E

YP
OT
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PERFORMING
ARTS
TEACHER’S GUIDE
SENIOR ONE

LOWER SECONDARY
CURRICULUM
 E
YP
OT
OT
PR

PERFORMING
ARTS
TEACHER’S GUIDE
SENIOR ONE

LOWER SECONDARY
CURRICULUM
SENIOR ONE

Published 2020

This material has been developed as a prototype for implementation of the revised
Lower Secondary Curriculum and as a support for other textbook development interests.

This document is restricted from being reproduced for any commercial gains.

National Curriculum Development Centre

P.O. Box 7002,
Kampala- Uganda
www.ncdc.co.ug
 PERFORMING ARTS
PROTOTYPE

Contents
Preface .................................................................................................................................... iv
Acknowledgements................................................................................................................. v
EXPLORING AND MAKING CONNECTIONS IN PERFORMING ARTS......................................... 1
Chapter 1: Arts Making in the Natural Environment .............................................................. 1
Chapter 2: Exploring the Basic Elements of Music ............................................................... 11
Chapter 3: Performing Arts in the Economy......................................................................... 21
Chapter 4: Performing Arts Making Using African Styles ..................................................... 27
Chapter 5: Exploring the Elements of Music ........................................................................ 36
Chapter 6: Performing Arts in the Economy......................................................................... 43
Chapter 7: Performing Arts in African Styles ........................................................................ 45
Chapter 8: Exploring the Basic Elements of Music ............................................................... 55
Chapter 9: Performing Arts in the Economy......................................................................... 63

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Preface
This Teacher’s Guide has been designed to enable the teacher to interpret the revised
curriculum and use the accompanying learner textbook effectively. The Teacher’s Guide
provides guidance on what is required before, during and after the teaching and learning
experiences.
To ease the work of the teacher, all the activities and instructions in the Learner’s Book
have been incorporated in this Guide but with additional information and possible
responses to the activities. The guide has been designed bearing in mind the major aim
of the revised curriculum which is to build in the learners the key competences that are
required in the 21st century while promoting values and attitudes and effective learning
and acquisition of skills, to prepare the learner for higher education and eventually the
world of work.
This book has been written in line with the Revised Lower Secondary School Curriculum.
The book has incorporated knowledge, skills partly required to produce a learner who
has the competences that are required in the 21st century; promoting values and
attitudes; effective learning and acquisition of skills in order to reduce unemployment
among school graduates.

Associate Professor Betty Ezati

Chairperson, NCDC Governing Council

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Acknowledgements
This Teacher’s Guide has been designed to enable the teacher to interpret the revised
curriculum and use the accompanying learner textbook effectively. The Teacher’s Guide
provides guidance on what is required before, during and after the teaching and learning
experiences.
To ease the work of the teacher, all the activities and instructions in the Learner’s Book
have been incorporated in this Guide but with additional information and possible
responses to the activities. The guide has been designed bearing in mind the major aim
of the revised curriculum which is to build in the learners the key competences that are
required in the 21st century while promoting values and attitudes and effective learning
and acquisition of skills, to prepare the learner for higher education and eventually the
world of work.
This book has been written in line with the Revised Lower Secondary School Curriculum.
The book has incorporated knowledge, skills partly required to produce a learner who
has the competences that are required in the 21st century; promoting values and
attitudes; effective learning and acquisition of skills in order to reduce unemployment
among school graduates.

Grace K. Baguma
Director, National Curriculum Development Centre

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THEME FOR TERM 1: EXPLORING AND MAKING

CONNECTIONS IN PERFORMING ARTS

Chapter 1: Arts Making in the Natural

Environment

Key Words By the end of this chapter, the learner should be able to:
• Folk a. identify and present Performing Arts that reflect African
• Skit contexts and influences.
• Vocal b. appreciate how the natural environment influences the arts
characteristics and preserves cultural heritage.
• Accompaniment
• Costume
• Prop
• Choreograph
• Cultural heritage
• Environment

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Teacher Preparation

You will need: voice, instruments, costumes, props, makeup, and space for the
performance

Teacher Instruction
Pair work
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

Introduction
In this chapter, you are going to have learners sing Ugandan folk songs depicting the
natural environment. You will ensure they employ appropriate vocal characteristics,
accompaniment, costume and props. You will then guide them to choreograph
appropriate dances to the songs. You will also guide them to retell the story in the song,
identifying characters in it and then dramatizing it. You will then observe them
brainstorm the basic African characteristics of Performing Arts within some performed
pieces. Ensure they carefully explore how elements of the natural environment are
reflected in the song, drama and dance as well as highlight aspects of cultural heritage in
them.

Performing Ugandan Folk Arts

Music
Uganda is inhabited by different ethnic
groups, each with a musical tradition of its
own. This traditional music inheritance
has been orally transmitted from
generation to generation for centuries. All
the different ethnic groups continue to
value and practice their respective
traditional musical styles. Different groups
use different vocal tones. In Bunyoro, the
tone quality is called ‘Kuhugura’ and in
Buganda, ‘eggono’. Can you suggest any
others?
Ugandan music usually follows the
pentatonic scale, but a few tribes also use
a hexatonic scale. Most of the Ugandan
Fig 1.1: Performing a Ugandan
vocal music is accompanied by traditional
traditional folk song
instruments.

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Activity 1.1: Performing African traditional folk songs

You will need: voice, Ugandan traditional music instruments and space for the
performance

This activity will take 2 periods.

1. Pair learners, guide and observe them as they:

i) study Figure 1.1 and explain what they see in the picture.
ii) explain what the people in the picture are doing and why.
iii) tell where they think these people are.

2. Divide learners into four groups to:

i) identify and perform a Ugandan traditional folk song depicting their natural
environment. Let them employ appropriate vocal characteristics and
accompany their singing with suitable traditional music instruments.
ii) let each group present their work to the whole class.
iii) write short notes about the objects they see in the picture explaining how these
can be used to make music. They should also discuss and write short notes
about the message in the songs they have performed. Let these be the products
for your classroom-based assessment. (Ensure teamwork, tolerance to one
another and respect for others’ views)

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Performing Ugandan Traditional Folk Dances

Dance

Like folk songs, Ugandan folk dances are

an inheritance that has been transmitted
from generation to generation for
centuries. All the different ethnic groups
continue to value and practice their
respective traditional musical dances.
Different ethnic groups use different
motifs, instruments, costumes and props.
Fig 1.2: Performing a folk dance

Activity 1.2: Performing Ugandan traditional folk dances

This Activity will take 2 periods.

Divide learners into four groups, guide and observe them to:
i) prepare and perform the folk song they sung in Activity 1.1 or any other of their
choice.
ii) choreograph a dance to the song and improvise costumes, props and
appropriate accompaniment to it. Emphasize teamwork, cooperation and respect
for one another at this point.
iii) perform the dances to the whole class. Emphasise time management here.
iv) Write short notes on the following which will be the product for your classroom-
based assessment.
a) What three features of Ugandan dance can you identify in the dance you
have just performed?
b) On which function would you perform this dance?
c) Explain how the elements of the natural environment are reflected in the
dance you have performed.
d) Talk with examples about what you believe is the preserved and
highlighted aspects of cultural heritage in the dance piece.

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Activity 1.3: Performing African traditional drama

Divide learners into four groups to work out the following activities based
on the folk song they sung in Activity 1.1. Guide and observe them:
i) retell the story in the song.
ii) identify the characters in it and then dramatize it.
iii) present the drama to the whole class.
iv) brainstorm any three basic African characteristics of drama and report their
findings to the whole class.
v) explain how the elements of the natural environment are reflected in the
drama they have performed.
vi) talk with examples about what they believe is the preserved and highlighted
aspects of cultural heritage in the drama piece.

Activity of Integration: Performing a Ugandan Traditional Drama

This activity will take 2 periods.

The District Inspector of Schools will visit your school next week. Your class has been
chosen to entertain the guest.
Task:
1. Write a short plan for the day.
2. Prepare a 15 minutes’ skit based on ideas from the natural environment. The
play should have some folk songs, mimicry and simple dances. Talk about
your appreciation of the play depicting your natural environment.

Possible Responses

1. The short plan should include:

i) Identification of the story as a material from the natural environment for
the play.
ii) A class session to read the story and convert it into a script.
iii) Rehearsal schedules for developing dialogue out of the story, casting,
directing and acting the play.
iv) Making and finding costumes, props.
v) Preparing/setting the stage.
vi) Inviting the audience.
vii) Presenting the play to the guests.

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2. Talk about your appreciation of the play depicting your natural environment.
i) Learners should discuss the story in terms of its genre whether it is a folk
story or true story (nonfiction).
ii) Appreciate the materials that the costumes and props are made of i.e.
leaves, skin, cloth, hat, stone, walking stick, basket, stool, etc.
iii) The space for staging and the scenery setting of the play in terms of the
materials from the environment used whether open arena, assembly
ground or built stage in the main hall, scenery setting may be by use of
backdrops with artistic drawings, use of tree branches, plants and leaves,
etc.
iv) Appreciate the use of some special effects of sound and light if any is used
e.g. animal and bird cries and any other sounds from the natural
environment.

