can be implemented immediately (4) 2.4 Markers accept relevant and well-described answers which demonstrate a knowledge, understanding, analysis and application of a new scene created and selected by the candidate. • Mark holistically The following is a guide: An example of a new scene might be: • A Nigerian hairdresser is violently removed from her business by a local gangster who threatens her and who mocks the inability of the police to do anything about it • Vigilantes, gangsters and thugs run riot in some areas, creating fear and intimidation • Songs could be sung as cries of the heart from and for victims of xenophobia, abuse, forced geographical removals and gender-based violence. The songs can be a call to other people to heal the situation, the community, the society, the country and the world (4) Copyright reserved Please turn over ### Page 9 Dramatic Arts 9 DBE/May/June 2025 SC/NSC – Marking Guidelines 2.5 Markers accept relevant and well-considered answers which demonstrate a knowledge, analysis and evaluation of whether or not Poor Theatre may still be the most suitable style of performance for the new production. Accept either positive, negative or both responses to the statement. • Mark holistically The following is a guide: Poor Theatre may be suitable because it: • Does not need for an elaborate set, costumes, lighting and props. Costs are kept to a minimum • Is easy to stage anywhere because there are little or no set requirements to transport at an expense • Can be performed in any empty space, making it versatile and adaptable wherever it might be staged • Might only need a few actors to portray a variety of- or many characters Poor Theatre may not be suitable when a Director wants to use: • A large venue such as a stadium. This may not be helpful to Poor Theatre because the performance might become 'lost' in a large space • Recorded sounds/live music. This is not a practice of Poor Theatre because as a style it utilises the physical and vocal skills of the actors • Elaborate costumes, lighting and props in conjunction with mixed media. Poor Theatre in contrast focusses on the instrument of the actor: voice, body and emotions (6) 2.6 Markers accept relevant and well-motivated answers which identify, analyse and evaluate how the image in Source B might be a suitable poster to advertise the new production. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: The image in Source B might be a suitable poster to advertise the new production because: • The image contains a placard (poster) which suggests the contents of the play • The words on the placard communicate information to audiences, both the past (pre-1994) and the present • The poster indicates that the target audience is both young and old. The poster communicates information which an older generation will relate to. It also speaks to the youth. They might relate to the young men in the poster The image in Source B might not be a suitable poster to advertise the new production because: • It does not contain all the relevant information needed • The venue where the play will be staged is not specified • The length of the play's run, with specific dates and times are not provided Copyright reserved Please turn over ### Page 10 Dramatic Arts 10 DBE/May/June 2025 SC/NSC – Marking Guidelines • Contact details for further enquiries are not provided e.g. group bookings, ticket prices, phone numbers, web address for bookings, etc. • The poster is not visually appealing for the current generation of audience members as it does not give much information and is not detailed in its design • Other information about the production, including the names of the cast members and director are not included on the poster (4) 2.7 Markers accept relevant and well-discussed answers which demonstrate a knowledge, understanding, analysis and evaluation of how Woza Albert! is used as an 'effective non-violent weapon for change in our society'. Award full marks for: • Two well-discussed statements OR • Four separate thoughts/ideas The following is a guide: The original play can still be used as an effective non-violent weapon for change because it: • Uses live theatre performance which is non violent • Uses entertainment, satire, laughter, song and dance to reveal the problems in society • Uses characters who are recognised in real life to communicate the problems in society • Creates awareness of what is happening in society through the use of education. It reveals to audiences the difficult and traumatic situations and issues people faced during apartheid • Creates an understanding and new revelations about current socio-political situations which could be protested against • Encourages all citizens to rise up and fight against the injustices of racism, the after-effects of apartheid and other contemporary socio-political