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SECTION A: PERFORMING ARTS

When we plan performing arts classes for the Foundation Phase, we can go to the internet to
find ideas. What we need to teach and the outcomes the learners must achieve can be found in
the curriculum statements. Below is a story linked to the theme: Bear hunt. Below are two links
to videos telling the same story in two different ways.

https://www.youtube.com/watch?v=Iou5LV9dRP0
https://youtu.be/5_ShP3fiEhU

Use the video recording to answer the following questions.

 Question 1

1.1. Bears are not indigenous to South Africa or Africa. In your introduction to the performing
arts lesson, how will you integrate across the curriculum to create context?

To introduce the performing arts lesson with context, I would incorporate the story of the bear hunt
by focusing on animals native to South Africa, such as lions, leopards, or baboons, and comparing
them to bears. This could involve discussing their habitats, diets, and behaviors, drawing connections
to Natural Sciences and Geography. For instance, I would ask students to reflect on the habitats of
local animals, explaining that while bears live in forests, local animals are found in environments
like savannas and grasslands.

1.2. Once you have watched the videos, visit the curriculum and familiarise yourself with the
curriculum outcomes in the Foundation Phase. Select an outcome from the curriculum that can
be taught through the story (video) and motivate your decision.

A relevant objective from the Foundation Phase Life Skills curriculum might be "Shows an
understanding of storytelling and role-playing" within the Creative Arts. This ties in well with the
story, as learners can act out different roles in the bear hunt, experiencing the characters’ emotions,
actions, and the flow of the story. The video offers an interactive, multi-sensory approach to grasping
and expressing storytelling, which helps improve their listening and creativity.
1.3. Create a warm-up activity for the lesson that is aligned to the theme.

A warm-up activity could involve a movement-based exploration of the settings in the story, such as
the forest, river, and cave. Students could pretend to walk through an "imaginary forest," climb "over
a mountain," and wade through a "river," using large, expressive movements to mimic these actions.
This activity not only gets them physically warmed up but also gets them ready to fully participate in
the bear hunt adventure.

1.4. Develop a sensory awareness activity based on the storyline and video.

To enhance sensory awareness, I would design an activity where learners close their eyes and
imagine the sensory experiences in the story. For example:

 Touch: How would it feel to walk through mud or grass? Learners could mimic these
sensations with hand gestures or by using soft materials.
 Sound: What sounds might you hear in a forest, near a river, or inside a cave? We could
recreate these sounds using instruments or vocal expressions.
 Sight: Encourage learners to visualize the different settings in the story (e.g., a dark cave, tall
grass) and describe what they imagine.

These activities increase their engagement and help them understand how their senses interact with
the world, improving their performance skills.

 Question 2

2.1. Based on the videos and the theme of the bear hunt, develop a lesson plan (just the body of
the lesson) to show how you will teach the outcome you have selected from the curriculum. Also
indicate the grade for which you develop your lesson. Your lesson activities must be appropriate
for the grade you have selected.

LESSON PLAN
Grade: Date: Duration: 35 Minutes Theme: Bear Hunt
Lesson Outcome:
 Students will be able to put events from a story in the correct sequence.
Introduction (5 minutes):
 Read the story "We're Going on a Bear Hunt" aloud to the class, showing the illustrations as you
go to keep students engaged.
 Briefly discuss the main events of the story.
Activity (15 minutes):

 Sequencing Activity:
 Give students picture cards representing different scenes from the story (e.g., crossing a river,
walking through the forest, finding the bear).
 Have students work in pairs to arrange the cards in the correct order.

 Discussion:
 After completing the task, hold a class discussion about the order of events.
 Let each pair share their sequence and explain their reasoning.
Practice (10 minutes):

 Drawing Activity:
 Ask students to draw their favorite part of the story and write a simple sentence about it.
 Have students pair up and share their drawings and sentences with a partner.
Conclusion (5 minutes):

 Review the sequence of events with the whole class.

 Reinforce the concept of sequencing by asking a few students to retell the events of the story in the
correct order.

