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SOUTH AFRICAN QUALIFICATIONS AUTHORITY 
REGISTERED QUALIFICATION THAT HAS PASSED THE END DATE: 

Certificate: Performing Arts 
SAQA QUAL ID QUALIFICATION TITLE
36080  Certificate: Performing Arts 
ORIGINATOR
New Africa Theatre Association 
PRIMARY OR DELEGATED QUALITY ASSURANCE FUNCTIONARY NQF SUB-FRAMEWORK
CHE - Council on Higher Education  HEQSF - Higher Education Qualifications Sub-framework 
QUALIFICATION TYPE FIELD SUBFIELD
National Certificate  Field 02 - Culture and Arts  Performing Arts 
ABET BAND MINIMUM CREDITS PRE-2009 NQF LEVEL NQF LEVEL QUAL CLASS
Undefined  124  Level 5  Level TBA: Pre-2009 was L5  Regular-Provider-ELOAC 
REGISTRATION STATUS SAQA DECISION NUMBER REGISTRATION START DATE REGISTRATION END DATE
Passed the End Date -
Status was "Reregistered" 		 SAQA 06120/18  2018-07-01  2018-12-31 
LAST DATE FOR ENROLMENT LAST DATE FOR ACHIEVEMENT
2019-12-31   2022-12-31  

In all of the tables in this document, both the pre-2009 NQF Level and the NQF Level is shown. In the text (purpose statements, qualification rules, etc), any references to NQF Levels are to the pre-2009 levels unless specifically stated otherwise.  

This qualification does not replace any other qualification and is not replaced by any other qualification. 

PURPOSE AND RATIONALE OF THE QUALIFICATION 
Education through theatre:
A learner accredited with this qualification will be able to demonstrate skills knowledge, values and attitudes embedded in the performing arts sub-field, as well as in the fundamental skills of life-skills, computers and literacy.

The Programme was founded in 1987 as the New Africa Theatre Association`s Vocational Training Programme. It`s core purpose was, and essentially still is, to offer a high standard of performance arts training to disadvantaged, but committed and talented young people.

The specific goals of the programme include:
  • Preparing young people for a career in the performing arts
  • Training young people to use the performing arts as a tool for development and communication.
  • Providing a bridging year for learners who would like to study further at a higher level.

    Our training and educational focus is not only on providing skills and knowledge, but also on building social awareness, confidence and a sense of both independence and interdependence.

    Rationale:
    General
    There is nothing more important that we can offer our young people, for their sakes and for the sake of our society, than skills and knowledge and the confidence and values to make good use of these.

    Given the specific nature of the Performing Arts sub- field, the adopted rationale was to give learners experience in as many disciplines / areas of the performing Arts; hence the selection of music., drama, movement, scriptwriting , playmaking etc.

    New Africa Theatre Academy (the Academy)
    fulfils a nationally significant role by providing a high standard of formal training to talented young people from poor communities, for whom higher education would otherwise be financially out of reach.
    Arts and Culture (as per DoE)
  • Arts and Culture form an integral part of the spiritual, material, intellectual and emotional aspects of human society.
  • Arts and Culture are fundamental to all learning.

    Arts and Culture Education Enables The Learner To Develop:
  • the ability to make, recreate and invent.
  • the specific use of innovation, meaning, creativity and resourcefulness.
  • effective expression, communication and interaction between individuals and groups.
  • a healthy sense of self, exploring individual and collective identities.
  • a sensitive understanding and acknowledgement of our place and diverse culture.
  • a deepened understanding of our social and physical environment, and our place within that environment.
  • practical skills and different modes of thinking, within the various forms of art and diverse cultures.
  • career skills and income-generating opportunities that lead to enhanced social, economic and cultural life..
  • respect for human value and dignity.
  • insight into the aspirations and values of our nation, and effective participation in the construction of a democratic society. 
    		•

    LEARNING ASSUMED TO BE IN PLACE AND RECOGNITION OF PRIOR LEARNING 
    GRADE 12: Our entrance level learning requirement is grade 12. This serves as a guide more than as a fixed criteria.
    RPL: We have instruments in place to recognise prior learning, particularly in the case of older applicants and individuals who demonstrate a high level of talent.

