GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12

Transcription

1 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 VISUAL ARTS P1 NOVEMBER 2014 MARKS: 100 TIME: 3 hours This question paper consists of 19 pages. This question paper must be printed in full colour.

2 Visual Arts/P1 2 DBE/November 2014 INSTRUCTIONS AND INFORMATION In this examination you will demonstrate the following skills: The use of the correct art terminology The use and implementation of visual analysis and critical thinking Writing and research skills within a historical and cultural context The placing of specific examples into a cultural, social, political and historical context An understanding of distinctive creative styles Read the following instructions before deciding which questions to answer This question paper consists of EIGHT questions. Answer any FIVE questions for a total of 100 marks. Number the answers correctly according to the numbering system used in this question paper. Questions appear on the left-hand pages, with visual sources on the righthand pages. Ensure that you refer to the visual sources reproduced in colour where required. Information discussed in one answer will NOT be credited if repeated in other answers. Cross-referencing of artworks is permissible. Name the artist and title of each artwork you discuss in your answers. Underline the title of an artwork or the name of a building. Write in a clear, creative and structured manner, using full sentences and paragraphs according to the instructions of each question. Listing of facts/tables is NOT acceptable. Use the following as a guideline to the length of your answer. Note the mark allocation. 6 8 marks: a minimum of ½ ¾ page marks: a minimum of 1 1½ page(s) 20 marks: a minimum of 2 pages 10. Write neatly and legibly.

3 Visual Arts/P1 3 DBE/November 2014 GLOSSARY Use the following glossary to make sure you understand how to approach a particular question: Analyse: Compare: Contextualise: Describe: Discuss: Explain: Formal elements of art: Interpret: State: Substantiate: Visual sources: A detailed and logical discussion of the formal elements of art, such as line, form, shape, colour, tone, format and composition of an artwork. Point out differences and similarities in an ordered sequence within the same argument. Relating to or depending on the framework of information; relating to the situation, time/era and location to which the information refers. Outline the facts, details and particulars of the artwork; reporting what any eye might see. Present your point of view and give reasons for your statement. Clarify and give reasons for your statement. The basic elements used to create a work of art, such as line, shape, tone, texture, colour, space, composition, et cetera. Analyse and evaluate (give an informed opinion of) an artwork. Contextualise it historically, culturally, socially, politically, et cetera and substantiate your findings by referring to similar specific examples. Provide exact facts and say directly what you think give your opinion, as well as an explanation. To support/motivate with proof or evidence. The reproduced images that are provided in this question paper or referred to in other sources.

4 Visual Arts/P1 4 DBE/November 2014 ANSWER ANY FIVE QUESTIONS. QUESTION 1: THE VOICE OF EMERGING ARTISTS The artists of the reproduced works have captured similar moments where children interact with one another in a peaceful and friendly manner. Children all over the world seldom think of the future and this innocence leaves them free to enjoy themselves and make friends with anyone. 1.1 Study FIGURE 1a and FIGURE 1b and write a short essay in which you discuss how each artist confirmed the above statement. Your essay should include the following: Similarities and differences Use of style Compositional aspects/arrangements of figures The choice of colour and the impact of the work (10) 1.2 Write an essay in which you analyse TWO artworks by different artists who portray everyday scenes from their lives, communities and surroundings. Your essay should include the following: Names of artists and titles of artworks Use of media and techniques Formal elements the artists have used The compositional aspects of each artwork The message each artwork conveys (10) [20]

5 Visual Arts/P1 5 DBE/November 2014 FIGURE 1a: Andrew Macara, Playground, Sri Lanka, oil on canvas, FIGURE 1b: Ephraim Ngatane, Township Scene with Dog and Bicycle, oil on board, date unknown.

6 Visual Arts/P1 6 DBE/November 2014 QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR INDIGENOUS ART FORMS Many South African artists make use of indigenous symbols and images to express their African identity, while their work still depicts the themes of modern society. 2.1 Analyse and interpret FIGURE 2a. Discuss how the artist expressed the influence of indigenous symbols and modern images in the artwork. Discuss the following aspects: Use of indigenous symbols and images Subject matter Use of line, shape and colour Use of style Identify visual symbols that depict a more modern lifestyle. Motivate your answer. (10) 2.2 Discuss ONE artwork from any TWO different artists whose works also express their African identity, due to the influences of indigenous and/or African art forms. Your answer should include the following: Names of artists and titles of works Subject matter of works The influences of indigenous African art forms and symbols Use of style Content and meaning (10) [20]

7 Visual Arts/P1 7 DBE/November 2014 FIGURE 2a: Wayne Baker, Land and Desire, strung glass beads, 2009.

8 Visual Arts/P1 8 DBE/November 2014 QUESTION 3: SOCIO-POLITICAL ART, INCLUDING RESISTANCE ART OF THE 1970s AND 1980s Art has always been an instrument of change, reflecting the moods of a society, expressing its flaws and victories, and bringing about change. Yet, to be effective, art must be shared, not only for aesthetic fulfilment, but to record effectively the stories it tells. 3.1 Study the images in FIGURE 3a and FIGURE 3b and write an essay in which you tell the story of each image by referring to the following: Explanation of what you think is happening in each image (Use your own words.) Differences in the representation of the figures Reference to the facial expressions and the portrayal of the body Which one of the two artworks has the most meaningful visual impact on you and why? (8) 3.2 Discuss ONE other artwork from TWO different artists whose works depict a socio-political event. Your answer should include the following: Names of artists and titles of works Subject matter Use of style The stories that have been recorded in the works (12) [20]

9 Visual Arts/P1 9 DBE/November 2014 FIGURE 3a: Paula Rego, Dog Women, pastel on paper, FIGURE 3b: Willie Bester, Who Let the Dogs Out? (detail), installation, metal sculpture, 2001.

10 Visual Arts/P1 10 DBE/November 2014 QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL SOUTH AFRICA The main objective of the Keiskamma Project in the Eastern Cape is to foster hope and offer support for the most vulnerable women and children whose situation has been worsened by HIV/Aids. 4.1 Study the visual sources in FIGURE 4a and FIGURE 4b and answer the following: Identify and describe the images in the artworks which may portray healing. Discuss how the manner in which the medium was used could also be a process of healing. In your opinion, what lessons can be learnt from the stories portrayed in these artworks? (6) 4.2 Analyse ONE artwork each by TWO artists whose work you have studied this year. Describe the use of materials, techniques, interpretation of the subject matter/theme and possible messages within the artworks. Your essay should include the following: Names of artists and titles of works Interpretation of the subject matter/theme Use of materials and techniques Possible messages within the artworks (14) [20]

11 Visual Arts/P1 11 DBE/November 2014 FIGURE 4a: The Keiskamma Project: Altarpiece, the Crucifixion Transcending AIDS in South Africa, tapestry on wood panels, FIGURE 4b: The Keiskamma Project: Altarpiece, the Crucifixion Transcending AIDS in South Africa (detail), tapestry on wood panels, 2006.