2.2. Explain how you will determine if learners have achieved the outcome of your lesson.

 Observation: Watch students during the sequencing activity to check if they can arrange the
picture cards in the correct order.
 Feedback: Review each student's drawing and sentence to gauge their understanding of the
story's events and their ability to sequence them properly.
 Discussion Participation: Assess students' ability to verbally describe the sequence of events
during the class discussion.

2.3. Develop a cooling down exercise for your lesson that is aligned to the theme of the lesson.

Bear Hunt Dance (2 minutes):

 Play soft background music and lead students through a basic dance that imitates actions from
the story, like marching in place or waving arms to represent tall grass.
 Encourage students to move gently and calmly as they visualize the journey from the story.

2.4. Identify 5 skills (try to find one per developmental domain) that you will be able to develop
through this activity.

 Cognitive Domain: Sequencing events enhances the ability to organize thoughts and improves
cognitive processing.
 Language Domain: Verbal communication skills are developed through sharing drawings and
sentences.
 Social Domain: Collaborating in pairs during the sequencing activity encourages teamwork
and social engagement.
 Emotional Domain: Presenting personal drawings and sentences boosts confidence and
comfort in expressing ideas.
 Physical Domain: Activities like drawing and manipulating picture cards improve hand-eye
coordination and fine motor skills.
 Question 3

3.1. The story of the bear hunt lends itself to the beat of a march. Which one of the time
signatures below indicate a march?

The appropriate time signature for a march is usually 2/4, which is shown in Option B.

3.2. Just use the melody of the first line of the song “We are going on a bear hunt” and develop
body percussion actions just to match this one line. Your instructions must be very specific and
match the rhythm.

Melody: "We’re Going on a Bear Hunt"

Instructions:
 For "We’re" – Clap your hands once to begin.
 For "going on" – Tap your thighs twice, alternating between your left and right hands.
 For "a bear" – Stomp your feet twice in time with the rhythm.
 For "hunt" – Snap your fingers once on the last word.

These movements follow the rhythm of the melody and can be repeated in sync with the song’s
tempo. Encourage children to emphasize stomping on "bear" to simulate walking through different
environments.
3.3. How will you use the story line and tempo to teach about emotions?

The story’s shifting environments and varying pace can evoke different feelings:
 A slow pace, such as when trudging through mud or a forest, can create a mood of tranquility
or suspense.
 A fast pace, like during a chase from a bear, generates excitement or fear.
 The repeated chorus of "going on a bear hunt" can represent persistence and courage in the face
of challenges.

This method can aid children in associating different tempos with specific emotions, boosting their
emotional understanding.

SECTION B: VISUAL ARTS

 Question 1

1.1. What do you understand by the concept design principles?

Design principles refer to guidelines that help create effective and visually appealing artwork. They
include elements like balance, contrast, unity, emphasis, proportion, and rhythm, which ensure that
all components of a design work together smoothly to communicate a message or achieve a purpose.

1.2. Imagine that you are a Grade R teacher, and you are helping a 5-year-old child to choose a
secondary colour from the box of crayons. Draw one example of an object you can show the
child to match with green.

An example of something that embodies the color green could be a leaf or a tree. These items are
commonly associated with the color green and can help a child recognize it when looking at a crayon
box.
1.3. The concept “holistic development” is described as seeing the child’s development in totality.
Demonstrate your understanding of the concept by describing the following aspect and how they
are related to visual art. Support with appropriate examples.

A) Social Development

Social development involves learning how to interact with others, communicate, and build
relationships. In visual art, activities like group painting or working on a class mural help children
practice sharing ideas, taking turns, and collaborating. For instance, when children work together to
create a large painting, they learn to discuss and agree on colors and techniques, which enhances
their social skills.

B) Cognitive Development

Cognitive development is about a child’s ability to think, understand, and process information.
Visual art fosters cognitive growth by promoting problem-solving, creativity, and critical thinking.
When children engage in drawing or sculpting, they use their imagination and apply logical planning.
For example, drawing a house involves choosing shapes for the roof, windows, and doors, which
develops their spatial awareness and planning abilities.