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Assessment Grid for Activity of Integration 1: Performing a Ugandan
Traditional Drama

Chapter Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

ONE Assessment Relevancy Accuracy Coherence Excellence

Output 1. A plan for an Score 3: Score 3: Suggests Score 3:

A arts Identifies the right content Logically
performance performance necessities for and cost of the relates the
of a the play: necessities for events of the
Ugandan costumes, the play: arts Learner earns
Traditional props, costumes, props, performance one point if
drama instruments, instruments, in regard to he/ she has
rehearsal time, rehearsal time, schedules added any
the cast list, a the cast list, a and relevant
dance, folk dance, folk song, agendas. element
song, the the stage, unsolicited in
stage, invitations, the
invitations, presentations, introduction.
presentations schedules, etc.
schedules, etc. (any 6-7)
(any 6-7)
Score 2: Score 2: Suggests Score 2:
Identifies the right content Somehow
necessities for and cost of the relates the
the play: necessities for events of the
costumes, the play: arts
props, costumes, props, performance
instruments, instruments, in regard to
rehearsal time, rehearsal time, schedules
the cast list, a the cast list, a and
dance, folk dance, folk song, agendas.
song, the the stage,
stage, invitations,
invitations, presentations
presentations schedules, etc.
schedules, etc. (any 4-5)
(any 4-5)

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Chapter Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

ONE Assessment Relevancy Accuracy Coherence Excellence

Score 1: Score 1: Suggests Score 1:

Identifies the right content Lightly
necessities for and cost of the relates the
the play: necessities for events of the
costumes, the play: arts
props, costumes, props, performance
instruments, instruments, in regard to
rehearsal time, rehearsal time, schedules
the cast list, a the cast list, a and
dance, folk dance, folk song, agendas.
song, the the stage,
stage, invitations,
invitations, presentations
presentations schedules etc.
schedules etc. (any 1-3)
(any 1-3)
2. A 15 Score 3: Score 3: Score 3:
minutes’ skit Appropriate Appropriate use Superior Learner earns
choice of of body, performance one point if
costumes, costumes, props, of the skit he she has
props, instruments and with ideas added any
instruments the stage to flowing in a relevant
and the stage perform the skit logical element
to perform the following the manner. unsolicited in
skit following planned cast, the
the planned time, and introduction.
cast, time, and audience.
audience.

Score 2: Score 2: Score 2:

A reasonable A reasonable use Good
choice of of the body, performance
costumes, costumes, props, of the skit
props, instruments and with ideas
instruments the stage to flowing in a
and the stage perform the skit logical
to perform the following the manner.
skit following planned cast,
the planned time, and
cast, time, and audience.
audience.

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Chapter Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
ONE Assessment Relevancy Accuracy Coherence Excellence

Score 1: Score 1: Score 2:

A fair choice of Could have used Fair
costumes, more performance
props, appropriately the of the skit
instruments body, costumes, with ideas
and the stage props, flowing in a
to perform the instruments and somewhat
skit following the stage to logical
the planned perform the skit manner.
cast, time, and following the
audience. planned cast,
time, and
audience.

3. Write-up on Score 3: Score 3: Score 3:

the States the core Explains with Superior Learner earns
appreciation issues seen in relevant examples Communicat one point if
of the play. the play and the core issues ion of ideas he/ she has
related to the seen in the play in a flowing added any
natural and related to the and logical relevant
environment: natural manner. element
genre of the environment: unsolicited in
story, genre of the story, the
communicatio communication, introduction.
n, language, language,
costumes and costumes and
props, space props, space use,
use, scenery scenery setting,
setting, special special effects like
effects like sound and light
sound and etc.
light, etc. (Any 5-6)
(Any 5-6)

Score 2: Score 2: Score 2:

States the core Explains with Basic
issues seen in relevant examples Communicat
the play and the core issues ion of ideas
related to the seen in the play in a flowing
natural and related to the and logical
environment: natural manner.

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Chapter Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

ONE Assessment Relevancy Accuracy Coherence Excellence

genre of the environment:

story, genre of the story,
communicatio communication,
n, language, language,
costumes and costumes and
props, space props, space use,
use, scenery scenery setting,
setting, special special effects like
effects like sound and light
sound and etc.
light, etc. (Any 3-4)
(Any 3-4)

Score 1: Score 3: Score 1:

States the core Explains with Communicat
issues seen in relevant examples ion of ideas
the play and the core issues in a less
related to the seen in the play coordinated
natural and related to the manner.
environment: natural
genre of the environment:
story, genre of the story,
communicatio communication,
n, language, language,
costumes and costumes and
props, space props, space use,
use, scenery scenery setting,
setting, special special effects like
effects like sound and light
sound and light etc.
etc. (Any 1-2)
(Any 1-2)

Total /28

Chapter Summary
In this chapter, the learner has learnt to perform music, dance and drama in Ugandan
traditional styles using appropriate vocal characteristics, accompaniment, costume and
props and depicting the natural environment.

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Chapter 2: Exploring the Basic Elements of

Music

Key Words By the end of this chapter, the learner should be able to:
• Treble clef a) appreciate and use basic music elements of pitch,
• Rhythm duration and tempo to create and present music pieces.
• Pitch b) understand the ways in which the natural environment
• Stave can be illustrated through the arts.
• Key G major
• Key signature
• Simple duple
time
• Elements of

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Time: This chapter will take 12 periods.

Teacher Preparation
You will need:
Voice, music scores and space for the performances.

Teacher Instruction
Use 10 minutes to pair, guide and observe learners:
i) sing a warm-up song of their choice.
ii) read the learning outcomes on the chapter page and introductory notes on the
second page of chapter two in the Learner’s Textbook and as indicated below.
Introduction
In this chapter, you are to explore and demonstrate the meaning and effects of the
following musical elements: treble clef; stave, key signature of G major; simple duple
time; eighth, quarter and half notes. You will then compose, read and write songs
following the given elements. You will stage your composition and share ideas on how
you will market it to the wider community.

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Activity 2.1: Identifying rhythm in songs

This activity will take 70 minutes.

1. Guide and observe the learners:

i) sing the song ‘Butterfly tell me how you grow’. They may sing after you if they
don’t know it.
ii) sing the song to syllables like wa, la, ku and then to “French rhythm names”

2. Mark the rhythm of the song by:

a) Clapping
b) Stamping
c) Snapping
3. Facilitate the learners to come up with a product in form of:
a) Written rhythms of the song in their notebooks. Here is an example of the first
line/ the phrase.
ta-te taa ta-te taa ta-te ta – te taa-aa

| ||
• Two rhythm passages of eight beats each including

; and rhythms e.g.

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Pitch
What is pitch?
You learnt about pitch during your CAPE 1 lessons in Primary school. You drew the G clef
and named the lines and spaces of the stave. You were learning to use pitch in music. In
this section, you are going to learn more about pitch and use it to sing, compose and
write music.

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Activity 2.2: Recognising pitch in songs

This activity will take 2 periods.

1. Display lyrics of the song ‘Butterfly tell me how you grow’.

2. Guide and observe the learners to:
i) sing the song to sol-fa.
ii) sing through the sol-fa on the music ladder upwards and downwards.

3. Divide the class into four groups and facilitate them to come up with a product in
form of two written sol-fa passages of up to 8 notes without leaps
e.g. d r m f m r r d
(Be patient with learners as they engage in arguments to create their product)
4. Facilitate each group and have them engage in a 5 minutes’ conversation about
music by presenting their work to the class and pitch their notes correctly.
Ensure the learners listen to each other’s views respectfully and work in teams.

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Activity 2.3: Writing music on the treble stave

1. Guide and observe individual learners:

i) draw a treble stave. (5 minutes)
ii) create at least five words out of letters A, B, C, D, E, F, G and arrange them
correctly on the treble stave.

2. Below is the example given:

3. Write the key signature of key F major on the treble stave(placing the sharp on
the top line F just after the clef and identifying the position of doh on line G. You
may demonstrate to the learners how to find the position of doh by placing the ‘t’
to the position of the last sharp and then descend the scale.
4. Read the music on this stave, pitching correctly as they clap the rhythm.

5. Facilitate the learners to come up with a product in form of written music

compositions on the treble stave in F major as in the example number. The
learners may use these sol-fa passages for pitch.

a. d r d r m m r r d

b. d r m f s f m r d

c. d d d r d r m r d

6. Facilitate the learners to make a conversation on their compositions by:

i) sight reading them.
ii) sharing ideas about various ways of acquiring correct pitching.

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Activity 2.4: Studying written music

This activity will take 2 periods.