12 Visual Arts/P1 12 DBE/November 2014 QUESTION 5: MULTIMEDIA AND NEW MEDIA ALTERNATIVE CONTEMPORARY AND POPULAR ART FORMS IN SOUTH AFRICA Multimedia artists often use metaphoric images to communicate various ideas. FIGURE 5a shows Nicolas Hlobo's massive sculptural work which was exhibited at the 2011 Venice Biennale entitled Iimpundulu Zonke Ziyandilandela (All the Lightning Birds are After Me). The cultural meaning of 'Iimpundulu' refers to an evil creature that can cause illness, bad luck or even death. It is also associated with thunder and lightning. 5.1 Discuss the artworks in FIGURE 5a and FIGURE 5b by answering the following: Discuss how EACH artist used his/her media and techniques to create an impact on the viewer. Suggest a possible meaning of each artwork. Motivate your answer by explaining whether or not each artist has been successful in communicating the message. (8) 5.2 In the form of a short essay, discuss any TWO artworks that you have studied, in which the artist/s has/have used multimedia in a contemporary way. Include the following in your answer: Name of artist/s and titles of works Content and use of materials and techniques Possible meanings and concepts What metaphors have been included in the artworks? (12) [20] Metaphoric images: Symbolic images

13 Visual Arts/P1 13 DBE/November 2014 FIGURE 5a: Nicolas Hlobo, Iimpundulu Zonke Ziyandilandela (All the Lightning Birds are After Me), rubber, ribbon and mixed media, FIGURE 5b: Swoon, Thalassa, mixed media, site-specific installation, 20 feet tall, New Orleans Museum of Art, 2011.

14 Visual Arts/P1 14 DBE/November 2014 QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA In 2013 the Oxford Dictionary word of the year was 'selfie' a photograph you take of yourself, which you then post on social networks. 6.1 A portrait is often more than just the outward appearance of a person. In art, a portrait tells us about the individual identity of the person portrayed. Study the images in FIGURES 6a, 6b, 6c and 6d and write a paragraph in which you consider the following factors: Why do you think people are so obsessed with selfies, and how does it relate to the 'celebrity obsession' of our time? How do the artworks in FIGURES 6b, 6c and 6d differ from the selfie in FIGURE 6a? How do the artists who created the works in FIGURES 6b, 6c and 6d portray the sitters' identities in the portraits they have created? Refer to facial features, images and symbols used. (10) 6.2 Discuss any TWO artworks that you have studied which also question and reflect on issues of identity in South Africa. Include the following in your answer: Names of artist/s and titles of works Content and meaning Use of materials and techniques Use of style Issues of identity within the works (10) [20]

15 Visual Arts/P1 15 DBE/November 2014 FIGURE 6a: Mylie Cyrus, Selfie, Instagram, FIGURE 6b: Yi Chen, The Abnormal Icon, oil on canvas, FIGURE 6c: Conrad Botes, The Temptation to Exist IV, acrylic on canvas, FIGURE 6d: Mustafa Maluka, Why Do You Tear Me from Myself?, oil on canvas, 2009.

16 Visual Arts/P1 16 DBE/November 2014 QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY Many artists of the 21 st century explore gender issues. There is often a play of opposing forces: male and female, the controller and the controlled. Women, as well as men, cannot come to terms with their physical appearance, the roles they play and their acceptance in a prejudiced society. In the form of an essay, discuss any TWO artists' works that address the issues of gender and its roles in society. Also refer to the works in FIGURE 7a and FIGURE 7b. You may use the following as a guideline: Names of artists and titles of works Would you say that these images are a good reflection of femininity and masculinity? All four figures hide behind something. Discuss this statement. How does this make you feel? Interesting images and objects have been used in the composition. How does it engage the viewer and how does it add to the meaning/interpretation? Are the artists trying to portray any specific South African gender issues? Reasons for using the specific media and techniques Differences and similarities Use of pattern Styles and techniques [20] Prejudiced: To display an unreasonable dislike of or preference for a specific person, group or culture, usually based on cultural beliefs, race, religion, gender, et cetera

17 Visual Arts/P1 17 DBE/November 2014 FIGURE 7a: Karin Miller, Ladies-Lunch-Black-Ladies, photomontage, FIGURE 7b: Kudzanai Chiurai, Untitled III, photomontage, ultrachrome ink on photo fibre paper, 2011.

18 Visual Arts/P1 18 DBE/November 2014 QUESTION 8: ARCHITECTURE IN SOUTH AFRICA Paragon Architects is a leading South African architectural firm. This dynamic and innovative group of architects aspires to create buildings that are futuristic. They embrace the future, because they want to be a part of it. Paragon Architects state, 'We have not lost our sense of humour, and we are genuinely optimistic. We are known for being flexible and diverse in our approach to design.' With reference to the above statement write an essay in which you discuss the following: In which ways do the buildings in FIGURE 8a and FIGURE 8b look futuristic? Substantiate your answer. Would you agree with the statement that the architects' work shows a 'sense of humour and optimism'? Substantiate your answer. In your opinion, what contribution was made by the architects to the South African urban landscape/environment? Discuss the influences from past styles in these buidlings. Discuss at least ONE other contemporary architectural example that you have studied, which you have found to be truly innovative. Refer in your answer to stylistic characteristics, the use of building materials and construction methods, and the architects' responsibility to the environment. [20] Contemporary architecture: In its widest sense, it is the architecture of TODAY. It is cutting edge and innovative. It makes use of the latest technology and materials.

19 Visual Arts/P1 19 DBE/November 2014 FIGURE 8a: Paragon Architects, Norton Rose Towers, Sandton, FIGURE 8b: Paragon Architects, Design for the Sasol Corporate Building, Sandton, (opening in 2016). TOTAL: 100

20 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 VISUAL ARTS P1 NOVEMBER 2014 MEMORANDUM MARKS: 100 This memorandum consists of 20 pages.