    Recognition of Prior Learning:
    We have instruments in place to recognise prior learning, particularly in the case of older applicants and individuals who demonstrate a high level of experience or talent. These are integral to our process of auditioning and interviewing, but may include further or alternative methods of assessing an individuals suitability for the programme. 

    RECOGNISE PREVIOUS LEARNING? 
    Y 

    QUALIFICATION RULES 
    N/A 

    EXIT LEVEL OUTCOMES 
    Exit level outcomes are defined by the unit standard of each course as follows:

    Movement:
    1. Demonstrate the principles, and elements of movement.
    2. Apply movement skills.
    3. Demonstrate physical performance skills
    4. Apply the essential elements of theatre-dance.
    5. Apply movement and theatre-dance skills to create and enhance a performance.

    Singing and Music:
    1. Demonstrate vocal ability.
    2. Apply knowledge of the basic theory of music.

    Acting:
    1. Use elements of role play in acting.
    2. Use the concepts of intention, physical representation and dramatic function to build a role.
    3. Demonstrate principles of acting.
    4. Differentiate between surface and underlying meaning.
    5. Use dramatic elements of performance.
    6. Demonstrate the techniques applicable to different performance spaces.
    7. Demonstrate the elements of improvisation.

    Voice:
    1. Apply the use of breath in voice production.
    2. Develop the use of sound in voice production.
    3. Apply articulation and resonance in voice production.
    4. Apply vocal interpretation and improvisation in specified context.
    5. Know the theory of voice production.

    Life Skills:
    1. Create a personal mission statement.
    2. Interpersonal skills are developed.
    3. Vocational related skills are developed.

    Script Writing:
    1. Know essential personal, cultural, and historical elements that will support an approach to script writing.
    2. Know the essential elements of plot.
    3. Know how to build a character.
    4. Know and use the elements of dialogue.
    5. Know and practice the essential elements of creative writing.

    Cultural Studies:
    1. Demonstrate understanding of the concept of heritage.
    2. Demonstrate Knowledge of different SA cultures.
    3. Demonstrate an understanding of the relationship between difference and discrimination.
    4. Demonstrate an understanding of the role of the performing arts in various cultures.
    5. Critically analyse representations of cultural identity.
    6. Demonstarte cultural sensitivity and awareness of stereotyping in making a performance or performance script.

    Story Telling:
    1. Identify and define the origins, functions and dynamic nature of storytelling.
    2. Select and use a variety of different kinds of stories and modes of storytelling.
    3. Demonstrate a wide variety of skills for effective storytelling.
    4. Demonstrate storytelling practises which promote and extend audience/group participation.

    Puppety:
    1. Make appropriate puppets for a specified performance or presentation.
    2. Use puppets to explore ideas and actions.
    3. Use a mask to enhance and enrich performance.
    4. Understand the historical roots and use of masks in different countries.

    Project Performance:
    1. Demonstrate the appropriate transformation of body and voice in a performance.
    2. Participate in the process of developing a concept to performance.
    3. Appreciate the different needs and expectations of various audiences.
    4. Reflect on dramatic processes and experiences.

    Production Performance:
    1. Use basic dramatic and theatrical terms in preparation for performance.
    2. Use efficient and affirming strategies to prepare for performance.
    3. Explore ideas and situations in dramatic form.
    4. Select and use a variety of dramatic forms and conventions.
    5. Research ideas and concepts in preparation for a performance.

    Theatre History:
    1. Demonstrate an understanding of the ritual origins of theatre.
    2. Demonstrate an understanding of the relationship between the three main strains of SA theatre.
    3. Demonstrate an understanding of the present functions of theatre in South Africa.