1. Pair and observe learners studying the following music excerpt and guide them to
do the activities that follow.

i) Sing the song to words over and over.

ii) Sing the music over and over to sol-fa.
iii)Clap the rhythm of the song while saying the French rhythm names.
iv) Using 10 minutes, facilitate the learners to come up with a conversation about
identifying:
a) How many systems are in the whole piece?
b) The number of bars in the music passage.
c) The bars with the highest and lowest notes.
d) The key of the song.
Ensure learners exhibit a positive attitude to looking for solutions to problems and
learning to learn.

2. Facilitate the learners to come up a product in form of:

i) written rhythm of second bar of the song in French rhythm names.
ii) a written list of the three growth stages of a butterfly and the bars in the song
where this information is found.
iii) a written copy of the music of the song in their notebooks.

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Activity 2.5: Listening to music (aural tasks)
This activity will take two periods.
1. Listen to two pieces of music played to you in key F major.
2. Compare the features of the two pieces regarding rhythm, pitch, tempo and length.
3. Identify the sections that reflect the aspects of the natural environment.
4. Listen to four played melodies of four bars in simple duple time and write them on
the treble stave in key F major.

Activity of Integration: Composing and Performing a Song

The Biology teacher would like to teach about plant roots using a song. The teacher needs
your help to compose a tune to these words. The rhythm has been aligned to the words.

Task:
1. Compose a melody to the given words and rhythm using sol-fa without leaps. Start
and end on doh.
2. Write your composition on the treble stave using key F major.
3. Sing your melody to sol-fa and then to words.

Possible Responses
1.

2.

3. Depends on each learner’s composition following the rhythm and words given.

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Assessment Grid for Activity of Integration 2

Chapter Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

2. Assessment Relevancy Accuracy Coherence
Excellence
Out put 1. A four bar Score 3: Score 3: Score 3:
A four simple Composes sol-fa Aligns the pitch Writes a
bar duple notes of the (with no leaps) to tuneful
melody melody in diatonic major the given rhythms and singable
in simple sol-fa scale (in lower accurately and melody in
duple notation case) to the appropriately, conjunct
time given rhythms starting and movement.
passages. ending on doh The learner
Score 2: Score 2: Score 2: earns one
Composes sol-fa Aligns the pitch to Writes a point if
notes of the the given rhythms singable but he/she has
diatonic major producing a not so tuneful added any
scale to the singable melody melody that relevant
given rhythms but with disregard may be either element that
with disregard to leaps, starting, in conjunct was
to the and ending on or disjunctive unsolicited
conventional doh. movement in the
lower case. instruction
Score 1: Score 1: Score 1:
Composes sol-fa Aligns the pitch to Writes an un-
notes beyond the given rhythms singable and
the diatonic producing a rather untuneful
major scale to un-singable melody that
the given melody and with may be either
rhythms with disregard to the in conjunct or
disregard to the conjunct disjunct
conventional movement, movement.
lower case. starting and
ending on other
notes other than
doh.

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2. A four bar Score 3: Score 3: Score 3:
simple duple Uses the Uses the following Produces an
melody in following in accurately: the treble exceptionally
staff music: the treble stave, the treble clef, balanced and
notation. stave, treble clef, the key signature of F unified song
the key signature major, time signature with equal bars,
of F major, time of simple duple time, well placed bar
signature of staff rhythm symbols, lines, well-
simple duple bar, lyrics of the song spaced and
time, staff written below the hyphen
rhythm symbols, stave and not separated
bar lines and cramping with the syllables of
lyrics of the song. notes. (any 6-7) word.
(any 6-7)

Score 2: Score 2: Score 2:

Uses the Uses the following Produces a
following in accurately: the treble basically
music: the treble stave, the treble clef, balanced and
stave, the key the key signature of F unified song
signature of F major, time signature with equal bars,
major, time of simple duple time, well placed bar
signature of staff rhythm symbols, lines, well-
simple duple bar, lyrics of the song spaced and
time, staff written below the hyphen-
rhythm symbols stave and not separated
and lyrics of the cramping with the syllables of
song. (any 4-5) notes. (any 4-5) words

Score 1: Score 1: Score 1:

Uses the Uses the following Produces a
following in accurately: the treble fairly balanced
music: the treble stave, the treble clef, and unified
stave, the key the key signature of F song with equal
signature of F major, time signature bars, well
major, time of simple duple time, placed bar
signature of staff rhythm symbols, lines, well-
simple duple bar, lyrics of the song spaced and
time, staff written below the hyphen
rhythm symbols stave and not separated
and lyrics of the cramping with the syllables of
song. (Any 1-3) notes. (any 1-3) words

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Score 3: Score 3: Score 3:

Sings the song to Sings the song to Sings the whole
3. A French rhythm words with accurate song to sol-fa
Performance names, sol-fa pitches and rhythm in and words
of a four bar and words (All all the bars. steadily and
simple duple the three). consistently
melody in sol-
fa notation Score 2: Score 2: Score 3:
Sings the song to Sings the song to Sings most of
French rhythm words with accurate the sections of
names, sol-fa pitches and rhythms the song to sol-
and words (Any in most of the bars. fa and words
two) steadily and
consistently
Score 1: Score 1: Score 3:
Sings the song to Sings the song to Sings a few
French rhythm words but with sections of the
names, sol-fa inaccurate pitches song to sol-fa
and words (Any and rhythms in most and words
one) of the bars. steadily and
consistently

Chapter Summary
In this chapter, the learner has explored and demonstrated the meaning and effects of
musical elements including the treble clef; stave, key signature of G major; simple duple
time; eighth, quarter and half notes.

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Chapter 3: Performing Arts in the Economy

Figure 3.1: At the Uganda National Theatre

Key Words By the end of this chapter, the learner should be able to
• Career understand the commercial roles of the Performing Arts and how
opportunities these affect the natural environment.
• Employment
• Adverts
• Publicity
• Performing Arts
industry

Teacher Preparation

You will need: newspapers, magazines, posters or the Internet.

Teacher Instruction
Work in Small Groups
Use 5 minutes to guide and observe learners read the introductory notes of this chapter
in the Learner’s Textbook and as indicated below.

Introduction
In this chapter, you will learn to identify the employment and career opportunities in the
Performing Arts industry. You will listen to or read about, where possible, people from
the arts industry talk about career opportunities. From this research, you will make
adverts and other publicity materials to celebrate the Performing Arts in your school and
beyond.

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Activity 3.1: Identifying career and making publicity for Performing Arts
This activity will take 2 periods
1. Divide learners into four groups, guide and observe them:
i) research about what people from the arts industry talk about career
opportunities. You may provide them with newspapers, magazines or the
internet.
ii) make a short write-up of the findings in their notebooks.

2. Let them study the pictures in Figure 3.1 and:

i) identify the roles the different people in it may be playing in the Performing Arts
industry.
ii) Present the findings to (i) above in the class.

Activity of Integration: Preparing for a Commercial Arts Performance

This activity will take two periods.
Your school choir has qualified to present a two weeks’ commercial performance in the
National Theatre at the end of this term. Plans are in high gear to see that this show is
a great success. Its success will go a long way to popularize the school both in the
community and the country.

Task:
1. Identify and write about any six-professional people that will work towards the
success of this performance.
2. In five ways, explain the range of audiences where the products of these
performing art works could be sold.
3. Design a poster publicising this performance

Possible Responses
1.
i) Producer: Gathers ideas for the performing group, composes the music for the
group, selects songs or the items to be performed, etc. (any two)
ii) Booking Agent: Responsible for booking live performances and performance
venues.
iii) Music Promoter: Responsible for publicizing a concert.
iv) Music Publisher: Ensures the song writers and composers receive payment when
their songs are used commercially.
v) Tour Manager: Manages transportation, scheduling, and the financial aspects of
the Performing Arts time on the road.
vi) Theatre Manager: Manages the concert hall and oversees all activities and
employees in the venue.

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 PERFORMING ARTS
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vii) Director of Marketing: Works to promote live events by advertising the event.
viii) Stage Manager: Makes sure that the day to day operations of a concert hall run
smoothly.
ix) Music Journalist: Writes music criticism and music news for print, online and
broadcast media.
2.
i) Everyone: Recordings of these works can be marketed to everyone through social,
print and broadcast media.
ii) Demographics can also determine the audience. Products of this performance can
be sold to parents, teachers and students from other schools.
iii) Other audiences could be targeted by location. For example, a song can easily be
marketed in the area of the language it is performed.
iv) Attitude and opinion. Some audiences are targeted based on how people feel.
Products from these school performances could sell better to audiences
concerned with education.
v) Lifestyle. A lifestyle is how people spend their time. For example, these products
could target people who enjoy spending weekends in theater to relax.