21 Visual Arts/P1 2 DBE/November 2014 Memorandum INSTRUCTIONS AND INFORMATION In this examination you will demonstrate the following skills: The use of the correct art terminology The use and implementation of visual analysis and critical thinking Writing and research skills within a historical and cultural context The placing of specific examples into a cultural, social, political and historical context An understanding of distinctive creative styles Read the following instructions before deciding which questions to answer This question paper consists of EIGHT questions. Answer any FIVE questions for a total of 100 marks. Number the answers correctly according to the numbering system used in this question paper. Questions appear on the left-hand pages, with visual sources on the righthand pages. Ensure that you refer to the reproduced colour visual sources where required. Information discussed in one answer will NOT be credited if repeated in other answers. Cross-referencing of artworks is permissible. You may use another artwork from an artist who has already been mentioned in the question paper however it excludes visual literacy. Name the artist and title of each artwork you discuss in your answers. Underline the title of an artwork or the name of a building. Write in a clear, creative and structured manner, using full sentences and paragraphs according to the instructions of each question. Listing of facts/tables is NOT acceptable. Use the following as a guideline to the length of your answer. Note the mark allocation. 6 8 marks: a minimum of ½ ¾ page marks: a minimum of 1 1½ page(s) 20 marks: a minimum of 2 pages Write neatly and legibly.

22 Visual Arts/P1 3 DBE/November 2014 Memorandum GLOSSARY Use the following glossary to make sure you understand how to approach a particular question: Analyse: Compare: Contextualise: Describe: Discuss: Explain: Formal elements of art: Interpret: State: Substantiate: Visual sources: A detailed and logical discussion of the formal elements of art, such as line, form, shape, colour, tone, format and composition of an artwork. Point out differences and similarities in an ordered sequence within the same argument. Relating to or depending on the framework of information; relating to the situation, time/era and location to which the information refers. Outline the facts, details and particulars of the artwork; reporting what the eye might see. Present your point of view and give reasons for your statement. Clarify and give reasons for your statement. The basic elements used to create a work of art, such as line, shape, tone, texture, colour, space, composition, et cetera. Analyse and evaluate (give an informed opinion of) an artwork. Contextualise it historically, culturally, socially, politically, et cetera and substantiate your findings by referring to similar specific examples. Give exact facts and say directly what you think give your opinion, as well as an explanation. To support/motivate with proof or evidence. The reproduced images that are provided in this question paper or referred to in other sources.

23 Visual Arts/P1 4 DBE/November 2014 Memorandum CANDIDATES MUST ANSWER ANY FIVE QUESTIONS. QUESTION 1: THE VOICE OF EMERGING ARTISTS The artists of the reproduced works have captured similar moments where children interact with one another in a peaceful and friendly manner. Children all over the world seldom think of the future, and this innocence leaves them free to enjoy themselves and make friends with anyone. 1.1 Candidates must study FIGURE 1a and FIGURE 1b and write a short essay in which they discuss how each artist confirmed the above statement. Their essay should include the following: Similarities and differences Similarities of FIGURE 1a and FIGURE 1b are in the concept of people and children interacting in their different environments. The differences lie in the style and the location the South African work is expressive work while the Macara has a more Impressionistic approach. The difference also lies in the fact that it is in Sri Lanka, opposed to the township in South Africa. Macara's playground is depicted in a brighter non-representational colour, no animals.there are children playing on playground equipment in a school environment amongst green trees and vegetation. Ngatane's township scene on the other hand, has been depicted in dark sombre colours. Figures are walking in an environment of buildings (housing). A dog is seen in the foreground, along with a man riding his bicycle in the foreground. There is no indication of any greenery and plants. Use of style Macara's work is rendered in dappled colour, typical of the Impressionists and indicates light filtering through the canopy of leaves overhead. These specks of lemon yellow complement the blue of the boys' uniforms. Arbitrary use of colour, blue and lemon yellow, creates interesting green in the leaves (optical mixing.) Ngatane's images range from documentary to expressionistic, and he brings to the viewer an important record of life in the township at a particular time in our history. Compositional aspects/arrangement of figures In Macara's image, children are shown playing in the playground, dressed in the same coloured clothes which indicate that they are at school. This is also verified by the building in the background hidden by the trees. The smaller figures in the background and the disappearing trees lead the eye into the picture plane, creating depth. The focal area is the little boy running towards the seesaw which dominates the middle ground, including the four children.

24 Visual Arts/P1 5 DBE/November 2014 Memorandum Ngatane sought to capture township life without preconceived notions of what was expected of so-called 'township artists' at the time. The cyclist and the dog in the centre of the painting are the focal point and lead the eye right up to the buildings. Then you start noticing the figures on both sides of the bicycle. Choice of colour and the impact of the work There are green trees and vegetation. The red in the poles of the apparatus contrast with the green of the leaves (complementary colours of the Impressionists). Vibrant colours Ngatane's township scene on the other hand is portrayed in darker tones, figures walking, more than one building (housing), and a dog in the foreground, along with a man riding his bicycle. There is no indication of any greenery or plants. Ngatane's work is sombre and he adds colour to the mood and emotions of Soweto, its beggars and bicycles, its hardships and hopes, the wind, the sun and the cold winter times indicated by the clouds in the sky. Emotions and lifestyles can be discussed e.g. Figure 1a the colour represents happiness and Figure 1b the colour is more gloomy and sombre. If only ONE example is discussed, the student can only receive a maximum of 6 marks. (10) 1.2 Candidates are required to write an essay in which they analyse TWO artworks from different artists who portray everyday scenes from their lifestyles, communities and surroundings. Their essay should include the following: Names of artists and titles of artworks Use of media and techniques Formal elements the artists have used The compositional aspects of each artwork The message each artwork conveys If the name of artwork and artist is given, only ONE mark can be awarded. If only ONE example is discussed, the student can only receive a maximum of 6 marks. (10) [20]

25 Visual Arts/P1 6 DBE/November 2014 Memorandum QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR INDIGENOUS ART FORMS Many South African artists make use of indigenous symbols and images to express their African identity, while their work still depicts the themes of modern society. 2.1 Candidates must analyse and interpret FIGURE 2a. They must discuss how the artist expressed the influence of indigenous symbols and modern images in the artwork. They must discuss the following aspects: Use of indigenous symbols and images Wayne Barker's Land And Desire is made from glass beads and this material has been, and still is, associated with indigenous African people even though it is now also being used in most countries internationally to make fashion accessories. An African woman with a turban on her head is portrayed at the top right of the artwork, almost as if she is dressed for an African ritual ceremony or used today as a modern fashion accessory. At the bottom righthand corner there is a traditional woman who could be half naked and she seems to be fetching water from a river using a round clay pot which is known to be a traditional water container or cooking pot. The technique of placing an image on top of another (superimpose), as well as placing various images depicting different themes on one wall was popularly used by the Khoi/San in their rock paintings. Nudity and the use of circles can be interpreted as indigenous symbols. Subject matter In this image Barker depicts black women in different positions, juxtaposed against the South African landscape. Use of line, shape and colour The combination of short and long flowing lines which passes the face/subject matter look as though they are highlighting certain aspects, like her eyes. The artist makes use of bright vibrant colours which are also used in African clothing and Ndebele painted huts. The use of the abstract shapes and recognisable landscape creates a balance between the two images of women, as well as complementing the brown, blue, grey and white shades used to paint the women. Organic shapes are used as well as earthy colours. Red organic lines create movement within the artwork. Use of style The use of stylised shapes and the colour usage resemble a Post Modern style. The representation of the women is depicted as a traditional African figure. Candidates must identify visual symbols that depict a more modern lifestyle. They have to motivate their answer. The text Land and desire, which forms part of the image, is associated with the contemporary art forms as text/font, is accepted as art in our modern society because many people can read and understand it. Another symbol that depicts a modern lifestyle is the church/house building. (10)