    Literacy:
    Specific outcomes relating to language (C2005 )
    ( Cross field outcomes usually AC and LO )

    LLC1
    Make and negotiate meaning and understanding.
    LLC2
    Show critical awareness of language use.
    LLC3
    Respond to the aesthetic , affective , cultural and social values in texts.
    LLC4
    Access , process and use information from a variety of sources and situations.
    LLC5
    Understand , know and apply language structures and conventions in context.
    LLC6
    Use language for learning.
    LLC7
    Use appropriate communication strategies for purposes and situations.

    SO1
    Learners make and negotiate meaning and understanding - as they engage with a variety of texts.
    They are expected to apply their understanding of texts in a number of ways.
    SO2
    Learners show critical awareness of language usage. Learners are encouraged to examine the content, style and purpose of visual and written texts in relation to the audiences they are intended for.
    SO3
    Learners respond to the aesthetic , affective , cultural and social values in texts.
    When learners are exposed to texts such as poems or extracts from stories , their own responses are acknowledged and explored.
    SO4
    Learners access , process and use information from a variety of sources and situations.
    Activities which develop learners ` skills in using sources such as dictionaries and libraries are included.
    SO5
    Learners understand , know and apply language structures and conventions in context.
    Language structures and conventions are learnt in an intergrated and interactive way.
    While reading and working with texts , learners identify language structures.
    SO6
    Learners use language for learning.
    Involve the learners actively in using and developing important learning skills such as mindmaps , process writing, summaries and paragraph writing.
    SO7
    Learners use appropriate communication strategies for specific purposes and situations.
    Learners engage with numerous texts which incorporate formal and informal language and a range of register.

    Computer Literacy:
    1. The learner is able to demonstrate proficiency with MS. Word.
    2. The learner is able to demonstrate proficiency with the Internet.
    3. The learner is able to demonstrate proficiency with e-mail operation. 

    ASSOCIATED ASSESSMENT CRITERIA 
    Movement:
    1.1 A knowledge of the terminology used to describe the principles and elements of movement is demonstrated.
    1.2 The main principles of movement are discussed and applied to a sequence.
    Movement elements are discussed and demonstrated in a short sequence.

    2.1 The difference between normal relaxation and active relaxation is demonstrated.
    2.2 The function of different body parts, in isolation and in co-operation, is demonstrated.
    2.3 The awareness of personal and general space is demonstrated.
    2.4 The ability to use personal and general space creatively is demonstrated.
    2.5 The ability to develop a kinesthetic sense is demonstrated.

    3.1 The ability of the body to represent different energies and emotions is demonstrated.
    3.2 The ability of the body to interpret a variety of situations is demonstrated.
    3.3 The ability of the body to creatively interpret and represent characters is demonstrated.
    3.4 The ability of the body to project is demonstrated.

    4.1 The basic regulatory beat of music is recognised and articulated.
    4.2 The co-ordination of various parts of the body and steps in relation to the time-line is demonstrated.
    4.3 Dance techniques and skills are applied to the timing of music.
    4.4 Both steady and unsteady rhythms are articulated.
    4.5 An understanding of phrasing as it applies to dance is demonstrated.
    4.6 Creativity, imagination and confidence is demonstrated.
    4.7 An understanding of dynamics is demonstrated.
    Note:
    4.7 Dynamics being space, time, energy.

    5.1 Movement and theatre-dance principles and elements are applied to create a performance.
    5.2 The ability to combine theatre-dance and movement skills with other performance skills is demonstrated.
    5.3 Theatre-dance and movement is used to interpret a given theme.

    Singing and Music:
    1.1 Development of vocal range and vocal tone within the individual`s vocal category and compass is demonstrated.
    1.2 A variety of basic exercises which benefit the primary rehabilitation of inert vocal muscle structure is demonstrated.
    1.3 The concentration necessary to achieve a level of artistic performance (associated with a general dramatic training) is demonstrated. Individually, and in a group.

    2.1 Knowledge of music principles in selected context is demonstrated.
    2.2 A melody, chosen or composed by the learner, is translated into written notation.
    2.3 A melody is accurately interpreted and performed from sheet music.

    Acting:
    1.1 The attitudes of various roles are demonstrated.
    1.2 The physical characteristics of selected social roles are demonstrated.
    1.3 The use of status with respect to creating a character is demonstrated.