3. Any design of a poster with:

i) Name of school
ii) Name of the show
iii) Venue for the performance
iv) Date for the performance
v) Fee
vi) Initials of poster designer (optional)

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Assessment Grid for Activity of Integration 3

Chapter 3 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
assessment Relevancy Accuracy Coherence Excellency

Output 1. Profession Score 3: Score 3: Score 3:

als in the Identifies 5-6 Assigns duties of Explains duties of
A production Performin professionals in the 5-6 professionals 5-6 professionals Learner earns
of a g Arts Performing Arts appropriately in a logical way. one point if
commercial industry industry particularly he/she has
arts relevant to this kind added any
performance. of performance. relevant
element
unsolicited in
the
instruction.
Score 2: Score 2: Score 2:
Identifies 4-3 Assigns duties of Explains duties of
professionals in the 4-3 professionals 4-3 professionals
Performing Arts appropriately in a logical way.
industry particularly
relevant to this kind
of performance

Score 1: Score 1: Score: 1

Identifies 1-2 Assigns duties of Explains duties of
professionals in the 1-2 professionals 1-2 professionals
Performing Arts appropriately in a logical way.
industry particularly
relevant to this kind
of performance

2. Market Score 3: Score 3: Score 3:

places for Identifies 5-6 Writes about Writes about
Performing situations where 5-6 market 5-6 market
Arts Performing Arts places using places using
products products can be appropriate convincing and
marketed. terms and flowing ideas.
examples

Score 2: Score 2: Score 2:

Identifies 3-4 Writes about Writes about
situations where 3-4 market 3-4 market
Performing Arts places using places using
products can be appropriate convincing and
marketed. terms and flowing ideas.
examples

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 PERFORMING ARTS
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Chapter 3 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
assessment Relevancy Accuracy Coherence Excellency

Score 1: Score 1: Score 1:

Identifies 1-2 Writes about Writes about
situations where 1-2 market 1-2 market
Performing Arts places using places using
products can be appropriate convincing and
marketed. terms and flowing ideas.
examples

3. A poster Score 3: Score 3: Score 3:

to publicize Designs the poster Designs the Designs the
the music with 5-6 of the poster with 5-6 of poster with 5-6 of
show following: Name of the following the following in
school, Name of the appropriately given logical
show, Venue for the positioned: letter font, size
performance, Date Name of school, and colour;
for the performance, Name of the Name of school,
Fee, Initials of poster show, Venue for Name of the
designer, etc. the performance, show, Venue for
Date for the the performance,
performance, Date for the
Fee, Initials of performance,
poster designer, Fee, Initials of
etc. poster designer,
etc.
Score 2: Score 2: Score 2:
Designs the poster Designs the Designs the
with 3-4 of the poster with 3-4 of poster with 3-4 of
following: Name of the following the following
school, Name of the appropriately given in logical
show, Venue for the positioned: letter font, size
performance, Date Name of school, and colour:
for the performance, Name of the Name of school,
Fee, Initials of poster show, Venue for Name of the
designer etc. the performance, show, Venue for
Date for the the performance,
performance, Date for the
Fee, Initials of performance,
poster designer Fee, Initials of
etc. poster designer,
etc.

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 SENIOR ONE

Chapter 3 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

assessment Relevancy Accuracy Coherence Excellency

Score 1: Score 1: Score 1:

Designs the poster Designs the Designs the
with 1-2 of the poster with 1-2 of poster with 1-2 of
following: Name of the following the following
school, Name of the appropriately given logical
show, Venue for the positioned: letter font, size
performance, Date Name of school, and colour:
for the performance, Name of the Name of school,
Fee, Initials of poster show, Venue for Name of the
designer etc. the performance, show, Venue for
Date for the the performance,
performance, Date for the
Fee, Initials of performance,
poster designer Fee, Initials of
etc. poster designer
etc.
Total 28

Chapter Summary
In this chapter, the learner has learnt to:
i) identify the employment and career opportunities in the Performing Arts industry.
ii) make adverts and other publicity materials to celebrate the Performing Arts in
their school and beyond.

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 PERFORMING ARTS
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THEME FOR TERM 2: EXPLORING, MAKING

AND MARKETING PERFORMING ARTS IN THE
COMMUNITY
Chapter 4: Performing Arts Making Using
African Styles

Figure 2.1: performing a folk dance

Key Words By the end of this chapter, the learner should be able to:
• Characters a. appreciate and simulate African styles into own works of
• Folklore
Performing Arts.
• Themes
• Patterns b. identify and present artworks that reflect African contexts
• Motifs and influences.
• Skit c. trace African art styles in Ugandan art works.
• Traditional tale
• Story sequence

Teacher Preparation
You will need: voice, instruments, costumes, props, makeup, and space for the
performance.

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 SENIOR ONE

Teacher Instruction
Pair work
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

Introduction
In this chapter, you are going to study African traditional folk songs regarding key
themes, characters and any story sequence. You are going to use some of the ideas
relating to the songs to compose your own additional songs. You will also study African
traditional dances to identify key themes, motifs and patterns and then use some of your
own ideas from it to create new related dances.
Likewise, you are to study African traditional tales from folklore and identify features and
compare these to those identified in the song and dance. From these, you are to create
and perform a skit relating to a key theme in the traditional tale. You will learn to create
your own Performing Arts using African styles, to entertain and educate your school
community.

Composing the Arts in African Traditional Style

Music
Much of Uganda’s music is inspired by
themes, characters and story
sequences from African traditional
folk songs. There are many cultural
troupes in Uganda today that perform
on wedding functions, corporate
events, etc. Whereas performers
utilise the already known traditional
music skills, a lot of creativity and
innovation is required for them to
survive competition. They design new
music forms, costumes and props to
Figure 2.2: Performing Ugandan traditional
differentiate themselves from other
folk songs
troupes.

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 PERFORMING ARTS
PROTOTYPE

Activity 4.1: Composing music in African traditional style

Composing Dance
You will need: voice, in African
Ugandan Traditional
traditional music Style
instruments and space for the
performance

Dance
Divide learners into four groups. Prepare a recorded folk song or a live performance for
Like
themmuch
to: of Uganda’s music, Ugandan dances are inspired traditional folk dances.
Performers simulate themes, motifs and patterns and then use some of these ideas to
i) Listen
create newor related
watch adances.
live performance
There areand identify
many the that
dances key themes,
have beencharacters
createdand
in this
storyespecially
manner sequence through
in the song.
the national music festivals. This item is popularly known
ii) ‘Creative
as Use some of theand
Dance’ ideas relating
many to theUgandans
talented theme, the characters
have earned aorliving
storyfrom
sequence and
this skill.
compose their own song in the African traditional style.
iii) Design, practice and perform their music piece to the rest of the class.
iv) With the whole class, discuss what distinguishes Ugandan folk songs from other
African folk songs in general.

Activity 1.2: Composing dances in African Traditional Style

Divide learners into four groups. Prepare a film of an African folk dance or a live
performance for them to:

i) watch a film or live performance of an African traditional dance and identify key
themes, motifs and patterns.
ii) use some of the ideas from it and create a new related dance.
iii) design, practice and perform their dance piece to the rest of the class.
iv) with the whole class, discuss what distinguishes Ugandan folk dances from other
African folk dances in general.

Activity 1.3: Composing drama using African traditional drama styles

This activity will take 2 periods:
Divide learners into four groups, guide and observe them:
i) select a Ugandan traditional tale that they know well or read a script of an
African traditional tale from folklore.
ii) identify features and compare them to those they identified in the song and
dance.
iii) create and perform a 10 minutes’ skit from this, relating to a key theme in the
traditional tale considering the exposition, climax and resolution and using the

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 SENIOR ONE

elements of role, focus, action, tension, time, and space.

As a whole class, discuss what distinguishes Ugandan folk drama from other African
traditional drama in general.

Possible Responses

Activity of Integration: Performing Original Arts Compositions in African Style

A Community Performing Arts group is coming to stage a concert at your school. You
are to perform a ‘curtain raiser’ in the concert.

Task:
i) Design a 10 minutes’ art work in African traditional style, integrating the music,
dance and drama pieces you composed this term.
ii) Perform the art work with appropriate costumes, props and stage design.
iii) Make a short write-up on the effect of the performance to the whole school.

Arts A Group is coming to stage a concert at your school. You are to perform a ‘curtain
raiser’ in the concert.

Task:
i) Expect the learners to design a 10 minutes’ art work in African traditional style,
integrating the music, dance and drama pieces composed this term.
a. The learners should be able to compose own song, create a dance and a
play based on the characteristics of the African style such as the use of
improvisation in terms of costumes, props, dialogue and staging. etc.
b. The learners should exhibit skill of singing i.e. taking lead roles, working
together to perform as they act.
ii) Expect the learners to perform the art work with appropriate, costumes, props
and stage design.
iii) Expect learners to make a short write-up on the effect of the performance to the
whole school.

