GRADE: 6
SUBJECT: LIFE SKILLSCREATIVE ARTS
TERM ONE
FORMAL ASSESSMENT TASK (FAT) 1
Name: _____________________________________________________________
Class: ________________________________ Date: _______________________
School: __________________________
Teacher: _______________________
FAT
Activity/Form
1
Performing Arts: Drama and Music Performance
Learner’s
mark
Learner’s %
TOTAL
Please note that either Performing Arts OR Visual Arts should be formally assessed in a
term – not both streams.
LIFE SKILLS: CREATIVE ARTS
FORMAL ASSESSMENT TASK: PERFORMING ARTS
GRADE 6
TERM 1
NOTE TO THE TEACHER:
The Formal Assessment Task has been developed as a step by step guideline to learners. The
activities are to be done in class, during the first term. It is important that teachers mediate the
various steps of the task with learners to ensure active, creative and critical participation by all
learners.
DEVELOP A SHORT DRAMA FOR PRESENTATION
You are going to develop a drama performance based on a folktale or traditional story. During
the development of the drama, you will be formally assessed on how the elements of drama
such as PLOT, CHARACTER and LOCATION are used.
Read the fable below that proves that you do not have to be the biggest to be the smartest:
A man with three sons had a wheat field that was being raided night after night. He decided his
sons should be watchmen, and sent the eldest son first. But the eldest son dozed off during the
night, and once again the field was torn up. The second son fared no better. The youngest son
had to beg his father for the chance to be the watchman, but he prepared himself with a
hammock full of pins and a guitar.
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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When he went to the field, he strummed the guitar to stay awake, and when he fell back into the
hammock to sleep, the pins woke him up again. Just before daylight, he saw something moving
about in the wheat field—he threw a rope around it and pulled it to him. It was a little multicoloured horse, which looked at him sadly and begged not to be killed. “I am the Horse of Seven
Colours. If you let me go, I will help you whenever you need me.” The boy was doubtful, but the
horse produced a small whistle with which he could be called if the boy were ever in need of
help, and the horse promised to respond immediately. So, the boy untied the rope and let the
horse go. When his father saw that the field had not been damaged that night, he praised his
youngest son and scolded the older ones for their incompetence.
Shamed, the older ones decided to leave home. As they saddled their horses to leave, the
youngest begged to come with them, but they rode off without him. Undaunted, the youngest
packed a lunch and set off after them on foot. He walked all day and all night, and at last caught
up with them. They were not pleased to see him, but they did notice the pack of food that he
carried. They took it from him, tied him up, and left him in the ditch beside the road. After he lay
in the ditch for most of the day, with no help in sight, the boy remembered the whistle given to
him by the Horse of Seven Colours. He managed to wiggle the whistle from his pocket and
managed to blow on it. Instantly, the Horse of Seven Colours appeared and freed the boy from
the ropes. But the boy also wanted the horse’s help in catching up with his brothers, so they
went along the road in pursuit.
In the next town, it happened that the brothers had become engaged in a tournament, to win the
hand of the local princess in marriage. Her father, the ruler of that province, had issued a
challenge — any young man who could throw an apple from horseback onto the princess’
balcony, so that it falls onto her lap would be married to her at once. All the young men in the
area had come to try their luck, including the brothers. When the youngest saw the princess, it
was love at first sight, and he was determined to throw the apple as well. He reminded the
Horse of Seven Colours of its promise of help, and the horse assured the boy that his aim would
be true. And so it was that after all the others had failed, the youngest son won the hand of the
princess in marriage! At the celebration of the event, he forgave his brothers for leaving him in
the ditch and sent for his father, also, to live in the palace with him and his new bride. The Horse
of Seven Colours, saying that his debt had been repaid, bid them all farewell and disappeared.
From: Latin American Folktales by John Bierhorst
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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PLOT - What story are we telling?
Instructions to learners
1. Divide into groups of five to seven members. Sit in a circle or together in your group.
2. As group members, tell the story one sentence at a time. In your work books, draw a mind
map in which you give answers to the following:

What are the key moments in the story?

What happens at the beginning of the story?

How does it end?

Who are the characters in the story?

Where does the action take place (setting)?
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Key
moments
in the story
Beginning
of story….
The
Horse of
Seven
Colours
Characters
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
How does
the story
end?
Setting
Page 4
3. In your groups, make three tableaux (frozen statues, using the body and
facial expression) - one for the beginning of the story, one for the climax of the story and one
for the end of the story.

Show the action points (the beginning, the climax and the end of the story) clearly
through your tableau.