    2.1 The use of intention in creating a role is demonstrated.
    2.2 Choices regarding a role player`s physical representation are implemented.
    2.3 The development of a role player`s dramatic function is demonstrated.

    3.1 The use of listening and responding skills in acting is demonstrated.
    3.2 The use of physical transformation in acting is demonstrated.
    3.3 The interpretation of physical, vocal and emotional aspects of creating a role is demonstrated.
    3.4 The ability to respond appropriately within given dramatic situations is demonstrated.

    4.1 The elements of surface text are defined.
    4.2 The elements of underlying meaning are defined.
    4.3 The interpretation of both surface text and underlying meaning within a dramatic context is demonstrated.

    5.1 The use of focus in character and dramatic action is demonstrated.
    5.2 The use of tension in character and dramatic action is demonstrated.
    5.3 The application of dramatic structure is demonstrated.

    6.1 Technical awareness of space is demonstrated.
    6.2 The range of the actor`s staging techniques is demonstrated.
    6.3 The different performance spaces are described.
    6.4 Staging techniques for different performance spaces are demonstrated.

    7.1 The awareness of comparative use of space and focus is demonstrated.
    7.2 The application of memory and concentration is demonstrated.
    7.3 The building of group dynamics is demonstrated.
    7.4 The use of imagination and spontaneity is demonstrated.
    7.5 The use of sensory awareness is demonstrated.

    Voice:
    1.1 The appropriate use of the apparatus and mechanisms of breath is demonstrated.
    1.2 Sustained breath capacity is demonstrated.
    1.3 Relaxation techniques, muscle support, and body alignment are demonstrated.

    2.1 The connection between breath and sound is demonstrated.
    2.2 Control in the release of sound is maintained.
    2.3 The connection between sound and emotional release is demonstrated.
    2.4 The principles and skills of projection are applied.
    2.5 The importance of warming up the voice is explained.

    3.1 The accurate use of the resonators is demonstrated.
    3.2 The range and register of voice is used for specific audiences.
    3.3 The use of pitch, stress, inflection and intonation is demonstrated.
    3.4 Rhythm, pause, and pace are demonstrated.
    3.5 Vowels sounds and consonants are clearly formed.

    4.1 Appropriate vocal skills for specified verbal presentations are selected and demonstrated.
    4.2 An accurate understanding of the value of words and imagery is displayed.
    4.3 The ability to express accurately the meaning and emotion of a given speech is demonstrated.
    4.4 Listening skills and text analysis are used to apply vocal interpretation to a given text.
    4.5 An ability to free the voice to explore its sound range and energy levels, and to discover and display emotional ranges is demonstrated.

    5.1 The concepts and principles of voice production are named.
    5.2 The organs and anatomical structures in voice production are named.
    5.2 The functions of the above in voice production are discussed.

    Life Skills:
    1.1 The significance and use of personal driving forces are discussed.
    1.2 The function of aims and vision is defined.
    1.3 A personal mission statement containing the elements of 1.1 and 1.2 is designed and drafted.

    2.1 Life skills are named.
    2.2 These skills are demonstrated individually and within a group context.
    2.3 The value of these skills is critically discussed.

    3.1 The three aspects of personality are discussed.
    3.2 The value of a professional approach is discussed.
    3.3 The use of personal marketing for the performing arts industry is discussed.
    3.4 The range of job descriptions and opportunities are identified and discussed.
    3.5 The different providers and learning institutions are identified.
    3.6 The instruments for effective marketing are identified and developed.

    Script Writing:
    1.1 The significance of the learner`s personal beliefs, values, and standards is discussed with regard to creative script writing.
    1.2 A variety of human traits and attitudes are identified.
    1.3 The importance of observation and imagination is discussed.
    1.4 The main cultural streams in South Africa are discussed.
    1.5 A selection of important playwrights, South African and other, are named and works are discussed.