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 PERFORMING ARTS
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Assessment Grid for Activity of Integration 4

Chapter 4 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

Assessment Relevancy Accuracy Coherence Excellency
Output 1. A design Score 3: Score 3: Score 3:
A Performance of an art Identifies 5-6 of Uses correctly Performs with
of an original work in the following 5-6 of the 5-6 of the Learner earns one
arts African items for the following items following point if he/she has
composition in style. performance: for the items added any relevant
African style songs, music performance: integrated in a element unsolicited
instruments, a songs, music logical and in the instruction.
dance, a skit, instruments, a flowing
costumes, props, dance, a skit, manner:
stage and an costumes, songs, music
auditorium props, stage instruments, a
and an dance, a skit,
auditorium costumes,
props, stage
and an
auditorium

Score 2: Score 2: Score 2:

Identifies 3-4 of Uses correctly Performs with
the following 3-4 of the 3-4 of the
items for the following items following
performance: for the items
songs, music performance: integrated in a
instruments, a songs, music logical and
dance, a skit, instruments, a flowing
costumes, props, dance, a skit, manner:
stage and an costumes, songs, music
auditorium props, stage instruments, a
and an dance, a skit,
auditorium costumes,
props, stage
and an
auditorium

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 SENIOR ONE

Chapter 4 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

Assessment Relevancy Accuracy Coherence Excellency
Score 1: Score 1: Score 1:
Identifies 1-2 of Uses correctly Performs with
the following 1-2 of the 1-2 of the
items for the following items following
performance: for the items
songs, music performance: integrated in a
instruments, a songs, music logical and
dance, a skit, instruments, a flowing
costumes, props, dance, a skit, manner:
stage and an costumes, songs, music
auditorium props, stage instruments, a
and an dance, a skit,
auditorium. costumes,
2. A Score 3: Score 3: Score 3:t
performan Appropriate Outstanding Superior
ce of a choice and use of accuracy in blend and
contempo props, costumes, expressions, balance of
rary art instruments, styles, tempo, music dance,
work in songs and stage phrasing and drama and
African that enhanced dynamics accompanime
style. performance throughout the nt and
performance. appropriate
choice of
props and
costumes
achieved
throughout
the
performance
both within
and between
sections.

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 PERFORMING ARTS
PROTOTYPE
Chapter 4 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
Assessment Relevancy Accuracy Coherence Excellency
Score 2: Score 2: Score 2: Blend
Basic choice and Basic accuracy and balance
use of props, in expressions, of music
costumes, styles, tempo, dance, drama
instruments, phrasing and and
songs and stage dynamics in accompanime
that enhanced most sections nt and
performance of the appropriate
performance. choice of
props and
costumes
basically
achieved
throughout
the
Score 1: Score 1: f 1: Blend
Score
Some sense of Occasional and balance
choice and use of accuracy in of music
props, costumes, expressions, dance, drama
instruments, styles, tempo, and
songs and stage. phrasing and accompanime
dynamics in nt and
many sections appropriate
of the choice of
performance. props and
costumes
rarely
achieved
throughout
the
performance
both within
and between
sections.

3. A write-up Score 3: Score 3: Score 3:

on the Identifies 5-6 explains with explains in a
effect of effects such as: relevant logical
the Positive mindset, examples and manner 5-6
performan reducing stress, correct English effects such
ce to the improved any 5-6 effects as:
whole memory, such as: positive
school. improved team positive mindset,
work, more mindset, reducing
school reducing stress, stress,
engagement, improved improved

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 SENIOR ONE

Chapter 4 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

Assessment Relevancy Accuracy Coherence Excellency
maintaining memory, memory,
better improved team improved
attendance work, more team work,
records, school more school
improved engagement, engagement,
reading maintaining maintaining
comprehension, better better
improved attendance attendance
communication records, records,
skills, etc. improved improved
reading reading
comprehension comprehensio
, improved n, improved
communication communicatio
skills, etc. n skills, etc.
Score 2: Score 2: Score 2:
identifies 3-4 explains with explains in a
effects such as: relevant logical
positive mindset, examples and manner 3-4
reducing stress, correct English effects such
improved any 3-4 effects as:
memory, such as: Positive
improved team positive mindset,
work, more mindset, Reducing
school reducing stress, stress,
engagement, improved Improved
maintaining memory, memory,
better improved team improved
attendance work, more team work,
records, school more school
improved engagement, engagement,
reading maintaining Maintaining
comprehension, better better
improved attendance attendance
communication records, records,
skills, etc. improved improved
reading reading
comprehension comprehensio
, improved n, improved
communication communicatio
skills, etc. n skills, etc.

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 PERFORMING ARTS
PROTOTYPE
Chapter 4 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
Assessment Relevancy Accuracy Coherence Excellency
Score 1: Score 1: Score 1:
Identifies 1-2 Explains with explains in a
effects such as: relevant logical
positive mindset, examples and manner 1-2
reducing stress, correct English effects such
improved any 1-2 effects as:
memory, such as: positive
improved team positive mindset,
work, more mindset, reducing
school reducing stress, stress,
engagement, improved improved
maintaining memory, memory,
better improved team improved
attendance work, more team work,
records, school more school
improved engagement, engagement,
reading Maintaining maintaining
comprehension, better better
improved attendance attendance
communication records, records,
skills, etc. improved improved
reading reading
comprehension comprehensio
, improved n, improved
communication communicatio
skills, etc. n skills, etc.
Total 28

Chapter Summary
In this chapter, the learner has learnt to perform music dance and drama in Ugandan
traditional styles using appropriate vocal characteristics, accompaniment, costume and
props and depicting the natural environment.

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 SENIOR ONE

Chapter 5: Exploring the Elements of Music

Key words By the end of this chapter, the learner will be able to use basic
• Key F major music elements of pitch, duration and tempo to appreciate,
• Key signature study and present music in simple time.
• Simple
quadruple time
• Elements of
music
• Vertebrates
• Bar
• System

Teacher Preparation

You will need: voice, music scores and space for the performances.

Teacher Instruction
Work in small groups
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

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 PERFORMING ARTS
PROTOTYPE

Introduction
In this chapter, you are going to apply the key of F major and its key signature and
explain how it is related to other keys. You will use the treble stave and Major Key of F to

compose, write and read two bar melodies in simple quadruple time with
notes without leaps. You may use any available music software.
You will compare your melodies with those of other people and suggest ways for them to
be improved. You are also going to study pieces of music to identify and explain the
building blocks (elements) of music in them. These elements will include pitch, duration
and tempo.
You will also order pieces of music according to which you think is the most complex,
explaining your reasons. All these will make you competent in composing and
performing western music to entertain and educate the community.

Activity 5.1: Identifying rhythm in songs

Divide the class into four groups:

i) Sing the song ‘vertebrates’. They may sing after you if they don’t know it.
ii) Sing the song for 5 minutes to French rhythm names and then mark its rhythms
by:
a) clapping
b) stamping
c) snapping

iii) Write the French rhythms of the song in their notebook and match them with
rhythm in staff notation. (5 minutes)

iv) Compose five rhythm passages of eight beats each using ; ; rhythms.
v) Read their compositions by use of French rhythm names and clapping.
vi) Compose sol-fa notes (without leaps) to the rhythm passage below and write
their composition on the treble stave in key F major.

vii) Sing the song you have composed.

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 SENIOR ONE

Activity 5.4: Studying written music

Guide and observe learners study the song ‘vertebrates’ in the learners’ textbook and:
i) sing the whole song to sol-fa appropriately.
ii) use French rhythm names to write the rhythm of the second system.
iii) identify the length of the song verse in terms of bars.
iv) identify the bar they think is more complex and explain their answer.
v) tell the number of systems the whole piece has.
vi) identify the different classes of vertebrates giving three examples of each and
naming the bars in which they are found.
vii) sing the section of the song below and write sol-fa notes above it.

Activity of Integration 5: Composing and performing songs to the ‘if’ clauses in English
language.

Your cousin in Primary Six would like use songs to learn about the ‘if’ clauses in English
language. He/she requests you to compose songs to the sentences below so that he/she
sings and remembers the three ‘if’ clauses. The rhythm has been aligned to the words.

Task:
1. Compose a melody to each of the given sentences and rhythms using sol-fa without
leaps. You may start on ‘doh’ and end on ‘me’
2. Write each of your composition on the treble stave using key G major.
3. Sing the songs and ask your teacher to record them.

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 PERFORMING ARTS
PROTOTYPE
Possible Responses

1. Compose a melody to each of the given sentences and rhythms using sol-fa
without leaps. You may start on ‘doh’ and end on ‘me’
If one

If two

If three

2. Write your compositions on the treble stave using key G major.

3. Observe the learner sing his/her compositions, interpreting pitch and rhythm
appropriately. The recordings of the songs you make are the products of the
leaners’ work for the assessment of this item.

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Assessment Grid for Activity of Integration 5

Chapter 5 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
assessment Relevancy Accuracy Coherence
Excellence
Out put 1. A four bar Score 3: Composes Score 3: Aligns Score 3: Writes a
simple duple sol-fa notes of the the pitch (with tuneful
A four bar melody in diatonic major no leaps) to the and singable
melody in sol-fa scale (in lower given rhythms melody in
simple notation. case) to the given accurately and conjunct
duple time. rhythms passages. appropriately, movement.
starting and
ending on doh. Learner earns
one point if
he/she has
added any
relevant
Score 2: Composes Score 2: Aligns Score 2: element that
sol-fa notes of the the pitch to the Writes a singable was unsolicited
diatonic major given rhythms but not so tuneful in the
scale to the given producing a melody that instruction.
rhythms with singable may be either in
disregard to the melody but conjunct
conventional with disregard or disjunct
lower case. to leaps, movement.
starting, and
ending on doh.