issues • Voices social concerns and identifies and communicates what should change in society • Explores themes which are still relevant today, e.g. poverty, unemployment, discrimination • Provides reasons for people to stand up against problems in society The play cannot still be used as an effective non-violent weapon for change because it: • Is no longer relevant because apartheid has been dismantled and the socio- political issues are being attended to • Might incite violence in audiences because it uses provocative and emotive language and action, such as toyi-toyi • Might make the socio-political situation in the country worse because it encourages people to rise up and fight against the injustices of racism, the after-effects of apartheid and other current socio-political contemporary issues • Incites (creates) anger and dissatisfaction in the audience because of their current difficult socio-political circumstances and conditions. (4) Copyright reserved Please turn over ### Page 11 Dramatic Arts 11 DBE/May/June 2025 SC/NSC – Marking Guidelines 2.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify, analyse and evaluate how Woza Albert! is still a relevant story today. The following is a guide: The historical and theatrical impact of Woza Albert! on audiences might be that: • The play can be viewed as a living newspaper documenting our history • It highlights important information and issues about apartheid, such as racial inequality, unemployment, poverty and homelessness etc. • It teaches us important lessons about our country's recent history, such as apartheid, so that we do not make the same mistakes again • Facets of society's problems during apartheid were revealed in the play, e.g. victimisation based on racism, socio-political inequality and divisions • It contains universal characters, themes, situations and messages which speak to all people, e.g. the need for human dignity and equality • It is still relevant to audiences in its content and subject matter e.g. discrimination, unfair labour practices, poverty • Audiences can easily identify with the stereotypical characters through the actors' theatrical interpretations on stage • The use of characterisation, music, dance and drama still appeals to people of all generations • Comedy is universally accessible (physical and verbal) • It is entertaining because the performance style and creativity of the genre, contains singing, dancing, mime etc. • It is exciting because the visual and aural imagery such as the clown noses and ideophones are unpredictable. Each live performance is unique (10) [40] Copyright reserved Please turn over ### Page 12 Dramatic Arts 12 DBE/May/June 2025 SC/NSC – Marking Guidelines QUESTION 3: SOPHIATOWN BY JUNCTION AVENUE THEATRE COMPANY 3.1 Markers accept relevant answers which demonstrate a knowledge of how Sophiatown the place got its name. Award full marks for: • One well-explained statement OR • Two separate thoughts/ideas The following is a guide: Sophiatown the place got its name from: • An investor Herman Tobiansky who bought the land and named it after his wife Sophia (2) 3.2 Markers accept answers which demonstrate a knowledge and understanding of Sophiatown, the place, as it was in the 1950s. Award full marks for: • Two well-described statements OR • Four separate thoughts/ideas The following is a guide: Sophiatown was: • A vibrant (lively) place where people from all walks of life (various races and cultural backgrounds) lived together in harmony. The unity defied the then apartheid government that believed that people should be categorised according to their cultural backgrounds, and people of mixed races could not live together • Rife with crime. It was home to gangsters (e.g. the Berliners, Americans etc.) who aggressively marked their territories and some terrorised the community • Overcrowded e.g. Mamariti's house. House owners rented out their properties to as many tenants as possible to earn more income • Known as the Chicago of South Africa. Many people, especially gangster members mimicked the American way of life which they saw in the movies • A place where people could meet and enjoy each other's company without the fear of being harassed by the apartheid policemen. Journalists, musicians, poets, etc. would meet up and share their common interests (4) 3.3 Markers accept answers which demonstrate knowledge, understanding, evaluation and analysis of how the characters of Mingus and Charlie and their actions might be seen as funny (humorous). Award full marks for: • Two well-explained statements OR • Four separate thoughts/ideas Copyright reserved Please turn over ### Page 13 Dramatic Arts 13 DBE/May/June 2025 SC/NSC – Marking Guidelines The following is a guide. The characters of Mingus and Charlie and their actions might be seen as funny (humorous) because: • The