Overall, visual art activities support children’s holistic development by nurturing both their social
and cognitive skills.
 Question 2

2. Study the picture below and answer the question that follows.

2.1. Identify FIVE principles of design you have studied and judge its importance in the design
of art.

In the painting, the following five design principles are evident and contribute to the artwork's
overall composition:

 Balance: The painting achieves visual balance even though elements are not evenly distributed.
The man’s figure is placed off-center, but the brightness of the sun in the background creates a
counterbalancing effect. This asymmetry adds dynamism and interest to the composition.

 Contrast: There is a notable contrast between the warm hues of the sun and sky and the cool
shades in the field and on the figure. This contrast highlights the man and the landscape,
emphasizing the warmth of the sun and the coolness of the surroundings.

 Emphasis: The sun is the focal point of the painting due to its size, brightness, and placement.
The man, positioned centrally in the field, also draws attention, particularly because he is
framed by the sun’s rays and the textured ground, making him a secondary focal point.

 Rhythm: Rhythm is established through the repetitive, swirling brushstrokes in the field and
sky. This repetition guides the viewer’s eye across the painting and suggests movement and
energy, reflecting both the man’s walk and the wind-blown fields.

 Unity: The painting achieves unity as all elements work together to form a cohesive scene. The
contrasts in color, the rhythmic brushstrokes, and the realistic depiction of the landscape all
 contribute to a harmonious composition, enhancing the viewer’s sense of coherence in the
vibrant setting.

These design principles are crucial in shaping the viewer's experience, creating balance, movement,
and a unified visual effect in the painting.

 Question 3

3. Read the statement below and answer the question that follows.

Between the ages of two and three years, children can build towers out of blocks, mould clay into
rough shapes, and scribble with a crayon or pen. Design a group activity where you will give learners
different shapes. Ask learners to do a body poster using the shapes. Ensure that all kinds of shapes are
used. Explain how you would present this activity. Do not write a lesson plan. Submit a photo of one
of the body artworks produced by the learners.

Introduction:
 Gather the children in a circle and show them examples of various shapes (such as circles,
squares, and triangles).
 Explain that they will be making a "body poster" by using these shapes to represent different
parts of the human body (e.g., a circle for the head, rectangles for arms and legs).

Materials:
 Provide each group with pre-cut colored shapes of different sizes.
 Supply glue, markers, and a large sheet of poster paper for each group.

Instructions:
 Have the children work together in groups to arrange the shapes on the poster to create a
person.
 Encourage creativity by suggesting they use various shapes to represent different body parts.
 Once they are satisfied with their arrangement, they can glue the shapes onto the paper.
 After gluing, they can use markers or crayons to add details like facial features, clothing, or
accessories.

Support:
 Move around the room to offer guidance and encouragement. Ask questions like, “What shape
might work for the legs?” or “How many shapes can we use to make the body?”

Completion:
 When the body posters are complete, have each group present their poster to the class and
explain how they used the shapes to create the body.

Explanation of Shapes Used:

 Circle for the head
 Rectangles for arms and legs
 Triangles for feet or shoes
 Square or rectangle for the body
Submission:
 Question 4

4. Compare Lowenfeld’s and Fox and Schirrmacher’s stages of development to organise their
views of art in the development of the child.

Lowenfeld’s Stages of Artistic Development

Lowenfeld identified six stages that illustrate how children’s artistic skills and self-expression evolve
over time:

 Scribbling Stage (2–4 years): Children make random marks on paper that do not represent
specific objects but reflect their physical movements.

 Preschematic Stage (4–7 years): Children start using shapes and lines to represent objects.
While these drawings relate to their experiences, accuracy and proportion are not yet priorities.

 Schematic Stage (7–9 years): Children develop a consistent way of representing objects,
people, and environments. Their drawings become more structured with a clearer sense of
order and proportion.

 Gang Age/Dawning Realism (9–12 years): Children become more focused on realism and
compare their work with others'. They pay more attention to detail and accuracy, which can
lead to frustration if their skills don't match their expectations.

 Pseudo-Naturalistic Stage (12–14 years): Artistic expression becomes more sophisticated as

children attempt to create realistic depictions. They explore concepts like light, shadow, and
perspective.