Score 1: Composes Score 1: Aligns Score 1: Writes an

sol-fa notes the pitch to the unsingable and
beyond the given rhythms untuneful melody
diatonic major producing a that may be either
scale to the given rather in conjunct or
rhythms with unsingable disjunct
disregard to the melody and movement.
conventional with disregard
lower case. to the conjunct
movement,
starting and
ending on
other notes
other than doh.

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 PERFORMING ARTS
PROTOTYPE
Chapter 5 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
assessment Relevancy Accuracy Coherence
Excellence
2. A four bar Score 3: Score 3: Score 3:
simple duple Uses the following Uses the following Produces an
melody in in music: the accurately: the exceptionally
staff treble stave, treble treble stave, the balanced and
notation. clef, the key treble clef, the key unified song
signature of G signature of G with equal
major, time major, time bars, well
signature of signature of simple placed bar
simple duple time, duple time, staff lines, well-
staff rhythm rhythm symbols, spaced and
symbols, bar lines bar, lyrics of the hyphen
and lyrics of the song written below separated
song. (any 6-7) the stave and not syllables of
cramping with the word.
notes.
(any 6-7)
Score 2: Score 2: Score 2:
Uses the following Uses the following Produces a
in music: the accurately: the basically
treble stave, the treble stave, the balanced and
key signature of G treble clef, the key unified song
major, time signature of G with equal
signature of major, time bars, well
simple duple time, signature of simple placed bar
staff rhythm duple time, staff lines, well-
symbols, lyrics of rhythm symbols, spaced and
the song. (any 4-5) bar, lyrics of the hyphen
song written below separated
the stave and not syllables of
cramping with the word
notes. (any 4-5)
Score 1: Score 1: Score 1:
Uses the following Uses the following Produces a
in music: the accurately: the fairly balanced
treble stave, the treble stave, the and unified
key signature of G treble clef, the key song with
major, time signature of G equal bars,
signature of major, time well placed
simple duple time, signature of simple bar lines, well-
staff rhythm duple time, staff spaced and
symbols, lyrics of rhythm symbols, hyphen
the song. (any 1-3) bar, lyrics of the separated
song written below syllables of
the stave and not word
cramping with the
notes. (any 1-3)

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 SENIOR ONE

Chapter 5 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4

assessment Relevancy Accuracy Coherence
Excellence
Score 3: Score 3: Score 3:
Sings the song to Sings the song to Sings the
3. A French rhythm words with whole song to
Performance names, sol-fa and accurate pitches sol-fa and
of a four bar words (All the and rhythm in all words steadily
simple duple three) the bars. and
melody in consistently
sol-fa Score 2: Score 2: Score 2:
notation. Sings the song to Sings the song to Sings most of
French rhythm words with the sections of
names, sol-fa and accurate pitches the song to
words (any two) and rhythms in half sol-fa and
of all the four bars. words steadily
and
consistently
Score 1: Score 1: Score 1:
Sings the song to Sings the song to Sings a few
French rhythm words but with sections of the
names, sol-fa and inaccurate pitches song to sol-fa
words (Any one) and rhythms in and words
most of the bars. steadily and
consistently

Chapter Summary
In this chapter, the learner has learnt to use the treble stave and Major key of F to

compose, write and read two bar melodies in simple quadruple time with
notes without leaps.

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 PERFORMING ARTS
PROTOTYPE

Chapter 6: Performing Arts in the Economy

Figure 6.1: At the Uganda National Theatre

Key words By the end of this chapter, the learner should be able to:
• Marketing a. understand the sales and marketing components required
• Publicity in Performing Arts.
• Public b. appreciate the ways in which the arts effect one’s own and
performance
others’ identity.
• Exhibition
• Profit

Teacher Preparation

You will need: voice, instruments, costumes, props, makeup, and space for the
performance.

Teacher Instruction

Pair work
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s4 Textbook and as indicated below.

Introduction
In this chapter, you are going to perform a known song or dance piece of your choice.
You will practice this and consider what would make your performance worthy of a
public performance. You are going to discuss ways that this art work could be marketed
in your own community. You will talk about the art works that appeal to communities
and what preferences you have of your own for exhibitions and performances. You will

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 SENIOR ONE

collect examples of articles and programmes that describe art exhibitions. You will make
calculations of cost and examine materials required, including exhibition spaces that
enable art forms to be presented to the public in a profitable manner. In all, you will be
able to market performing art works for profit.

Activity 3.1: Identifying career and making publicity for Performing Arts

Divide the class into four groups, guide and observe as they:
i) identify and perform either a song, a dance or a drama piece of their choice
ii) present their performance to the class.
iii) explain what they would consider making their performance worthy of a public
performance.
iv) present their discussion to the class in the next lesson.
v) discuss ways that this art work could be marketed in their community.
vi) discuss what art works appeal to communities and what preferences they have of
their own for exhibitions and performances.
vii) collect examples of articles and programmes that describe art exhibitions.
viii) make calculations of cost and examine materials required, including exhibition
spaces that enable art works to be presented to the public in ways that earn
profits.

Activity of Integration: Marketing Performing Art Works for Profit

Mkoma Troupe is one of the successful Performing Arts groups in Kyetume Town
Council. They perform music, dance and drama of African and Western genres. They
currently use modern technology to record and market their products in addition to the
live performances they stage for different audiences.
1. Suggest the Performing Arts components of sales and marketing for Mkoma
troupe.
2. Make a successful sales brief and marketing plan for Mkoma’s Performing Art
works.
3. Write a short plan for their Performing Arts performance.

Chapter Summary
In this chapter, the learner has learnt to market performing art works for profit within the
community.

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THEME FOR TERM 3: MAKING AND

APPRECIATING THE ROLE OF PERFORMING
ARTS IN THE ECONOMY
Chapter 7: Performing Arts in African Styles

Key Words By the end of this chapter, the learner should be able to:
• Folk songs a. understand the performance of art works with some African
• Folk dances characteristics inspired by any stimulus from the environment.
• Skit b. trace the African art styles in Ugandan art.
• African style
c. explore the natural environment to awaken your creativity in
music, dance and drama.

Teacher Preparation
You will need: voice, instruments, costumes, props, makeup, and space for the
performance

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Teacher Instruction
Pair work
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

Introduction
Different music, dance and drama styles are performed in theatres, festivals, political
gatherings, etc. In this chapter, you are going to study and make music, dance and drama
with African styles particularly Ugandan. You should be able to effectively use music,
dance and drama to educate and entertain your school as well as the wider community.
This may in future lead you to gainful employment for individual and community benefit.

Music
African music involves mainly singing and playing of
music instruments. We sing and play instruments on
almost all occasions. These occasions may be in
times of happiness or sorrow. African music
therefore, has some unique characteristics that
distinguish it from the music of other parts of the
world. These may include:
• Singing is usually accompanied with one or
more music instruments. Figure 3.1: Performing an
• Usually there is a soloist answered by a chorus African traditional folk song
(One person - the soloist leads the singing and is
answered by a big group - the chorus).
• Sometimes it is solo - where one person sings
alone.
• Other times it is chorus - where many people
sing the same words together.

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Activity 3.1: Performing African traditional folk songs and studying their
characteristics

This Activity will take 2 periods.

Pair work

Have learners study the picture in Figure 3.1 and:

i) Involve them in a conversation to explain what the people in the picture are doing.
ii) Guide and observe them identify what the person in front of the picture and those
in the background are doing.
iii) Involve them in a conversation on where they think the people in the picture are.
Help learners to develop communication skills such audibility, confidence and
appropriate gestures.

Group Work
i) Divide learners into four groups and guide and observe them sing and accompany
the folk song related to the picture. Emphasize teamwork, tolerance and
cooperation here.
ii) Observe and guide each group to prepare and perform their song for 7 minutes.
(Emphasize the value of time management)
iii) Use any available recording device to record the learners’ performance for your
portfolio (products for continuous assessment)
iv) Involve learners in a conversation to identify some of the characteristics of the
African folk song they have sang giving examples where possible. Ensure the
learners listen to each other’s view respectfully and work in teams.

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Possible Responses to Activity 3.1

i) Singing an African traditional folk song.
ii) She is a soloist leading a folk song. The people in the background are
responding in a chorus.
iii) Any place where the singing is taking place is known as a stage. It could be an
open space or a raised platform in a building.
iv) Singing appropriately an African folksong with emphasis to the tone of the
community where the song originates.
v) Playing an appropriate African music instruments to accompany the song.
vi) Use any available recording device to record the learners’ performance for your
portfolio (products for continuous assessment)
vii) Find these in the introduction notes of this activity.
viii) This will vary from the different songs performed.