26 Visual Arts/P1 7 DBE/November 2014 Memorandum 2.2 Candidates must discuss ONE artwork by any TWO different artists whose works also express their African identity due to the influences of indigenous African art forms. Their answer should include the following: Names of artists and titles of works Subject matter The influences of indigenous African art forms and symbols Use of style Content and meaning If only ONE example is discussed, the student can only receive a maximum of 6 marks. (10) [20]

27 Visual Arts/P1 8 DBE/November 2014 Memorandum QUESTION 3: SOCIO-POLITICAL ART, INCLUDING RESISTANCE ART OF THE 1970s AND 1980s Art has always been an instrument of change, reflecting the moods of a society, expressing its flaws and victories, and bringing about change. Yet, to be effective, art must be shared, not only for aesthetic fulfilment, but to record effectively the stories it tells. 3.1 Candidates must study the images in FIGURE 3a and FIGURE 3b and write an essay in which they tell the story of each image by referring to the following. Candidates have to discuss in their own words what they think is happening in each image Paula Rego's Dog Woman portrays a woman mimicking an angry dog. She is crouching to imitate the four-legged position of a dog. Her facial expression and open mouth suggests the typical manner of a dog opening its mouth when attacking. In the work of Bester one sees a vicious police dog attacking a man whilst the policeman is watching. The onlookers, policeman and the photographer are not intervening to prevent the disaster. Differences in the representation of the figures Rego represents the figure of the dog as a metaphor, whereas Bester portrays a more realistic image of the animal considering that he is using the medium of scrap metal. Bester's three separate figures create a narrative of an ugly political event. Reference to the facial expressions and the portrayal of the body The woman in Rego's work is assimilating an angry dog, which is reflected in the facial expression and the position of the body suggesting a dog about to attack. Bester's main figure portrays a dog with an open mouth, while the man being attacked is shouting for help. The dislocation in the body of the dog suggests its devouring mood, as well as self-destruction. The two figures on either side are robotic and become almost inhumane. Which one of the two artworks has the most meaningful visual impact on the candidate and why? Candidates must indicate their own preference and motivate their answer. (8) If only ONE example is discussed, the student can only receive a maximum of 5 marks.

28 Visual Arts/P1 9 DBE/November 2014 Memorandum 3.2 Candidates must discuss ONE other artwork by each of the TWO different artists whose works depict a socio-political event. Their answer should include the following: Names of artists and titles of works Subject matter Use of style The stories that have been recorded in the works Please note that overseas artists can be used here. If only ONE example is discussed, the student can only receive a maximum of 7 marks. (12) [20]

29 Visual Arts/P1 10 DBE/November 2014 Memorandum QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL SOUTH AFRICA The main objective of the Keiskamma Project in the Eastern Cape is to foster hope and offer support for the most vulnerable women and children whose situation has been worsened by HIV/Aids. 4.1 Candidates must study the visual sources in FIGURE 4a and FIGURE 4b and answer the following questions: The Keiskamma Project: Altarpiece, the Crucifixion Transcending AIDS in South Africa, tapestry on wood panels, Identify and describe the images in the artwork which may portray healing. The focal point is the female figure dressed in blue. She has been placed in front of a cross representing hope and healing, as well as symbolising Jesus' sacrifice on the cross. It looks as if she is hanging on the cross which is reminiscent of the Crucifixion. The blue dress is symbolic of mourning and also has a heavenly association. Blue may also be linked to the church uniforms worn by some congregations. The female figure stands proud although she has lost her husband as a result of HIV/Aids. Her dominance in society consoles children and the people around her. On either side of the central figure there are people: children can be seen to the left of her feet and adults to the right of her feet, which reinforces the concept of mourning. The bird/butterfly imagery on the cross is symbolic of freedom and the process of healing. The upright single figures that are represented on either side of the central section represent saints who safeguard the people of the community. Different species of animals have also been included among the colourful shapes. This tapestry is reminiscent of early Christian altar pieces such as Grünewald's Isenheim Altar Piece. Discuss how the manner in which the medium was used could also be a process of healing. The manner in which the medium was used, by beading, tapestry, embroidery and pottery is also a process of healing. This art project was therapeutic for the artists, as well as for the people of the community, as the hours of crafting created a togetherness to fight the spread of HIV/Aids and to commemorate those who have died. In the candidate's opinion, what lessons can be learnt from the stories portrayed in these artworks? Lessons learnt from these stories reiterate that the new generation will be more responsible for their future. It is also evident how people can stand together as a nation and work together when in crisis. The exposure of art within the community should alleviate poverty by allowing artists to sell their artworks and to teach the community to be self-sufficient. (6)

30 Visual Arts/P1 11 DBE/November 2014 Memorandum 4.2 Candidates must analyse ONE artwork each by TWO artists whose work they have studied this year. They are required to describe the use of materials, techniques, interpretation of the subject matter/theme and possible messages within the artworks. Their essay should include the following: Names of artists and titles of works Interpretation of the subject matter/themes Use of materials and techniques Possible messages within the artworks If only ONE example is discussed, the student can only receive a maximum of 8 marks. (14) [20]