comic duo with strong differences between the characters Mingus and Charlie provoke humour. This is similar to the mechanism used in Laurel and Hardy. Mingus is smooth, chatty, sophisticated and a ladies' man, whereas Charlie, his sidekick is often physically and socially awkward, clumsy and quiet • The physical actions of Charlie are sometimes exaggerated, unexpected and awkward e.g. Charlie's constant polishing of Mingus' and others' shoes shows his obsession with shoes and is often an action/habbit which is inappropriate at the time • The subservient attitude of Charlie who follows Mingus around like a puppy. This is incongruous (out of place) as Charlie's physical stance and subservient attitude toward Mingus is uncalled for and provides an awkward physical contrast which audiences might find peculiar and laugh • Portrayal of the gangsters by Charlie and Mingus shows their idea of how they think gangsters and gang leaders should look and act • The use of stereotypes and caricatures of gangsters by Mingus and Charlie, such as mannerisms, movement, facial expression and style, were exaggerated • The overbearing and bossy attitude of Mingus who orders Charlie around and Charlie's compliant attitude in following the orders duly even when they are unreasonable e.g. finding a bath tub in a township for Ruth can be humorous (4) 3.4 Markers accept relevant and well-motivated answers which demonstrate knowledge, evaluation, understanding and analysis of how Sophiatown is a snapshot of history and is filled with humour, music and dance. Award full marks for: • Three well-motivated statements OR • Six separate thoughts and ideas The following is a guide: Sophiatown the play is a snapshot of history because it: • Reveals to us how the area Sophiatown came into existence. A rich investor bought land and sold it to people of all races. This defied the apartheid government's laws on the ownership of land. Herman Tobiansky sold his land to whoever had money to buy • Provides detailed information of what was happening during the apartheid era. Sophiatown was a haven for violent gangsters. It was also a place of extreme poverty, alcoholism and depression. This led to some of its most brilliant leaders dying before their time • Highlights the forced removals of people from their homes • Celebrates artists, intellectuals, musicians who lived there, e.g. Hugh Masekela, Miriam Makeba, etc. Copyright reserved Please turn over ### Page 14 Dramatic Arts 14 DBE/May/June 2025 SC/NSC – Marking Guidelines Sophiatown the play is filled with humour because: • Mamariti's reaction to Ruth's unexpected arrival is humorous. She was not aware of the advert Jakes had placed in Drum magazine • Mamariti's agrees to Ruth staying because she will pay rent and can buy alcohol, a mischievous reason to give Ruth a place to stay • Lulu and Ruth imitate Mingus and Princess coming from the movies. They make fun of the couple Sophiatown the play is filled with music and dance because: • The opening scene contains music. The cast/actors is led into song by Jakes, singing about the various names of Sophiatown (Kofifi etc.) • The cast/actors also dance to the song before breaking out to portray their characters • There are other scenes in which the cast/actors sing and dance to create various moods and to drive the story by commenting on the action, e.g. the song about Meadowlands tells the audience about people who were classified as black and forcibly removed to this area of Soweto (6) 3.5 Markers accept relevant and well-analysed answers which demonstrate an understanding and analysis of how Sophiatown highlights the issue of personal identity through the characters of Ruth and Jakes. Award full marks for: • Four well-analysed statements OR • Eight separate thoughts/ideas The following is a guide: Personal identity is explored when: Ruth: • Identifies herself as being Jewish • Informs the rest of the characters about the Jewish Passover and the significance of the wine as a sign of the blood that was placed on the doors of all Jewish people in Egypt so that their homes would be 'passed over' and their first born sons would be spared from death • Questions her identity in terms of her religion (Jewish), race (white), nationality (South African), place of residence (Yeoville or Sophiatown). She is trying in vain to classify herself because it is at the same time as the government imposed a racial classification on all citizens Jakes: • Explains that he identifies himself differently each time he is confronted by the gang members who normally ask him to recite some Shakespeare for their amusement as he is viewed as an intellectual and a journalist • States that he no longer knows who he is anymore because of the changing from one identity to the other, depending on who he talks to. He feels adequate as a journalist but inadequate in Ruth's company Copyright reserved Please turn over ### Page 15 Dramatic Arts 15 DBE/May/June 2025 SC/NSC – Marking Guidelines Ruth and Jakes: • Ruth and Jakes represent millions of South Africans who were victims of race classification based on the Immorality Act and Mixed Marriages Act during apartheid. Inter-racial relationships were forbidden • Felt attracted to one another. But could not agree to a relationship. • Ruth was classified as white and Jakes was classified as black (8) 3.6 Markers accept relevant and well-motivated answers which demonstrate knowledge, understanding, analysis and an evaluation of the play text being recommended for learners. Candidates may give a positive or negative response. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas The following is a guide: Sophiatown might be recommended as a play text because: • It has humour, song and dance which most audiences might find entertaining • The themes are still relevant for today's society, e.g. racism, inequality, forced geographical removals, crime, gangsterism, high rates of unemployment, parents wanting their children to get a good education • It is a reference of our history as a country and cautions against the dangers of history repeating itself. This is done through the themes and messages of the play as well as a dynamic, living enactment of life in Sophiatown for audiences to experience Sophiatown might not be recommended as a play text because: • We are now a democratic society and our Constitution states that the land belongs to all those who live in it. Everybody can live where they choose to live • We are living in a new era post-apartheid in a democratic South Africa and should let the past go to heal the wounds of apartheid and new hope must grow • Everyone, now regardless of their race and cultural background has freedom of movement and association through new laws abolishing apartheid and racial discrimination and replacing these with a democratic Constitution (6) Copyright reserved Please turn over ### Page 16 Dramatic Arts 16 DBE/May/June 2025 SC/NSC – Marking Guidelines 3.7 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which identify, analyse, evaluate and reflect how and why the themes of Sophiatown the play might still have relevance for life today The following is a guide: The evaluation of the themes should include a discussion of the following: Family: • Mamariti is Mingus and Lulu's mother and this close-knit family lives and works together in Mamariti's Diamond Shebeen • All the residents who live in Mamariti's house become 'family' e.g. Jakes and Ruth • Family and belonging are highlighted in the strength of the community standing together, e.g. The Americans Gang led by Mingus, as gangs formed tight relationship bonds similar to a family, for security, identity and belonging Gangsterism: • Is portrayed through the character of Mingus. He is the leader of the Americans and is intimidating in his approach and behaviour towards other people • He is depicted as a criminal who is rough and threatening. This might scare people into subservience • He is seen as the Robin Hood of Sophiatown because he stole mainly from the city centre and the railways and subsequently (later) sold the stolen goods to the members of his community. • He is proud of all the scars he has because of his many fights with rival gangs such as The Berliners • He manipulates and forces people to do what he wants which might make people want to submit to him for e.g. he unsuccessfully tries to force Ruth to 'bite his neck' when dancing with her • He gets annoyed when he does not get his way and this causes him to react aggressively towards the people • Mingus is similar to the gangsters of today who terrorise communities and threaten them into silence. These gangsters are 'protected' by the communities from the police, and are also supposedly 'protecting' the communities for money in return • Gangsterism is also shown through the rival gangs who fight for control of territories in order to make money to survive and also to protect each other. • Today similar 'turf' wars are fought in many townships in South Africa. This rivalry results in drive by shootings leaving innocent people dead Forced Geographical Removals: • The apartheid government laws dictated that certain living areas must be destroyed • The areas identified for destruction, belonged to Black, Coloured and Indian people. Bulldozers arrived in Sophiatown and destroyed all buildings, churches and houses Copyright reserved Please turn over ### Page 17 Dramatic Arts 17 DBE/May/June 2025 SC/NSC – Marking Guidelines • People were forcibly removed out of their houses and loaded onto trucks to be dropped off in areas which were chosen by the government • Most of these areas had no infrastructure, were far from cities and often had