 Period of Decision/Adolescent Art (14–17 years): At this stage, children decide whether to
pursue art seriously or use it for personal expression. Their art becomes more deliberate, with a
focus on aesthetics and individual style.

Fox and Schirrmacher’s Stages of Artistic Development

Fox and Schirrmacher’s stages highlight the creative process rather than a fixed developmental
sequence. Their approach is flexible and considers how children use art to explore their world:

 Manipulative Stage (2–5 years): Children experiment with art materials, focusing more on the
experience of using crayons, clay, or paint rather than the final outcome.

 Symbol-Making Stage (5–8 years): Children begin to assign meaning to their marks, creating
symbols to represent people, animals, and objects. These symbols may not be realistic but are
significant to the child.

 Pictorial Stage (8–11 years): Children create more detailed and representational pictures.
They aim for greater accuracy in depicting their surroundings and focus on producing
recognizable objects and people.
Comparison and Synthesis

Focus on Process vs. Product:

 Lowenfeld emphasizes a linear progression in artistic ability, linked to cognitive development,
with a shift from basic shapes and symbols to more realistic representations as children grow.
 Fox and Schirrmacher focus on the creative process and exploration, valuing creativity over the
final product and allowing for more flexibility in artistic expression.

Creativity and Symbolism:

 Both theories recognize the role of symbolism in early development. Lowenfeld’s
Preschematic Stage parallels Fox and Schirrmacher’s Symbol-Making Stage in the use of
symbols.

Progression Toward Realism:

 Lowenfeld outlines a clear path toward realistic and refined art, with increasing attention to
detail in the later stages.
 Fox and Schirrmacher acknowledge a move toward more representational art but emphasize
the creative process over a strict progression.

Emotional Development:
 Lowenfeld includes emotional aspects, particularly in the Dawning Realism stage, where
children become critical of their work and others’. This emotional dimension is less explicit in
Fox and Schirrmacher’s stages but is implied through their focus on personal connection to art.

Conclusion
Lowenfeld’s stages offer a structured view of artistic development, focusing on a developmental
progression toward realism. In contrast, Fox and Schirrmacher emphasize the creative process and
flexibility. Both frameworks value symbolism, realism, and emotional development but differ in
their emphasis on process versus product.
 SECTION C: PHYSICAL EDUCATION

 Question 1

Based on planning a lesson in Unit 9, several videos have been uploaded which you need to view
to answer the questions below. The structure of your answer must be completed as indicated.
The videos are uploaded within the Assessment 9 shell.

1. Aim of activity: This is a very short instruction of an activity, eg Walk on the beam
2. Question: “Can you walk on the beam?”
3. The stick figure drawing
4. Outcome: (What perceptual motor skill/s is it developing or are being developed)

Station 1
Aim: Throw and catch ball while placing another ball in a basket.

Question: Can you throw the ball in the air, place the ball in the basket, and catch the other ball?

Drawing: (A stick figure holding a ball, throwing it upward, placing another ball in a basket, and
catching the first one.)

Outcome: Develops hand-eye coordination, timing, and spatial awareness.

Station 2
Aim: Throw bean bags into a basket.

Question: Can you throw the bean bags into the basket from here?

Drawing: (A stick figure standing, aiming a bean bag toward a basket a few feet away.)

Outcome: Improves aim, hand-eye coordination, and fine motor control.

Station 3
Aim: Transfer bean bags from one side to the other while moving back and forth.

Question: Can you move the bean bags back and forth between the sides?

Drawing: (Stick figures moving with a bean bag from one side to the other.)

Outcome: Enhances coordination, agility, and spatial organization.

Station 4
Aim: Crawl with a tile on the back, collect a ball, and place it in another basket.

Question: Can you crawl, pick up the ball, and put it in the basket while balancing the tile?

Drawing: (Stick figure crawling with a tile on its back, reaching for a ball, then crawling to another
basket.)

Outcome: Develops balance, motor planning, and body awareness.

 Station 5
Aim: Jump through hula hoops and place cups in and out of them.

Question: Can you jump through the hoops and place the cups in and out?

Drawing: (Stick figure jumping from one hoop to another while holding a cup.)