31 Visual Arts/P1 12 DBE/November 2014 Memorandum QUESTION 5: MULTIMEDIA AND NEW MEDIA ALTERNATIVE CONTEMPORARY AND POPULAR ART FORMS IN SOUTH AFRICA Multimedia artists often use metaphoric images to communicate various ideas. FIGURE 5a shows Nicolas Hlobo's massive sculptural work which was exhibited at the 2011 Venice Biennale entitled Limpundulu Zonke Ziyandilandela (All The Lightning Birds Are After Me). The cultural meaning of 'Limpundulu' refers to an evil creature that can cause illness, bad luck or even death. It is also associated with thunder and lightning. 5.1 Candidates must discuss the different artworks in FIGURE 5a and FIGURE 5b, by answering the following: Discuss how EACH artist used his/her media and techniques to create an impact on the viewer. Nicholas Hlobo's exaggerated colossal sculpture is made from mixed media, such as found objects, wood, a skull of an animal, horns, rubber. The bird has bat-like wings made from rubber, and we experience fear and evil when confronted with it. These materials are stitched or joined together to form a giant, scary monster. Hlobo's installation is attached to the roof. The bird has red/orange string/thread attached to the body and the wings. The string/thread almost touches the floor. The addition of the thread creates movement and the illusion of flight. Spectators are seen walking around and interacting with this gigantic hybrid. Swoon has suspended her work Thalassa from the ceiling within a gallery/enclosed space. Thalassa means 'beach' or 'sea' in Greek. The figure is a painting combined with different fabrics. The fabric is extended from the two-dimensional painting into a three-dimensional sculpture/installation of a dress. The dress consists of washing lines that are covered with different types of fabric and garments. The artist has applied the principle of extension by exaggerating the length of the dress, which trails into an explosion made of washing lines. Possible meaning of each artwork The possible meaning of Hlobo's work can be found in the title All The Lightning Birds Are After Me, which may mean that the artist is communicating his fear of the known or unknown. The title is overbearing and the use of the word 'Lightning' refers to a violent storm brewing and can cause scores of fires. Lightning is fast and could refer to this bird being fast, dangerous, violent and destructive at times. The Greek gods believed that lightning represented the fury of the gods. The artist might be going through a troubled patch in his life, reminding us that life is full of ups and downs and filled with fearful moments. Hlobo has been able to communicate the message of fear and destruction which this creature is associated with. The size of the bird intimidates viewers and makes them feel small and helpless.

32 Visual Arts/P1 13 DBE/November 2014 Memorandum The elevated Thalassa figure may be a symbol of importance, authority, wealth and royalty. It also looks like a Christ figure with tentacles. She could be symbolic of a queen. The trail is also synonymous of a royal wedding gown. The extended lines with many garments could mean an extension of wealth. The washing lines could represent the domestic chores that a housewife is expected to perform. The viewers look up to the figure which could represent royalty and fame, but in reality the images that they are in direct contact with represent everyday clothing that ordinary people wear. Candidates must motivate their answer by explaining whether or not each artist has been successful in communicating the message. If only ONE example is discussed, the student can only receive a maximum of 5 marks. (8) 5.2 Candidates must write a short essay and discuss any TWO artworks that they have studied, in which the artist/s has/have used multimedia in a contemporary way. They must include the following in their answer: Name of artist/s and titles of works Content and use of materials and techniques Possible meanings and concepts What metaphors have been included in the artworks? If only ONE example is discussed, the student can only receive a maximum of 7 marks. (12) [20]

33 Visual Arts/P1 14 DBE/November 2014 Memorandum QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA In 2013 the Oxford Dictionary word of the year was 'selfie' a photograph you take of yourself, which you then post on social networks. 6.1 A portrait is often more than just the outward appearance of a person. In art a portrait tells us about the individual identity of the person portrayed. Candidates must study the images in FIGURES 6a, 6b, 6c and 6d and write a paragraph in which they consider the following factors: Why do they think people are so obsessed with selfies, and how does it relate to the 'celebrity obsession' of our time? How do the artworks in FIGURES 6b, 6c and 6d differ from the selfie in FIGURE 6a? How do the artists in FIGURES 6b, 6c and 6d portray the sitters' identities in the portraits they have created? They must refer to facial features, images and symbols used. FIGURE 6a: Miley Cyrus, Selfie. This is a topic that is open to serious debate. Candidates can discuss their opinions but must substantiate their answer. Celebrity obsession has taken over the social media. Most people emulate their celebrities. The work is very image conscious our society is one of instant gratification and self-promotion. The tongue is the iconic symbol. FIGURE 6b: Yi Chen, The Abnormal Icon. New York-based Chinese artist. He uses images from adverts and fashion magazines as inspiration. He makes collages of human facial features, cut out of these sources. These collages of perfect specimens are the foundation of his work. In this combination of features he creates both an enticing beauty and grotesqueness. He is like an artistic scientist when he disregards race, gender and age to form a new human species in his lushly rendered oil paintings. His paintings are metaphors for abstracted concepts of beauty from a global popular culture that transcends country and race. FIGURE 6c: Conrad Botes, The Temptation to Exist IV. He uses his art to revolt against his Christian Afrikaner Nationalist upbringing. The face is overlaid with anarchistic figures and is tattoo like. These figures are representations of the ideology and hatred that inevitably contaminated the human condition. He says it is like 'shrapnel under the skin'. He uses his own face to record the content of his mind. He uses a sharp, graphic line filled with flat, bold colours. There is a San/Khoi influence.

34 Visual Arts/P1 15 DBE/November 2014 Memorandum FIGURE 6d: Mustafa Maluka, Why Do You Tear Me From Myself? His works are anonymous, racial and sexually ambiguous, and emotions are silent but still strong. Strongly influenced by urban street culture, graffiti and hip hop. He makes use of almost abrasive colouring. He creates a strong contemporary feeling with his interpretation of the urban youth. The point of departure for his works is usually a photograph from a magazine. In this figure, the eyes, which are usually the 'windows to the soul', have been scratched out with green paint in a childlike manner. Almost like defacing a magazine image, taking away the strong gaze that most portraits have. The red lips give a slightly androgynous feel to the image. Use of Ndebele colours. (10) 6.2 Candidates must discuss any TWO artworks whose work they have studied which also question and reflect on issues of identity in South Africa. They must include the following in their answer: Names of artist/s and titles of works Content and meaning Use of materials and techniques Use of style Issues of identity within the works If only ONE example is discussed, the student can only receive a maximum of 6 marks. (10) [20]

35 Visual Arts/P1 16 DBE/November 2014 Memorandum QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY Many artists of the 21 st century explore gender issues. There is often a play of opposing forces: male and female, the controller and the controlled. Women, as well as men, cannot come to terms with their physical appearance, the roles they play and their acceptance in a prejudiced society. In the form of an essay, candidates must discuss any TWO artists' works that address the issues of gender and its roles in society. They must also refer to the works in FIGURE 7a and FIGURE 7b. FIGURE 7a: Karin Miller, Lunch-Ladies-Black-Ladies. The artwork creates a fusion of past and present, personal and public. Karin Miller has developed a unique style that exudes a rich eclecticism, playfulness, quirky humour and the postmodern element of Neo-Baroque. Miller's work often focuses on the female figure and deals with the changes seen in the new South Africa. FIGURE 7b: Kudzanai Chiurai, Untitled III. Kudzanai Chiurai's series of photographic montages, explore politics and power in Africa. In his barbed, theatrical multimedia compositions, Chiurai tackles the most pertinent issues facing his generation of Southern Africans, from government corruption to xenophobia and displacement. Candidates may use the following as a guideline: All four figures hide behind something. Discuss this statement. How does this make you feel? The four figures hide behind various items. In FIGURE 7a the one woman's face is hidden behind a cell phone and the other behind a doily. In FIGURE 7b both figures wear sunglasses. We cannot relate to them as we have no eye contact; this makes us feel uneasy. Would you say that these images are a good reflection of femininity and masculinity? FIGURE 7a represents sophisticated women sitting at a table and FIGURE 7b represents two male figures holding hands. FIGURE 7b challenges our opinion of masculinity, as men are not usually depicted holding hands. Interesting images and objects have been used in the composition. How does it engage the viewer and how does it add to the meaning/interpretation? FIGURE 7a: The artist portrays ordinary young black ladies hiding behind 'masks'. In a modern society the cell phone became an object to hide behind. The lady on the right hides behind a doily which is synonymous with baking and entertaining. The two ladies represent vulnerability and beauty.