Performing Dances with African Styles

Teacher Preparation
You will need: voice, instruments, costumes, props, makeup and space for the
performance.

Teacher Instruction
Pair work
Use 15 minutes to guide and observe learners to:
i) read the introductory notes about activity 3.2 in the learner’s textbook.
study the picture in Figure 3.2 and: work out activity 3.2.

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Performing African Traditional Folk Dances and

Studying their Characteristics

Dance
Just as African music, African dances involve
singing, playing music instruments and dancing.
We dance on almost all occasions. Similarly, these
occasions may be in times of happiness or sorrow.
African dance therefore, has some unique
characteristics that distinguish it from the other
dances of the world.
i) They are accompanied by mostly singing,
music instruments and clapping.
Figure 3.2: Performing a folk
ii) They are based on themes such as
dance
marriage, war, death and rituals such as
circumcision.
iii) They are communal and collective, that is,
dancing is done by whoever gets a feeling
of the need to join in.
iv) The costumes and props used are from the
surroundings.
v) Dance is learnt by imitating those who
already have the skills.

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Activity 3.2: Performing African traditional folk dances and studying their
characteristics

This activity will take 2 periods

Group work
i) Guide the learners to get involved in a conversation to suggest the name of this
dance.
ii) Divide learners into four groups, guide and observe them dance to an
accompaniment related to the picture. Emphasize teamwork, tolerance and
cooperation here.
iii) Observe and guide each group to prepare and perform their dance for 7
minutes. Emphasize the value of time management
iv) Use any available recording device to record the learners’ performance for
your portfolio or products for formative assessment.
v) Involve learners in a conversation to identify some of the characteristics of the
African folk dance they have performed giving examples where possible.
Ensure the learners listen to each other’s’ views respectfully and work in teams.
vi) Involve learners in a conversation on what the message is in the dance they
have performed. Ensure learners exhibit a positive attitude to looking for
solutions to problems and learning to learn.

Possible Responses
The reading of the introductory notes should enable the learner to acquire some
knowledge and identify the characteristics of African traditional dance. This is a
resource which will enhance the achievement of the set learning outcome.

i) This will depend on the learners’ knowledge of the different African dances.
ii) Performing any traditional folk dance.
iii) Some of these characteristics are in the introductory notes.
iv) The themes will vary depending on the dance performed.
v) The audiences will vary depending on the age group, ceremony and place.
vi) Use any available recording device to record the learners’ performance.

Teacher Preparation

You will need: Voice, instruments, costumes, props, makeup, and space for the
performance.

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Teacher Instruction

This activity will take 4 periods.

1. Guide and observe learners read the introductory notes about this activity in the
Learner’s Textbook.

Drama
African drama is as old as African cultures. Drama developed through ceremonies. The
performers acted in any place. They would wear costumes, masks and make up, with
music and dance presented to an audience. They copied activities of hunting, wars, or
worship.
There are various characteristics of the African drama. They include the following:
i) Plays are developed from folk tales and events that occur in the day to day lives
of the community members.
ii) Plays are performed using improvised speeches and actions without scripts.
iii) There are no clearly demarcated acts and scenes as in European plays.
iv) Plays are based on conflicts that are picked from the family and communities.
v) Plays are based on themes such as, mistrust in marriage, betrayal in friendship,
land wrangles, witchcraft, and tribal wars.
vi) The plays are staged in open spaces that are available at the time of the
presentation.
vii) They are aimed at reflecting social problems before an audience; which is the
community and suggesting solutions as well as moral lessons.

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Why Kites Eat Chicks

Long, long ago in the village of Mikwano, there lived two great friends, Mother hen and
Mother Kite. They loved each other so much that they always shared most of their
belongings. Peace prevailed in both families since God had blessed them with many
children. The friendship among their children was a typical example of what their
parents were.
One-day, Mother Hen was invited for a very important visit, where she would be the guest
of honor on condition that she would be very smart. Since mother hen had no beautiful
feathers, she thought and thought of what to do. “I can find help from my good friend
Mother Kite. She has a needle which I can borrow to mend my feathers, to add the
beautiful coloured ones,” she said delightfully.
The next morning before sunrise, Mother Hen had reached Mother Kite’s house to borrow
the needle.
“Oh my dear friend Mother Hen you are most welcome. You have come so early. I hope all
is well,” Mother Kite asked.
“Oh, dear, there is nothing to worry about. I am alright and everybody back home is
okay,” Mother Hen replied happily.
The two good friends chatted and had fun together with a variety of food and drinks.
“My dear friend, I have a very important visit, but I have to be smart for the occasion
since I am the guest of honour. So, I beg you to help me with your needle to mend
coloured feathers on my dress,” Mother Hen requested politely.
“Well, my dear friend, my needle is the most treasured thing I have in my life. But since it
is you, I will give as long as you will bring it as s soon as you are done,” Mother Kite said
Mother Hen was given the needle and she left immediately to prepare for the visit. For
two days, Mother Hen sewed her dress tirelessly with brown and white beautiful feathers
which everyone admired. “I have no doubt that my hosts will like it!” She looked at
herself in admiration as she tried it out.
As she modeled to her children who were also very excited about their mother’s
smartness, unknowingly the needle fell off and got lost in the dust in the courtyard.
Having remained with the last design on her tail, she dashed back to the hut to go and
finish the work only to realize that the needle was nowhere to be seen. Too worried of
what she would tell her friend Mother Kite, she straight away began to look for the
needle. She searched and searched in all corners of the house in vain. As she continued
with the search all over the compound, suddenly Mother Kite arrived.
“My dear friend, your body is full of dust and you are throwing a lot of it up, is there any
problem?” Mother Kite asked. However, she got no response from Mother Hen.
“Am I not welcome today?” Mother Kite inquired further.
“No, Mother Kite,” Mother Hen replied.
“Then what is the matter?” Mother Kite got concerned.
“I don’t know what to tell you and how to start……. but the needle,” Mother Hen
lamented.

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“You mean you have lost my needle, my only treasure?” Mother Kite fumed.
“I am very sorry, but I am still looking for it, I hope………….” Mother Hen apologised.
“No amount of apologies will convince me. I only need one thing….my needle or else I
will be taking one of your children every time I come to demand for it”.
Mother Kite took the first chick to show how serious she was. Mother Hen had no choice
but to keep looking for the needle up to today. That is why every Mother Hen with her
children, throw up dust. They are still looking for the needle as Mother Kite keeps coming
for more of the chicks.

Activity 3.3: Performing African traditional drama and studying its

Characteristics.

Divide learners into four groups, guide and observe them work out the following
activities based on the folk tale they have read.

Guide the learners to:

i) Involve in a conversation to identify the major conflict in the folk story they
have read and the characters involved.
ii) Involve in a conversation to explain the causes and effects of the conflict in
the story and how it ends.
iii) Involve in a conversation to explain the themes in the story.
iv) Involve in a conversation to explain the moral lessons they learn from the
story.
v) Select the actors and actresses to take up roles in the skit that they are going
to develop (casting).
vi) Create a dialogue using their own words to add on to the ones that Mother
Kite and Mother Hen used.
vii) Come up with appropriate costumes, makeup and props that will help them
to act out their skit in the next lesson.
viii) Dress up in their appropriate costumes, makeup and props that will help
them to act out their skit.
ix) Rehearse in their groups.
x) Perform a drama in their groups to the class.
xi) Involve in a conversation to explain the characteristics of African drama in
their play.

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Possible Responses

Activity of Integration

It is the fourth week of the term and the District Education Office will visit your school
next Friday. The headmaster has invited parents and members of the community to
attend the function. Your class has been chosen to entertain the visitors. Prepare and
present African traditional music, dance and drama performance in 80 minutes.

Possible Responses
The learner should identify items with characteristics of African traditional music such
as solo and response, African instruments for accompaniment, African costumes and
props.
The learner should identify and choose a traditional dance.

Chapter Summary
In this chapter, the learner has learnt to perform African music, dance and drama with
awareness of their characteristics to preserve our cultural heritage.

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Chapter 8: Exploring the Basic Elements of

Music
Keeping clean (Hygiene)
(Sexuality education)
Ntubiro Godfrey 2018

Key Words By the end of this chapter, the learner should be able to use
• Music scores the music elements of dynamics, pitch, duration, tempo and
• Sharp present works of Performing Arts.
• Flat

Teacher Preparation
You will need: voice, music scores, and space for the performances.

Teacher Instruction
Pair work
Use 10 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

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Introduction
In this chapter, you are going to compose, read and write music on the treble stave using
major keys G and F. The melodies will have a length of two-bar in simple quadruple time

or four bars of simple duple time. The rhythms you will use are ; ; without
leaps. You will then make connections between duration and melody and consider how
pitch influences the effect of the piece of music. You will also study music scores to
explore, identify and talk about dynamics, pitch, duration and tempo.

Composing, Reading and Studying Western Music

In this activity, you are going to compose and write two-bar melodies of four beats in
each bar using the treble stave and major keys G and F.