no environmental, riches or mineral sources or advantages • The brutality of forced removals caused broken homes, untold grief, terror and trauma for the people who lived in Sophiatown • Notices of the forced removals were given out by the government; however, the policemen came three days earlier than was mentioned in the notices. The people of Sophiatown were unprepared and some were still engaged in planning a protest to resist the forced removals which did not materialise • People and their belongings were loaded onto lorries. People did not have time to pack and as a result, they could not take all their belongings. Things were just hurriedly thrown onto the lorries and people were forced to climb on and squeeze themselves into wherever they could find space, e.g. Mamariti complaining that all her crockery were being damaged • People had no chance of saying farewell to their neighbours and friends, which was heart-breaking Relevance to life today: • The apartheid government laws dictated that certain areas had to be destroyed. The current government also has a policy of destroying homes which are built illegally. Special Task Forces demolished homes • People were forced during apartheid to live in designated areas with a lack of facilities and proper infrastructure. Today people still live in squatter settlements with no amenities, proper sanitation or service delivery available to them and due to this, they are forced to move to different areas where land might be available • Racism, discrimination and injustice are still present in many facets of life today e.g. intolerance of people who are different, xenophobia, gender- based violence, cultural conflicts, etc. (10) [40] Copyright reserved Please turn over ### Page 18 Dramatic Arts 18 DBE/May/June 2025 SC/NSC – Marking Guidelines QUESTION 4: SIENER IN DIE SUBURBS BY PG DU PLESSIS 4.1 Markers accept relevant answers which demonstrate an understanding of the suitability of the title of the play. Award full marks for: • Two well-motivated statements OR • Four separate thoughts/ideas The following is a guide: The title of the play is suitable because: • 'Siener' refers to Tjokkie, who has the gift of 'seeing' into the future (seer) • Tjokkie lives in the 'suburbs' • The title also gives us, as an audience, an ability and opportunity to 'see' into life in the 'suburbs' • The action of the play takes place in the 'suburbs' • The action of the play revolves around the 'siener in the suburbs' (4) 4.2 Markers accept any relevant and well-motivated answers which demonstrate the effectiveness of the poster. • Mark holistically The following is a guide: The poster is effective because it: • Uses well-known professional actors to attract an audience • Shows some of the characters that can be seen in the play • Contains all the necessary information required on a poster e.g. title, dates, venue • Is endorsed by recognisable arts festival sponsors, e.g. Woordfees The poster is not effective because: • The play deals with poor white people living in the suburbs in apartheid South Africa and the actors on the poster do not represent that demographic • Audiences may not necessarily identify with the celebrities on the poster or may not enjoy watching them • The poster is densely packed with too much information and might be confusing for those wanting instant information about the event (4) 4.3 Markers accept relevant and well-discussed answers which demonstrate knowledge, understanding and analysis of the relationship between any two of the characters on the poster. Award full marks for: • Two well-selected and discussed statements OR • Four separate thoughts/ideas The following is a guide: Jakes and Tiemie: Copyright reserved Please turn over ### Page 19 Dramatic Arts 19 DBE/May/June 2025 SC/NSC – Marking Guidelines Jakes • Jakes is Tiemie's boyfriend • He is in a relationship with her to raise his social status, because she aspires to be like one of the 'dandies' • He tries to gain control over her by impregnating her • He verbally, psychologically, emotionally and physically abuses her • He seemingly murders her at the end of the play Tiemie • Tiemie is Jakes's girlfriend • She does not like him • She fell pregnant with his child • She wants to escape out of the relationship with him Ma and Giel Ma • Is in a relationship with Giel • Is lonely after her husband failed to return from the war. It is assumed he is dead • Invites Giel into her house to stay • Receives her dead husband's pension money and with this money supports Giel Giel • Is in a relationship with Ma • He exploits her loneliness for his financial gain and free boarding • He leaves her when the horse he betted on wins (4) 4.4 Markers accept any well-explained answers which display an understanding, analysis and evaluation of why the play as a modern/contemporary