36 Visual Arts/P1 17 DBE/November 2014 Memorandum The images in Ladies-Lunch-Black-Ladies are typically South African: the horns of the springbuck against the wall represent the national animal of South Africa, the map of Africa, the pictures of Nelson Mandela against the wall, heart emblem, baby and an HIV red ribbon. Images of femininity: dress on a hanger, scarf, handbag with the image of the battle of Blood River, the map of Africa, broken mirror, slices of bread (South Africa's staple food), red nail varnish that has spilt. The flowers in the pot are very feminine. The lady on the right wears a lacy undergarment and hides behind a doily, typically used when decorating a fine table. There is a starched white tablecloth over an African printed tablecloth. A hand mirror on the table indicates that all women are concerned with their appearance and beauty. The work is built up layer upon layer, and patterns and objects are photographed and scanned. The artist then uses a Photoshop program to reveal a new image. FIGURE 7b: Chiurai references child soldiers, African liberation movements and civil wars. He tracks the similarities in the societal, political and ideological fabric of states in turbulent times of transition. His scene is captured in photographs. Drawings and paintings play into popular hip-hop imagery. Chiurai has constructed an appealing, seductive and alluring environment which explores very real victims of African independence and democracy, and the effects of globalisation on war. Description: The collage/photomontage is a rectangular print of collaged images and is printed on photo paper. The focal point is two men holding hands and posing at the centre of the composition. Both men are adorned with ammunition and military attire. The man on the left has a pink scarf around his head, which could represent femininity, as well as a tie, which is contradictory. He is wearing a leopard skin patterned vest and patterned blue boxer shorts. He is holding a gun in his right hand, symbolic of selfdefence, violence and terror. The figure on the right is wearing only underwear. He has a flashy gold watch and a necklace symbolic of wealth, as well as a round of ammunition draped around his neck. He has a red armband which could represent or symbolise conflict or mourning. He holds a panga in his left hand. He is wearing a blue cap which is similar to that of the police force. The petrol canisters and tyres refer to necklacing and violence. There is a cloth/flag in the background with Michael Jackson's portrait. They are using it as an emblem or shield. Many people idealised Michael Jackson, although he saw himself as a white black man. His mask epitomises a phobia and his self-hatred, although he was idealised and worshipped. Plants: may represent growth and renewal. Flag: Four coloured flags on the left consist of yellow, green, blue and white. A diagonal piece of red cloth is draped across the flag.

37 Visual Arts/P1 18 DBE/November 2014 Memorandum The Chinese fan: with blossoms, trees and horses represents heaven, power and untiring strength. Originally Chinese fans were simply used to block the sun and keep people cool, but over the years they evolved into works of art, status symbols, props for theatre and dance, romantic gifts, and memorials of the dead. The Chinese calligraphy character for the word 'fan' has the same sound as the character for 'kindness' or 'good.' Thus, fans are viewed as good luck charms and expressions of generosity. The round fans symbolise union or reunion and are often inscribed with romantic poems, Chinese characters or floral designs represent wealth and longevity. The folding fans have a history of symbolising scholarship. In the past, Chinese fans were used to signify a high social status. Today they are used to display grace in dances and personality traits of characters in theatrical plays or storytelling. In connection with the annual Dragon Boat Festival, Chinese fans are also used as memorials of people who have died. Paraffin lamp: placed on a small table on the left, indicating no electricity. Use of pattern Both artworks are very decorative and make use of patterned cloth in various places. In FIGURE 7a the tablecloth is typical 'shweshwe' fabric associated with Africa. The doily is decorative as it is used to decorate plates and is typically feminine. This circular shape is repeated in the chandelier made of handguns. The artwork in FIGURE 7b is filled with various pieces of patterned materials, cloth, tyres, red, blue and yellow plastic diesel/water containers, a danger sign, a metal drum painted in red and white, Chinese fan, lamp and flag. Styles and techniques Candidates are expected to comment on the above three headings by giving their own opinion, with reference to the work by TWO artists which they have studied. If only TWO examples are discussed, the student can only receive a maximum of 16 marks. [20]

38 Visual Arts/P1 19 DBE/November 2014 Memorandum QUESTION 8: ARCHITECTURE IN SOUTH AFRICA Paragon Architects is a leading South African architectural firm. This dynamic and innovative group of architects aspires to create buildings that are futuristic. They embrace the future, because they want be a part of it. Paragon Architects state, 'We have not lost our sense of humour, and we are genuinely optimistic. We are known for being flexible and diverse in our approach to design.' With reference to the above statement candidates must discuss the examples in FIGURE 8a and FIGURE 8b and ONE South African buildings that they have studied. Candidates must write an essay in which they discuss the following: In which ways do the buildings in FIGURE 8a and FIGURE 8b look futuristic? Candidates must substantiate their answer. Would they agree with the fact that the architects' work shows a 'sense of humour' and optimism? Candidates must substantiate their answer. In their opinion, what contribution was made by the architects to the South African urban landscape/environment? Discuss the influences from past styles. Candidates must discuss at least ONE other contemporary architectural example that they have studied, which they have found to be truly innovative. They must refer to stylistic characteristics, the use of building materials and construction methods, and the architects' responsibility to the environment. FIGURE 8a: Paragon Architects, Norton Rose Towers, Sandton, FIGURE 8b: Paragon Architects, Design for the Sasol Corporate Building, Sandton, (opening in 2016). It is a 17-storey building with offices of a legal firm which sits on a 6-story basement and consists of a double tower structure. It is a good South African example of a Deconstructionist building. The main lines of the building are not vertical and horizontal, and the variety of curved and diagonal lines therefore seems to disturb and deconstruct the forms and balance of structure. Cutting-edge glass technology has been employed to install a glass skin. This glass skin is wrapped around the north and south façades and consists of clear and translucent glass. The east and west façades eliminate direct sunlight with sculptured hand-formed aluminium boxes set around deeply incised glass lines. These unique façades alter according to light and atmospheric changes. The towers hug a dramatic canyon-like atrium space connected with walkways arranged in a fan-like manner below the skylights. Use of low-energy glass good topographical orientation contributes to minimising energy usage.