You will use ; ; rhythms without jumps. You will have to write the time
signature as shown on the staves below. You will also need to write the key signature
of G or F major on the treble stave. You may recall that a key signature is a symbol
written after the clef. It helps you to identify the key in which the music is written.
To write the key signature of key G major, we place a symbol called a sharp on line
F as shown below. If you are to read your music using sol-fa notes, you will find the
doh on line G.

To write the key signature of key F major, we place a symbol called a flat at line B
as shown below. If you are to read your music using sol-fa notes, you will find the
doh in space F.

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Activity 8.1: Composing, reading and studying Western music

i) Write the following melodies on the treble stave in key G and F.

ii) Read the melodies you have written in staff notation.

a)

d d r m f m m r d

b)

d r m f m f s s f m r m

Composing sol-fa to given rhythm in staff notation

i) Compose sol-fa notes without jumps to the rhythm passages given below.
ii) Write the composed melodies on the treble stave in key G and F.
iii) Write a suitable time signature.
iv) Sight and sing your compositions.
v) Suggest improvements in your work if necessary.

a.

| ||

b.

| ||

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Activity 8.2: Composing rhythm on given sol-fa passages

Use the sol-fa passages given below and:

i) Compose rhythms along them and ensure each melody is 8 beats.

ii) (Remember is one beat and is also one beat while is two beats)

iii) Write the compositions on the treble stave in key G.

iv) Sight read your compositions.
v) Put bar lines in each melody to make it four beats each bar read the compositions.

Follow this example:

d d d r d r m m r r d

You can see that there are 12 beats in this melody. You are required to reduce them to eight
beats.

What do you do? You must join some two neighboring beats to become beats.

For example:

|
d d d r d r| m m r r d

Now with three of your friends compose melodies using the sol-fa passages below.

i) d r d r d r m f m r d d ║

ii) d d r m f r m f m r d ║

iii) d r m f s f m r r d ║

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Activity of Integration: Composing and Performing a Song

The Chemistry teacher would like to teach about matter and energy. The teacher
wants to use a song about this information because he/she understands that music
can be a good pneumonic device.

Task:
1. Compose a melody to the given words and rhythm using sol-fa without leaps.
Start and end on doh.
2. Write your composition on the treble stave using either key G or F major.
3. Sing the song and ask your teacher to record it.

Possible Responses

1. Compose a melody to the given words and rhythm using sol-fa without leaps.
Start and end on doh.

2. Write your composition on the treble stave using key G major.

3. Observe the learner sing his/her composition interpreting pitch and rhythm
appropriately. The recording of the song you make is the product of the
learner’s work for assessment.

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Assessment Grid for Activity of Integration 8

Chapter 8 Basis of Criteria 1 Criteria 2 Criteria 3 Criteria 4
assessment Relevancy Accuracy Coherence Excellence
Out put 1. A four bar Score 3: Score 3: Score 3:
simple duple Composes sol-fa Aligns the Writes a
A four melody in notes of the pitch (with no tuneful
bar sol-fa diatonic major leaps) to the and singable
melody notation. scale (in lower given rhythms melody in
in simple case) to the accurately conjunct
duple given rhythms and movement.
time. passages. appropriately, Learner earns
starting and one point if
ending on he/she has
doh added any
Score 2: Score 2: Score 2: relevant
Composes sol-fa Aligns the Writes a element that
notes of the pitch to the singable but was unsolicited
diatonic major given rhythms not so tuneful in the
scale to the given producing a melody that instruction
rhythms with singable may be either
disregard to the melody but in conjunct
conventional with or disjunct
lower case. disregard to movement.
leaps,
starting, and
ending on
doh.
Score 1: Score 1: Score 1:
Composes sol-fa Aligns the Writes an un-
notes beyond the pitch to the singable and
diatonic major given rhythms untuneful
scale to the given producing a melody that
rhythms with rather un- may be either
disregard to the singable in conjunct or
conventional melody and disjunct
lower case. with movement.
disregard to
the conjunct
movement,
starting and
ending on
other notes
other than
doh.

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2. A four bar Score 3: Score 3: Uses the Score 3:
simple duple Uses the following accurately: Produces an
melody in following in the treble stave, the exceptionally
staff music: the treble treble clef, the key balanced and
notation. stave, treble clef, signature of F or G unified song
the key signature major, time signature with equal bars,
of F or G major, of simple duple time, well placed bar
time signature of staff rhythm symbols, lines, well-
simple duple bar, lyrics of the song spaced and
time, staff written below the hyphen
rhythm symbols, stave and not separated
bar lines and cramping with the syllables of
lyrics of the song. notes. (any 6-7) word.
(any 6-7)

Score 2: Score 2: Uses the Score 3:

Uses the following accurately: Produces a
following in the treble stave, the basically
music: the treble treble clef, the key balanced and
stave, the key signature of F or G unified song
signature of F or major, time signature with equal bars,
G major, time of simple duple time, well placed bar
signature of staff rhythm symbols, lines, well-
simple duple bar, lyrics of the song spaced and
time, staff written below the hyphen
rhythm symbols, stave and not separated
lyrics of the song. cramping with the syllables of
(any 4-5) notes. (any 4-5) word
Score 1: Uses the Score 1: Score 1:
following in Uses the following Produces a
music: the treble accurately: the treble fairly balanced
stave, the key stave, the treble clef, and unified
signature of F or the key signature of F song with equal
G major, time or G major, time bars, well
signature of signature of simple placed bar
simple duple duple time, staff lines, well-
time, staff rhythm symbols, bar, spaced and
rhythm symbols, lyrics of the song hyphen
lyrics of the song. written below the separated
(Any 1-3) stave and not syllables of
cramping with the word
notes. (any 1-3)

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Score 3: Score 3: Score 3:

Sings the song to Sings the song to Sings the whole
3. A French rhythm words with accurate song to sol-fa
performance names, sol-fa pitches and rhythm in and words
of a four bar and words (All all the bars. steadily and
simple duple the three) consistently
melody in sol- Score 2: Score 2: Score 2:
fa notation. Sings the song to Sings the song to Sings most of
French rhythm words with accurate the sections of
names, sol-fa pitches and rhythms the song to sol-
and words (Any in half of all the four fa and words
Score 1: Score 1: Score 1:
Sings the song to Sings the song to Sings a few
French rhythm words but with sections of the
names, sol-fa inaccurate pitches song to sol-fa
and words. (Any and rhythms in most and words
one) of the bars. steadily and
consistently

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Chapter 9: Performing Arts in the Economy

Key Words After learning this chapter and performing its activities, you
• Audience will be able to:
preference Appreciate the causes of audience preference and
• Advert understand the role of Performing Arts to national
development.

Teacher Preparation

You will need: voice, instruments, costumes, props, makeup, and space for the
performance.

Teacher Instruction
Pair work
Use 5 minutes to guide and observe learners read the introductory notes of this activity
in the Learner’s Textbook and as indicated below.

Introduction
In this chapter you are going to explore the role of commercial Performing Arts to
society. In this chapter, you are going to explore the role of commercial Performing Arts
to society. You are to talk about what experiences you have of Performing Arts in your
own community and beyond while comparing features. You will consider the
circumstances in which Performing Arts usually take place and discuss the role or
purpose of these performances. You will gather any examples of adverts and consider
any key themes and structures. You will also discuss the factors that influence audience
preference to Performing Arts from time to time. With all these understandings, you will
be able to market works of Performing Arts from various genres, styles and cultures to
earn a living.

Activity 9.1: Identifying audience for music, dance and drama

Divide the class into 4 groups. Guide and observe them:

i) brainstorm the role of commercial Performing Arts to society.
ii) talk about what experiences they have of Performing Arts in their own
community and beyond, and compare features.
iii) consider the circumstances in which Performing Arts usually take place and

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discuss the role or purpose these performances have.

iv) gather any examples of adverts and consider any key themes and structures.
v) discuss the factors that influence audience preference to Performing Arts from
time to time.

Activity of Integration: Marketing Performing Arts

Kreal Drama Actors is a renowned performing group in Berede Town Council. They
perform all kinds of music, dance and drama genres. They also deal in making
costumes, props and traditional music instruments as well as repairing western music
instruments like pianos and guitars.

Task:
1. Discuss the role of Kreal Drama group to Berede Town Council.
2. What kinds of adverts, key themes and structures would Kreal drama group
consider in marketing themselves?
3. Discuss the factors that would influence audience preference to Kreal drama
group performances from time to time.

Chapter Summary
In this chapter, the learner has learnt to:
i) Perform, music, dance and drama with some African characteristics.
ii) read and write music in key G and F on the treble stave.
iii) use the music elements of dynamics, pitch, duration, tempo and present works
of music.
iv) explain the causes of audience preference and understand the role of music,
dance and drama to our school and the community.

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 National Curriculum
Development Centre,
P.O. Box 7002, Kampala.
www.ncdc.go.ug