Make sure that you depict the setting of the story (e.g. if it was set in a cave, you might
all be huddled together because of lack of space, etc.)

As a group, discuss how you can develop the drama from the first tableau, then to the
second and finally to the end. Now improvise the action between these points.

In your learner books, write down what each tableau is communicating.

Your teacher will assess you informally at this stage, by observing what you are doing
and commenting on how to improve what you are doing.
4-5
2-3
1
Fully achieved
Partially achieved
Not yet achieved
Structure
The learner demonstrates an
The scene does not have a
There is little evidence of structure, no
of plot
understanding of how the story has
sufficiently clear beginning, middle
real sense of a beginning, middle and
been structured. There is a clear
and end. The climax is not
end, and the climax is not realised.
beginning, middle and end to the
completely realised.
plot. The climax is clearly
identifiable and communicated with
conviction.
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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CHARACTER – Who is in the drama?
4.
Identify the key characters in the drama.
In your groups, discuss the following and make notes in your learner book.

How many characters are in the drama?

Discuss the various characters according to the following aspects:
o
role/function in the drama
o
status and relationship to the other characters.
5. Now it is time to cast the play. Decide who will play particular characters.
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6. Imagine yourself as the character. Walk around in the room as the character. How does the
character walk? What attitude does your character have to the other characters in the
drama? Mingle with the other characters, greet each other, demonstrating how you feel
towards the other characters, and use only the word ‘hello’. Focus on the tone of your voice
and facial expression.
7. In your learner books, create a character collage for homework.
Collect pictures from
magazines, newspapers or draw pictures of possible costume items and pictures of things
your character uses every day. In this way you will explore the world of your character.
8. Your teacher will take in your learner books, and assess your collages informally.
LOCATION – WHERE and WHEN does the drama take place?
9. Decide in your group what the location of the drama would be. Is there more than one
location? How are you going to use your performance space to show how the action moves
from one space to the next?
Will you use a narrator who will announce the different
locations? Decide whether you will use certain items to indicate the location, e.g. a whistle
to show you are on the soccer field, etc.
10. Make sure you only use items that say something about the world of the play and that the
characters are using them. You may also decide whether you would like to mime certain
actions to show where you are. Discuss these questions and write your answers in your
leaner books under the heading, LOCATION.
11. Creating SOUNDSCAPES: Create a soundscape / soundtrack for the drama. You can
develop rhythmic patterns on a drum or any other percussive instrument that you may have
created. You can create rhythms exploring techniques such as base slap, open slap, muffle,
etc. If you are able to play a melodic instrument, you can create a melodic phrase in C
major, using interesting rhythmic patterns. Use music / sounds to support the action, to
create an introduction to an event or character or to introduce tension. Bring all the elements
together!
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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12.
REHEARSING
You will now start rehearsing your scene. Your teacher will observe your rehearsals and will
help you to focus on different aspects every time you run through your scene. You may start
by focusing on character, then on pace and building towards a climax in the drama.
FINAL PERFORMANCE
Set up your performance space beforehand. Make sure you have warmed up your voice and
you are focused before the performance.
Enjoy the performance. Your teacher will assess your performance formally. This mark will
contribute to your Life Skills mark for the term.
Complete the following questions in your learner book after viewing the performance of another
group.
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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QUESTIONNAIRE
1. What did you enjoy about what you just saw?
____________________________________________________________________________
____________________________________________________________________________
__________________________________________________________________________
2. What did you see happening in the drama? (Think of plot/action, characters, the themes,
location, use of props, sound effects, etc.)
____________________________________________________________
____________________________________________________________
___________________________________________________________
3. Was anything unclear to you? Discuss.
____________________________________________________________
____________________________________________________________
___________________________________________________________
4. Do you have any suggestions for improvement to make the drama clearer or more effective?
____________________________________________________________
____________________________________________________________
___________________________________________________________
5. What was the most memorable moment in the drama?
____________________________________________________________
____________________________________________________________
___________________________________________________________
GR 6: FAT LS – Creative Arts: Performing Arts: Term 1
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CRITERIA: DRAMA PERFORMANCE
4-5
2-3
1
Total
Vocal characterisation
Physical characterisation
Stage sense - use of space