39 Visual Arts/P1 20 DBE/November 2014 Memorandum Built during the economic recession, it was seen as a sign of confidence in the country. The buildings in FIGURE 8a and FIGURE 8b are futuristic in terms of their conceptual, contemporary feel. The architects have clearly been influenced by current global architectural trends and it is interesting to see these trends emerging in South Africa. Here candidates can write about the use of curvilinear lines, the use of space, etc. The curvilinear design of the Sasol building, although futuristic in design, also alludes to the past in terms of the rounded womb-like quality. They show a belief in the positive growth of this country. The status of the company is revealed to the public through the high-cost, labour-intensive design bringing South Africa into the global economic market, consolidating the belief in the potential of South Africa. They show a sense of humour in that there is a playful, unexpected quality about them. There is also a sense of fantasy to them. Contribution to the South African urban landscape again shows that our designers are acutely aware of what is happening around the world. [20] If only ONE example is discussed, the student can only receive a maximum of 16 marks. TOTAL: 100

40 NATIONAL SENIOR CERTIFICATE GRADE 12 VISUAL ARTS P2 (PRACTICAL) 28 JULY 24 OCTOBER 2014 MARKS: 100 TIME: TOPIC 1: Must be done at school and/or at home during the 3 rd term [50] TOPIC 2: Must be done during the 4 th term under controlled conditions ONLY at school; a minimum of 6 hours and a maximum of 24 hours [50] This question paper consists of 15 pages. This question paper must be printed in full colour.

41 Visual Arts/P2 2 DBE/November 2014 INSTRUCTIONS AND INFORMATION 1. This question paper consists of TWO sections: TOPIC 1: SOURCEBOOK TOPIC 2: THE ARTWORK Answer ALL the questions in TOPIC 1 and TOPIC 2. Your teacher must introduce and facilitate this examination. In this examination you will be expected to demonstrate the following skills: Independently and creatively apply advanced approaches and generate ideas in response to a project brief. Demonstrate an advanced degree of technical skill in the use of a range of materials and techniques. Create imaginative and innovative artworks, using a personal, expressive visual language. Solve visual and conceptual problems in the creation of imaginative and innovative artworks, using a personal, expressive visual language. Effectively manage time and the working process and present own work in a professional manner that enhances the expressive and conceptual impact of the work. 5. Your final art practical examination for Grade 12 represents the culmination of your art studies this year. Your creativity, originality and skill will be displayed. May you enjoy creating this artwork and may it be fresh and original, and communicate personal experience.

42 Visual Arts/P2 3 DBE/November 2014 TOPIC 1: SOURCEBOOK/WORKBOOK The sourcebook forms an important part of this examination. There are no restrictions on size and it can be presented in any form. You may work on it both at school and at home. It provides insight into the way you form ideas, how many alternatives you have investigated and other processes leading to the final work. Your sourcebook should clearly communicate your thought processes. You MUST clearly mark this sourcebook as examination work and present it together with your final artwork. Direct copying from magazines, the Internet, et cetera is NOT allowed. Direct copying of an image that is not your own, will be penalised. This is a form of plagiarism and is unacceptable. The utmost importance is placed on the process of transformation of the source material. If you need to use appropriate borrowed images, you must combine them with your own original images to develop your own interpretation. In your sourcebook you should VISUALLY tell the 'story' of how your final artwork was CONCEIVED, DEVELOPED and PRODUCED. This should be done through drawing, writing, experimenting, pasting, et cetera. This journey through time should reflect your INDIVIDUALITY and CREATIVITY as an art learner. The following is merely a guideline of things you could include in your sourcebook: Paste the examination brief into the front of your examination sourcebook. Proposal/Rationale, which could include mind maps, brainstorming, et cetera. Investigation, experimentation and research of approaches and/or ideas, which could include source material such as sketches, drawings, photos, images, collected poems, lyrics and research on artists that have inspired you. All material must relate to the development of your own work, substantiating your decisions. Personalise and create original preparatory/compositional sketches and drawings based on your sources. Process drawings If your work is more process-orientated, you must include evidence of the creative process by documentation through original photographs, experiments and/or drawings and accompanying texts.

43 Visual Arts/P2 4 DBE/November 2014 TOPIC 2: THE ARTWORK The examination work must be done in the presence of the Visual Arts teacher within the confines of the art room, using a minimum of 6 hours and a maximum of 24 hours. GUIDELINES You are required to produce ONE artwork in the practical discipline that you have chosen this year. You may present your work as a single piece or possibly in the form of a diptych, triptych or a series of works that read as one artwork. You may NOT take the artwork out of the examination venue. This is regarded as an examination irregularity. You may discuss the question paper with your Visual Arts teacher prior to the start of the examination, but no discussion of work may occur during the examination period. There are no restrictions on size, but the artwork must be manageable and durable in terms of transportation to the examination centre, if required by the province. Remember the importance of the elements and principles of art such as line, shape, colour, texture, space, rhythm, balance, harmony, proportion and composition. There are no specific prescriptions regarding the style of the work. It can be naturalistic, expressionistic, decorative, abstract, conceptual, et cetera. Select imaginative subject matter, themes, symbols and metaphors to create an expressive, emotional, conceptual or perceptual artwork. You may incorporate other media to create mixed media work in any of the practical disciplines.

44 Visual Arts/P2 5 DBE/November 2014 ASSESSMENT CRITERIA Markers/Examiners could use the following criteria as a marking guide: TOPIC 1: SOURCEBOOK CRITERIA Concept development 10 Research, investigation, experimentation 15 Process drawings 15 Presentation and overall view 10 TOTAL 50 TOPIC 2: THE ARTWORK CRITERIA Choice and use of materials/techniques 10 Use of formal art elements 10 Overall impression of work originality, creativity, innovation 10 Interpretation and practical implementation of research 10 Completion and presentation of artwork 10 TOTAL 50 FINAL MARK: TOPIC 1 (50) + TOPIC 2 (50) 100