    2.1 Situation, theme, and character are discussed.
    2.2 The use of situation, theme or character as a possible source of material for a script is explained.
    2.3 The dramatic use of conflict is discussed.
    2.4 An understanding of the difference between real life situations and dramatic situation is demonstrated.
    2.5 That a script must set up, and answer, specific questions is discussed.
    2.6 The structural divisions of plot are named and discussed.
    2.7 A dramatic plot is designed.

    3.1 Character(s) required for the plot designed in 2.5 are defined.
    3.2 Character traits are selected.
    3.3 The main motivation of the characters are discussed.
    3.4 How the characters look, speak, and act is decided.

    4.1 The difference between ordinary conversation and dramatic speech is demonstrated.
    4.2 A familiarity with the rhythms of speech and the emotional value of words is demonstrated in dialogue.
    4.3 An understanding of the rhythms of dialogue is demonstrated.

    5.1 The importance of creative observation is discussed.
    5.2 The necessity of the regular practice of writing is discussed.
    5.3 The specific effectiveness of the main parts of speech is demonstrated.
    5.4 The importance of appealing to the five senses in writing is demonstrated.
    5.5 The power of using accurate imagery is demonstrated.

    Cultural Studies:
    1.1 The significance of heritage is demonstrated.
    1.2 The significance of cultural material and artifacts is explained.
    1.3 The use and importance of museums is explained.
    1.4 Basic research methods and skills are demonstrated.

    2.1 Concepts of culture are explained.
    2.2 A range of SA cultures is identified.
    2.3 Information regarding a SA culture other than the learners own is accessed, organised and presented.
    2.4 The concept of culture and the rule of law are compared.

    3.1 The concept of discrimination is explained.
    3.2 Experiences of discrimination are considered.
    3.3 Recurring sources of differences between groups are identified.
    3.4 Recurring sources of discrimination in SA are identified.
    3.5 The concept of stereotypes is explained.
    3.6 Benefits of diversity are identified and considered.

    4.1 An awareness of the role of the performing arts in different cultures is demonstrated.
    4.2 The need and place of the performing arts is discussed.
    4.3 Ways of using and promoting the performing arts in a multicultural society are identified.

    5.1 The socio-political context of selected representations are identified.
    5.2 The subjectivity of the makers of representations is recognized and analyzed.
    5.3 The implicit su7b-text of representations is identified and analyzed.
    5.4 Personal response to selected representatios is reflected on and explored.
    5.5 The impact of representation on individual and collective perceptions is refceted on and considered.
    5.6 Sterotypes in seklected representations are identified and analyzed.

    6.1 Research in chosen theme is evident.
    6.2 Form, style and theme appropriate to the target audience is chosen.
    6.3 Cultural sensitivity in the content and style of the work is displayed.
    6.4 Sensitivity to stereotyping is demonstrated.
    6.5 Personal development is reflected on and articulated.

    Story Telling:
    1.1 The origins and functions of storytelling in different cultures and identified and explained.
    1.2 An awareness of the roles and forms of storytelling in diverse cultures is identified.
    1.3 The theories behind different storytelling practices are defined.
    1.4 The need , place and nature of storytelling in society is explained.
    1.5 Ways of conserving and preserving the art of storytelling are identified.

    2.1 Different kinds of stories are named and used appropriately.
    2.2 Evidence of varying the kinds of stories used is shown.
    2.3 The distinction between and use of traditional , modern and contemporary stories is shown.
    2.4 Two distinct ways of storytelling are explored and demonstrated.
    2.5 Use of a neglected or marginalised form of storytelling is displayed.

    3.1 Various skills available to the storyteller are articulated.
    3.2 Evidence of the appropriate use of voice , facial expressions , body movements and gestures to enhance storytelling is shown.
    3.3 Appropriate variety of pitch , tone , intonation , pace and sound is shown.
    3.4 The effective use of props and visual and auditory aids to enhance storytelling is demonstrated.

    4.1 Strategies for engaging and including audience in the storytelling process are demonstrated.
    4.2 Evidence of selecting and using suitable questions is shown.
    4.3 Stories that are entertaining and hold the audience`s attention are used.
    4.4 Consideration of such aspects as age , interest and langauge ability`s demonstrated.