Interaction – listening
Use of narrative devices
Structure of plot (assessed earlier on)
Use of rhythmic patterns to create music for
the performance
Use of a drum and/or percussion or a melodic
instrument to underscore action, create an
interlude introduce tension and /or character.
/40
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DRAMA AND MUSIC PERFORMANCE
Vocal characterisation
4-5
2-3
1
Fully achieved
Partially achieved
Not yet achieved
The learner communicates the personality, background, age,
The learner is partially successful in creating and sustaining a
The learner is unsuccessful in creating and sustaining vocal
and status of the character. S/he is able to interpret the story,
vocal characterisation, or there may be indications of vocal
characterisation, or there is vocal strain throughout the
make appropriate choices for characterisation. These
strain. Certain aspects of the characterisation may be
performance. The vocal characterisation is inappropriate for the
characteristics may include: pitch, intonation, range, rhythm,
inappropriate for the particular character or context.
particular character or context.
The learner demonstrates an ability to adapt his/her body in
The learner is partially successful in creating and sustaining
The learner is unsuccessful in creating and sustaining a physical
terms of posture, energy, weight, size and quality of gestures in
physical characterisation, or there may be indications of
characterisation, or there is excessive unnecessary tension
order to successfully and appropriately convey the physicality of
unnecessary tension. Certain aspects of the characterisation
displayed throughout the performance. The physical
his/her character.
may be inappropriate for the particular character or context.
characterisation is inappropriate for the particular character or
The learner demonstrates an ability to use the stage space
The learner is partially successful in using the stage space
The learner is unsuccessful in using the stage space
appropriately and interestingly, in such a way that the
appropriately and interestingly. This may be due to self-
appropriately and interestingly. He/she is consistently self-
performance communicates clearly to the audience. All
consciousness, upstaging of themselves or others, uncertainty in
conscious, upstages him-/herself, is uncertain and moves often
movement is motivated.
moments or unmotivated movements at times.
without motivation.
The learner demonstrates the ability to stay in character when
The learner is inconsistent in terms of staying in character when
There is little or no evidence of staying in character when not
not speaking or not being the focus of attention and continues to
not speaking or not being the focus of attention; reactions to the
speaking or not being the focus of attention; there is little
react and listen to the other characters on stage at all times.
other characters and listening are not sustained throughout the
reaction to the other characters and little or no listening.
accent and tone in order to successfully and appropriately
convey the voice of their character.
Physical characterisation
context.
Stage sense – use of space
Interaction – listening
scene.
Use of narrative devices
The learner is believable at all times within the context of the
The learner is believable in moments within the context of the
The learner is not believable in communicating the storyline of
fable, either in the role of narrator or character.
fable, either in the role of narrator or character.
the fable. S/he cannot sustain the role of narrator or character.
Use of rhythmic patterns to create music for
Learners successfully created original and exciting rhythmic
Learners partially succeeded in creating original and exciting
Learners are unsuccessful in creating original and exciting music
the performance
patterns to support the performance.
rhythmic patterns to support the performance.
and there was very little evidence of supporting the
performance.
Use of a drum and/or percussion or a
Learners successfully created original and exciting music which
Learners partially created original and exciting music which
Learners are unsuccessful in creating original and exciting music
melodic instrument to underscore action,
offers much opportunity for dynamic interpretation in the
offers some opportunity for dynamic interpretation in the
and there was very little evidence of dynamic interpretation.
create an interlude introduce tension and /or
production.
production.
character.
TOTAL
……./ 40
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INTEGRATED LEARNING AND ASSESSMENT STRATEGY
The learning and assessment processes are integrated. Assessment is continuous and
formative as the teacher will observe the progress of the learner and give guidance towards
the final performance. The final performance is assessed formally by the teacher by means
of a rubric.
Assessment Form
Informal: Formative
Informal: Formative
Informal: Formative
Assessment
Assessment
Assessment
Method
Technique
Instrument
Self/peer/teacher
Mind Map in in
Class list (just to be
assessment
classwork book
ticked off)
Self/peer/teacher
Summary of tableaux
Class list (just to be
assessment
in classwork book
ticked off)
Self/peer/teacher
Descriptive notes on
Class list (just to be
assessment
characters in
ticked off)
classwork book.
Informal: Formative
Self/peer/teacher
Collage of characters
assessment
Formal: Summative
Teacher
Class list (just to be
ticked off)
Presentation of
Rubric
tableaux
Formal: Summative
Teacher
Final Performance
Rubric
DISTRIBUTION OF COGNITIVE LEVELS
REMEMBER AND
APPLY AND ANALYSE
EVALUATE AND CREATE
Application of content in
Create and perform tableaux
tableaux and performance.
and classroom drama, evaluate
Continuous critical reflection
the performance.
UNDERSTAND
Drama and Music elements:
plot, character, setting,
soundtrack, rhythmic
patterns, percussion and
and application to improve
melodic instruments, etc.
the performance.
(According to Revised Bloom’s Taxonomy, 1990)
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