Outcome: Improves gross motor coordination, balance, and agility.

Station 6
Aim: Walk a straight line while balancing with two balls in hand.

Question: Can you walk in a straight line while balancing two balls?

Drawing: (Stick figure walking along a line with a ball in each hand.)

Outcome: Enhances balance, focus, and bilateral coordination.

Station 7
Aim: Roll on the floor, transferring balls from one side to the other.

Question: Can you roll across and move the balls from one side to the other?

Drawing: (Stick figure rolling on the ground with balls being moved from one side to the other.)

Outcome: Develops body coordination, core strength, and spatial awareness.

Station 8
Aim: Jump from one circle to another following the foot placement instructions.

Question: Can you jump from circle to circle, placing your feet the way the circles show?

Drawing: (Stick figure jumping between circles with specific foot placements.)

Outcome: Improves coordination, balance, and following directions.

 Question 2

2. Analyse the stations according to the videos and provide a clear motivation why you must
develop these various skills (the skills you have mentioned in Question 1) for learners. Provide a
list of 5 different skills, which video / station it appears in and their impact the child in the
classroom according to the table below:

Video Numbers Name the gross motor skill/s developed Impact on learning if neglected,
underdeveloped
Video 1 Hand-eye coordination, timing, spatial Difficulty with tasks requiring
awareness precision, such as handwriting, cutting,
or catching a ball. Struggles with
organizing written work or
understanding spatial relationships in
subjects like math and geometry.
Video 2 Aim, hand-eye coordination, fine motor Challenges with activities that require
control precise control of objects, such as
using tools (scissors, rulers), writing
neatly, or manipulating small objects.
This may lead to frustration in art,
technology, and other practical
classroom tasks.
Video 3 Coordination, agility, spatial Lack of agility and spatial awareness
organization can lead to problems with body
awareness, difficulty navigating
classroom space, and poor organization
of materials. This could affect
self-regulation, independence, and
movement-based tasks like physical
education.
Video 4 Balance, motor planning, body Poor balance and body awareness may
awareness result in difficulties with posture,
attention, and fine motor tasks like
handwriting. These children may
struggle to sit still or maintain focus,
leading to decreased participation and
slower learning progress.
Video 5 Gross motor coordination, balance, Without developed gross motor skills,
agility children might have trouble
participating in sports, physical
education, or play-based learning.
They may also have poor coordination,
leading to lower confidence in physical
activities and group interaction.
Motivation for Developing These Skills:

 Hand-eye coordination (Video 1 & Video 2): This is crucial for tasks such as writing,
drawing, and reading. Developing this skill enables children to accurately control their hands
and eyes together, which is essential for academic activities.

 Balance and body awareness (Video 4 & Video 6): These skills allow children to maintain
posture and focus. A well-developed sense of balance enhances their ability to sit still during
class, improving concentration and reducing fidgeting.

 Spatial awareness (Video 1 & Video 3): Understanding where their body is in space helps
children in both academics and physical activities. In subjects like math or geography, spatial
skills are fundamental to solving problems and understanding concepts.

 Agility and motor planning (Video 3 & Video 5): These abilities support overall physical
fitness and ensure that children can react quickly and efficiently in physical tasks. If not
developed, children may face difficulties in tasks requiring quick thinking and action, leading
to decreased participation in group activities.

 Fine motor control (Video 2 & Video 5): Essential for handwriting, cutting, and using tools.
Poor fine motor skills can delay academic progress and impact self-esteem, as the child may
struggle with seemingly simple tasks compared to their peers.
 Question 3

3. Look at the two images inserted below:

A) Various body positions flashcards with the B) Four flashcards on sheet

teacher and learners

What is expected from you?

 You must develop your own set consisting of 4 flashcards
 You may use ideas from the internet.
 You must demonstrate the position and have only any one child in the photo with you as well
(the photos above serves as an example of the photos you must take). Please ensure that the
child’s face does not show.
 You may not use the flashcards included in the example.
 Use one A4 page for the 4 flashcards.
Flashcard 1: Flashcard 2:

Flashcard 3: Flashcard 4:

References
 Only Study Guide For LSP1501.