    Puppetry:
    1.1 Themes , ideas and types of puppets are discussed and motivated.
    1.2 A method of puppet making is understood and used.
    1.3 Careful planning and preparation for puppet making is demonstrated.
    1.4 A puppet symbolising a character or idea is created.
    1.5 Simplicity and effectiveness of image is shown.
    1.6 Respect and appreciation of own and others ` work is demonstrated.

    2.1 Puppets are used to explore ideas and actions individually and in groups.
    2.2 The ability to talk about the puppets and share ideas with mutual respect is demonstrated groups.
    2.3 The ability to talk about the masks and share ideas with mutual respect is demonstrated.
    2.4 Participation in group games and physical skill work with masks is shown.
    2.5 Exploration of the symbolic use of masks is demonstrated.
    2.6 Scenes and stories woven around the masks are constructed.

    3.1 Extension of physical vocabulary and effective use of the body and mask is evident.
    3.2 Evidence of working intelligently and creatively with masks in performance is shown.
    3.3 Masks are used to make and enhance meaning.
    3.4 Commitment , discipline and enjoyment is evident.

    4.1 The sacred or ritual use of masks is identified and explained.
    4.2 The use of masks in different societies and at different historical times is described.
    4.3 Various ways of using masks are compared and contrasted.

    Project Performance:
    1.1 The effective integration of various skills within a performance is demonstrated.
    1.2 Ideas, emotions and attitudes within an integrated performance are portrayed.
    1.3 The development of improvisational skills is shown.
    1.4 The ability to respond imaginatively and spontaneously is shown.
    1.5 The ability to listen and respond to instructions is demonstrated.

    2.1 The ability to develop a performance from a script or idea is demonstrated.
    2.2 Improvisation is developed into scripted form.
    2.3 The collaborative nature of developing a performance is shown by co-operative and energetic participation.
    2.4 The use of ideas and experiences of self and others to shape the performance is evident.

    3.1 Materials that respond to the needs and expectations of various audiences are selected, devised and presented.
    3.2 Different contexts, cultural values and visions which inform performances are recognised.
    3.3 Use of style, language and forms appropriate to audience is demonstrated.

    4.1 Critical reflection on group and individual performances is evident.
    4.2 Reflection throughout the process is demonstrated.
    4.3 Refinement and extension of group performances through analysis and evaluation is evident.
    4.4 Ideas and actions are modified in the light of the focus and intention of the performance.

    Production Performance:
    1.1 A common understanding of terminology is demonstrated
    1.2 The process of preparation for performance is described
    1.3 The relationship between director and cast is established
    1.4 The process and concept of rehearsal is established

    2.1 The ability to work as a team using effective communication skills is demonstrated.
    2.2 Effective time-management and organisational skills in planning a performance is evident.
    2.3 Basic theatre administration skills to ensure possible sustainability of a production are demonstrated.
    2.4 Collaboration and co-operation in group preparation is evident.
    2.5 Problem solving strategies to plan, prepare and practise for a performance are used.
    2.6 Negotiating and affirming ideas with mutual respect is demonstrated.

    3.1 Experiences, observations and ideas are used to imaginatively shape a piece of work.
    3.2 Personal resources are used to identify with new ideas and situations.
    3.3 Role play is used to explore a variety of issues, situations and experiences.

    4.1 The use of appropriate conventions is observed.
    4.2 A dramatic form for presentation is selected.

    5.1 Research skills are employed.
    5.2 Research using suitable oral or literary sources is evident.
    5.3 The process of accessing the required information is shown.
    5.4 The ability to identify relevant material for performance is demonstrated.
    5.5 Personal development is articulated.

    Theatre History:
    1.1 The significance of tribal ritual is investigated.
    1.2 The early uses of storytelling are identified.
    1.3 The link between ritual and theatre is explored.

    2.1 The history of European influence with regard to theatre is explained.
    2.2 The concept and origin of English Theatre in SA is explored.
    2.3 The concept and origins of Afrikaans Theatre in SA is explored.
    2.1 The historical relationship between them is examined.