45 Visual Arts/P2 6 DBE/November 2014 ASSESSMENT CRITERIA FOR PRACTICAL WORK Outstanding Exceptional ability; richness; insightful; fluent; high skill; observation and knowledge powerfully expressed; supported by an original or unusual selection of relevant visual references; outstanding and original presentation. Excellent Striking impact; most of the above; detailed; well organised and coherent; polished; skill evident; supported by original/unusual/ relevant visual references; presentation original and considered; some minor flaws evident. Very good Well organised, as above, but lacks the 'glow and sparkle'; good level of competence and selection of content; supported by a good selection of relevant visual references; obvious care and effort taken with original presentation; some obvious inconsistencies/flaws evident. Good Interesting visual presentation; clear intent; convincing; simple direct use of medium; displays understanding but tends towards the pedestrian and stereotyped response at times; adequate selection of relevant visual references; reasonable effort taken with presentation; distracting/obvious inconsistencies. Average Adequate; feels mechanical; derivative or copied; little insight; unimaginative; some visual references not always clearly identified; fair presentation; many distracting inconsistencies. Below average Enough material/works to pass; not logically constructed; some flashes of insight; limited selection of information; poor technical skills might be a contributing factor; little use of visual information; clumsy or careless presentation; in need of support/motivation to pass. Weak Visually uninteresting; uncreative; limited/poor technical skill used; little attempt to present information in an acceptable manner; little or no visual information/reference; general lack of commitment; in need of support/motivation to pass. Very weak Fail Unacceptable Fail Very little information; jumbled; not easy to view; little or irrelevant work/visual information; no effort made to present work in an acceptable manner; general lack of commitment/cooperation Incoherent; irrelevant, very little or no work; lack of even limited skills applied; no commitment/cooperation.

46 Visual Arts/P2 7 DBE/November 2014 THEME Our Land This theme is meant to inspire and challenge you. It is open to a wide range of interpretations within your specific discipline. Your interpretation should be a culmination of the creative process you embarked on in Grade 10. Dictionary definition: Land the solid surface of the earth, not covered by water and is sometimes referred to as dry land. Land can be distinguished from the ocean, sea or other bodies of water. Human activity has historically occurred mainly on land. Life forms that exist on land include plants and animals which are very different from those that exist in the sea. FIGURE 1: Conrad Botes, Twee Koppe (Two Heads), acrylic on canvas, 2013.

47 Visual Arts/P2 8 DBE/November 2014 FIGURE 2: Anton Kannemeyer, Boulders Beach, Simon's Town, pencil, black ink and acrylic, Landscape shapes culture. Based on their strong agricultural and rural background, South Africans have a strong bond with their land. This has both in the past and the present created issues of conflict with many battles. But the land has also provided great wealth with the discovery of gold. This has led to the development of an urban landscape where progress has altered the land. Conflict still revolves around land issues in terms of our history, land claims, ecosustainability, et cetera.

48 Visual Arts/P2 9 DBE/November 2014 Landscape is the mute witness to histories and narratives. FIGURE 3: Anselm Kiefer, Iron Road, oil, acrylic, metal and lead, olive branches, iron and lead, The railway lines leading to the German concentration camps. FIGURE 4: Santu Mofokeng, Birkenau KZ2, Poland, photo, The lake where the ashes of Jews were dumped.

49 Visual Arts/P2 10 DBE/November 2014 Life is like a landscape. You live in the midst of it but can describe it only from the vantage point of distance. Africa Africa the motherland NATION Africa the land of my forefather Africa the land of my great ancestor once roamed Africa the land of many communities Africa the land of my birthplace Africa the second largest continent on EARTH Africa the land which everybody imitates Africa the land which everyone talks about Africa the land which everyone is jealous about Africa the land that brings beauty in all of us Africa the land of great leadership Africa the land of great powers Africa the land of bright futures Africa the land of great traditions Africa the land of good food Africa the land of vast populations Africa the land of real precious diamonds Africa the land of UNITY Africa the land of hard working people Africa the land that lord gave to us Africa the land that I love Africa the land that I will SOON return to Obi Onyenwe FIGURE 5: Jeannette Unite, Residuum Mine Machines & Residues of Power, monumental drawing on cotton fibre paper in etching, charcoal, artist-made pastels that incorporate goldmine dust, metal oxides and mine dump tailings, 2012.

50 Visual Arts/P2 11 DBE/November 2014 National Anthem Nkosi Sikelel' iafrica [Lord bless Africa] Maluphakanyisw uphondo Iwayo, [may her glory be lifted high] Yizwa imithandazo yethu, [Hear our petitions] Nkosi sikelela, thina lusapho Iwayo [God bless us, Your children] Morena boloka setjhaba sa heso, [Lord, bless our nation] O fedise dintwa le matshwenyeho, [Stop the wars and suffering] O se boloke, O se boloke setjhaba sa heso, [Save it, save our nation] Setjhaba sa South Africa South Africa [The nation of South Africa South Africa] Uit die blou van onse hemel, [Ringing out from our blue heavens] Uit die diepte van ons see, [From our deep seas breaking round,] Oor ons ewige gebergtes, [Over everlasting mountains,] Waar die kranse antwoord gee, [Where the echoing crags resound,] Sounds the call to come together, And united we shall stand, Let us live and strive for freedom, In South Africa our land. FIGURE 6: Helen Sebidi, From The Land, Carrying Food, 1972, oil on masonite, FIGURE 7: William Kentridge, Johannesburg, 2 nd Greatest City after Paris, charcoal drawing, Dreams are our only geography our native land.

51 Visual Arts/P2 12 DBE/November 2014 Teachers must facilitate the initial brainstorming/research process. Begin by conceptualising your work in the form of a mind map using the theme OUR LAND in your sourcebook. Using the guidelines below, create an artwork representing YOUR/OUR LAND. Your teacher may facilitate this process. Intentions, aims or ideas that you wish to convey Images that would best express your intentions Exploration and experimentation with materials and techniques Process drawings such as preparatory/compositional sketches and drawings based on your sources Media that could successfully communicate these ideas Techniques that would be the most appropriate for use in expressing your media and your ideas Size, format and presentation that would best suit your ideas Consider the following options/ideas/approaches: The history of South Africa's land matters, for example the Natives Land Act of 1913 (Act 27 of 1913), and land claims in South Africa From the prehistoric to the colonial to the contemporary From the bushveld to the savannahs to the open fields, sea Our bond with the Earth Scars of the land Isolated landscapes Land battles Concentration camps Celebrations of our land Urban landscapes versus rural landscapes Songs of our land Your depiction of the land what you see, hear and smell Healing of our land Spiritual landscape or fantasy landscape Cries of your beloved land Blood of our land Colour of the land Vegetation of the land Sowing of the land Cultivation of the land Mine shafts and excavations Pollution and destruction of our land The geographical portrayal of the land Fracking of our land My land Archaeology Mapping of the land

52 Visual Arts/P2 13 DBE/November 2014 Most of us live in an urban landscape that consist of concrete jungles and steel landscapes. Urban related to cities So, is an urban landscape simply a landscape of a city? Or is it more than that? FIGURE 8: Peter Root, Ephemicropolis, city of staples art, installation consisting of staples, FIGURE 9: Doug Beub, Fault lines, altered atlas paper, 2003.