production, remains relevant to audiences. Award full marks for: • Three well-explained statements OR • Six separate thoughts/ideas The following is a guide: A modern/contemporary production of Siener in die Suburbs is still relevant to audiences because: • It highlights universal themes which can easily be applied to contemporary communities e.g. poverty • It contains characters that display recognisable, stereotypical character traits, e.g. Jakes is seen as a bully because he controls Tiemie's movements and forces Tjokkie to 'see' etc. • Contemporary society might relate to the characters and their circumstances in a more meaningful way if they can 'see' themselves through the modernised characters on stage • It uses language which people can recognise and can relate to, e.g. regular people speaking to one another about real life • It focusses on issues such as gambling, alcoholism. These issues are still prevalent in contemporary society • It contains subject matter, themes and relationship issues, e.g. violence against women and suicide, to which audiences still can relate currently (6) Copyright reserved Please turn over ### Page 20 Dramatic Arts 20 DBE/May/June 2025 SC/NSC – Marking Guidelines 4.5 Markers accept any relevant answers which demonstrate an ability to understand, analyse and identify the stages of the plot of the play where the exposition, rising action and climax are evident. Award full marks for: • Three well-motivated statements OR • Six separate thoughts/ideas The following is a guide: The plot structure may include: Exposition: • The audience is informed about the given circumstances of the characters, the time, place and action of the play through the set, setting and dialogue • Giel's monologue forms the core of the exposition and this foreshadows the action of the play which follows Rising action: • Tjokkie 'sees' (predicts the future) and the tension and pace of the action increases • Doubt and confusion are caused as the characters question the truth of Tjokkie's vision Climax: • Giel wins on the horses and he prepares to leave Ma and the suburbs • Jakes attacks and physically abuses Tiemie • Tjokkie ends the suffering of being forced to see into the future by lying under the car and allowing the car jack to lower down onto his body and crush him to death (6) 4.6 Markers accept any relevant answers which demonstrate knowledge and understanding of what it means to be an anti-hero in a play. Award full marks for: • One well-motivated statement OR • Two separate thoughts/ideas The following is a guide: Anti-heroes are: • Regular (ordinary) people living regular (ordinary) lives but fighting extraordinary personal or social battles • Flawed (imperfect). They make mistakes and bad choices • Doomed to suffer because of their bad choices and mistakes (2) Copyright reserved Please turn over ### Page 21 Dramatic Arts 21 DBE/May/June 2025 SC/NSC – Marking Guidelines 4.7 Markers accept relevant answers which demonstrate knowledge, understanding and an analysis of the character of Jakes and why he may be considered an anti-hero. Award full marks for: • Two well-discussed statements OR • Four separate thoughts/ideas The following is a guide: Jakes can be considered an anti-hero because: • He is a regular (ordinary) working-class man who works an ordinary job whilst striving for more • He desperately tries to live a better life, which is why he bullies and intimidates people to get his way, e.g. he bullies Tjokkie to 'see' • He is driven to escape his working-class life and will not hesitate to use violence to get his own way (4) 4.8 Refer to the notes below and ANNEXURE A to inform your marking. Markers accept answers which display knowledge, understanding, analysis and evaluation of how Siener in die Suburbs provides a detailed look at life of the working-class communities in the suburbs. • Mark holistically. Markers accepts answers which cover contemporary society The following is a guide: Working class communities in the suburbs by and large: • Were poor, e.g. there was a high rate of unemployment • Lived in semi-detached houses; they are too poor to buy big houses • Portrayed people of a lower class/status • Might have abused alcohol to forget about their troubles which sometimes led to abusive relationships e.g. Tiemie and Jakes • Included stereotyped expectations of women who were mostly only expected to stay at home and have children • Dreamt of freedom and escaping from their lives of poverty. All the characters in the play do so • Experienced domestic violence which is portrayed through the characters and their actions • Resorted to addictive behaviours due to personal frustrations and the lack of employment opportunities (10) [40] TOTAL SECTION B: 40 Copyright reserved Please turn over Text truncated here. 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