    3.1 The concept of a mulit-cultural South African theatre is considered.
    3.2 The concept of community theatre is explained.
    3.3 The concept of work place theatre is explained.

    Computer Literacy:
    1.1 Define the terms hardware and software.
    1.2 Define the difference between system software and application software.
    1.3 Draw a diagram of a computer system.
    1.4 List a table from the difference between internal and external MS Dos commands.

    2.1 Show understanding of the uses of internet.
    2.1 Execute access and use of the internet.
    2.2 Retrieve and print information from the internet.

    3.1 Show understanding of how to access and use the e-mail.
    3.2 Write a message and send it with an attachment.
    3.3 Add address to the e-mail address file.

    Integrated Asessment
    To ensure that assessment is integrated the following principles are adhered to: reliability, validity and fairness.

    Assessment is also incremental in that diagnostic, formative and summative assessments are done throughout the academic year. Evidence of assessment instruments such as exams, orals, research and observations are collected in both the educator - and learner portfolios. 

    INTERNATIONAL COMPARABILITY 
    All experts who have contributed to our Unit Standards have been from a higher academic level than we are, mainly the Western Cape universities.They have ensured that our standards are Internationally comparable. In addition to this we have circulated our standards through a thorough consultation process of the following people who are actively involved in the Performing Arts industry.They advised and measured the content and standard of the Unit Standards. Market Theatre, University of Stellenbosch, University of Cape Town, Baxter Theatre, Artscape, Jazz-Art, Western cape Education Department. 

    ARTICULATION OPTIONS 
    Our qualification follows on from related FET courses in the performing arts (NQF level 4), offered by senior secondary schools and institutions like the Cape Town based Community Arts Project and the St. Francis Adult Education centre in Langa.

    Representatives of the Universities of Cape Town, Zululand and Stellenbosch were instrumental in the formulating of our unit standards and course layout, and have formally stated that we provide learners with a standard of outcomes that satisfies their entrance criteria (NQF level 6). 

    MODERATION OPTIONS 
    Internal Moderation, or moderation by the relevant educators and facilitators takes place through the year. For the end of the year moderation external moderators are identified. For both, integrated assessment instruments include: questionnaires, observation, workplace assessment, projects, research, exams and tests, and all of this is contained as evidence in educator and learner portfolios.

    Recommendation of moderationg body
    External moderators are from other performing arts providers of a higher level. These include University of Cape Town, Stellenbosch University and WCED

    Criteria for the registration of assessors
    The criteria are the following:
  • Field expertise
  • Understanding of OBE and assessment instruments
  • Objectivity 
    		•

    CRITERIA FOR THE REGISTRATION OF ASSESSORS 
    N/A 

    REREGISTRATION HISTORY 
    As per the SAQA Board decision/s at that time, this qualification was Reregistered in 2006; 2009; 2012; 2015. 

    NOTES 
    Language of the Qualification:
    English is the structural language of the Qualification, but Afrikaans and Xhosa are frequently and necessarily integrated into activities and projects. 

    LEARNING PROGRAMMES RECORDED AGAINST THIS QUALIFICATION: 
     
    NONE 


    PROVIDERS CURRENTLY ACCREDITED TO OFFER THIS QUALIFICATION: 
    This information shows the current accreditations (i.e. those not past their accreditation end dates), and is the most complete record available to SAQA as of today. Some Primary or Delegated Quality Assurance Functionaries have a lag in their recording systems for provider accreditation, in turn leading to a lag in notifying SAQA of all the providers that they have accredited to offer qualifications and unit standards, as well as any extensions to accreditation end dates. The relevant Primary or Delegated Quality Assurance Functionary should be notified if a record appears to be missing from here.
     
    NONE 


    All qualifications and part qualifications registered on the National Qualifications Framework are public property. Thus the only payment that can be made for them is for service and reproduction. It is illegal to sell this material for profit. If the material is reproduced or quoted, the South African Qualifications Authority (SAQA) should be acknowledged as the source.