ALGEMENE RIGLYNE

• Deelnemers mag slegs vir twee (2) items per sub-sessie inskryf. 
• ‘n Inskrywingsvorm moet vir elke item ingevul word en moet telkens met die korrekte inskrywingsfooi vergesel word.
• Onderwysers mag enige hoeveelheid leerders per sessie inskryf. 
• Die gebruik van Suid-Afrikaanse werk word sterk aanbeveel. 
• Onderwysers/Leerlinge/Ouers mag hul eie werke skryf, maar dit moet voldoen aan die algemene reëls van die verskeie genres.
• Deelnemers mag nie die voorgeskrewe tyd oorskry nie. 
• KOSTUUMS OF SKOOL UNIFORM?  Deelnemers mag in skool uniform optree, maar dit is ook belangrik dat onderwysers en ouers moet oplet na die tipe gedig asook die inhoud van die gedig.   Indien die INHOUD van die gedig van so ‘n aard is dat kostuums ‘n meer dramatiese en betroubare vertolking van die gedig sal bewerkstellig en/of sal bydra tot ‘n beter en meer logiese algemene uitvoering, dan word kostuums sterk aanbeveel.  Die INHOUD van die gedig sal in hierdie verband die bepalende faktor wees.
• Die sluitingsdatum vir alle inskrywings is 24 JUNIE 2019.
• BAIE BELANGRIK:  Ons versoek onderwysers en ouers om nie die beoordelaars en gehoor te verveel deur dieselfde gedig vir u leerlinge aan te leer nie.   Dit is ongelooflik frustrerend om na 10 of 20 deelnemers te sit en luister wat dieselfde gedig voordra.  U ontvang hierdie sillabus maande voor die tyd.  U het dus meer as genoeg tyd om te sien dat u leerders elk ‘n unieke gedig kry wat by die karakter/persoonlikheid van die leerder pas.  Enige gedig pas beslis nie by enige mens nie.  MOET ASSEBLIEF NIE ‘N GRAAD 12 GEDIG VIR ‘N GRAAD 7 LEERDER GEE NIE.  BEOORDELAARS HET GROOT PROBLEME MET DIT.  PASOP DAT DIE BEOORDELAAR NIE DALK DIE DIGTER IS NIE!!!!

LET OP:   Daar word nie van onderwysers/deelnemers verwag om die gedigte tesame met die inskrywingsvorm in te dien nie.   Onderwysers moet slegs verseker dat die inskrywingsvorm korrek voltooi is, maar die gedig kan die dag van optrede by die sekretaresse ingehandig word. 

TEN SLOTTE

Ek hoor jaarliks by Kunsfeeste dieselfde vraag oor en oor.  Die vraag word veral onder ouers gevra en dit is duidelik dat daar nie regtig duidelikheid hieroor vanaf onderwysers gegee word nie.  Die vraag oor die verskille tussen POËSIE en PROSA.

Daar is heelwat elemente wat digkuns van prosa onderskei.  Digwerk beskik oor n aantal kenmerke wat duidelik van prosa verskil naamlik:

1. Idees en begrippe word baie bondiger uitgedruk in n gedig.  Beeldspraak en poëtiese vergelykings word deur die digter gebruik.

2. Met digwerk word die woordorde dikwels verander (dus ook die sinsbou) sonder om die betekenis te benadeel, en bereik so n sekere stemming in die digwerk.

3. Verder word digkuns hoofsaaklik in verse geskryf, genoem sy struktuur, komposisie of bou.

4. Meeste digvorme maak gebruik van rymklank (taalverwringing moet vermy word) terwyl prosa dit juis probeer vermy. Klankherhaling vorm ook n belangrike boumiddel.

Soorte rym

Slagrym, paarrym, omarmende rym, binnerym, dubbelrym, glydende rym, gekruiste rym en selfs rymverdoeseling is alles effekte wat die digter aanwend wat nie in prosa voorkom nie.

Verder kan digwerk epiese (oftewel verhalend) singende of dramatiese elemente inhou. Prosa kan wel verhalend wees, maar meer dikwels beskrywend, en in mindere mate dramaties.  Dan praat ons nog nie van die tipes strofes in n gedig nie. Ons kry digiston (tweerëelige strofe), tersine (drie reëls), kwatryn (vier reëls) die minder gebruiklike vyf en ses reëls, die stansa (agt reëls) Dan is daar nog sonette, odes, kwatryne ens.

Prosa is ‘n vorm van taal wat gebruik maak van gewone sinsbou en natuurlike vloei van Spraak eerder as ritmiese strukture soos bv. tradisionele poesie.  Prosa bevoordeel die meer informele metriese struktuur van verse wat omtrent altyd in tradisionele digkuns gevind kan word.  Geigte bevat normaalweg ‘n metrum en/of rymskema.  Prosa, daarteenoor, bestaan uit volledige grammatikale sintaksis, wat paragrawe tot gevolg het en estetiese aantreklikheid laat vaar.  Sommige prosawerke bevat tekens van metriese struktuur of versbou en ‘n doelbewuste vermeninging van di etwee vorme staan bekend as prosagedig. Die seining heers dat vers meer sistematies of formulegebonde is, terwyl prosa meer verteenwoordigend is van gewone Spraak.  ALLES WAT NIE PROSA IS NIE IS VERS, EN ALLES WAT NIE VERS IS NIE IS PROSA.

Ek vertrou dat bogenoemde beknopte opsomming baie meer duidelikheid vir u sal gee.

SESSIE:  M

M1  ONGEDRAMATISEERDE POËSIE / EIE KEUSE

M2  GEDRAMATISEERDE POËSIE / EIE KEUSE

• ʼn Gedig word gedramatiseer met gemotiveerde bewegings, gebare en verhoogbeplanning. 

• Bewegings mag egter nie die gesproke woord oorheers nie.  

• Rostrums en/of stoele toelaatbaar – geen rekwisiete.

M3  ONGEDRAMATISEERDE PROSA / EIE KEUSE

• Gekose gedeelte uit letterkundige werk.
• Aanbeveel dat dialoog en beskrywende of verhalende dele ‘n sinvolle eenheid vorm.
• Geen dramatisering, slegs stem en gelaatspel (sit of staan).

 M4  GEDRAMATISEERDE PROSA / EIE KEUSE

• ʼn Afgeronde gedeelte uit ʼn prosawerk word gedramatiseer met funksionele bewegings. 
•  Behalwe vir rostrums en/of stoele, geen rekwisiete.

M5  IMPROVISASIE / KARAKTERUITBEELDING

• ʼn Dramatiese vertolking deur een (1) persoon waar deur middel van woord, gebaar, beweging en gesigspel twee (2) of meer karakters uitbeeld. 
• ʼn Samehangende gedeelte uit ʼn toneelstuk of ʼn verwerking uit ’n prosawerk kan gebruik word. Slegs dialoog toelaatbaar.

M6  MONOLOOG (DRAMATIES / KONFLIKDIALOOG / KOMIES) / ALLEENSPRAAK   / EIE KEUSE

• Een (1) karakter speel teenoor ʼn denkbeeldige karakter(s) en die stuk kan humoristies of dramaties van aard wees.  
• Slegs een (1) karakter word deurgaans uitgebeeld. 
• Kostuums en rekwisiete is toelaatbaar.
• Swart teaterdrag is toelaatbaar.

M7  DIALOOG (GEDRAMATISEERD OF ONGEDRAMATISEERD)  / EIE KEUSE

Twee of meer mense is in gesprek met mekaar

LEIDRADE VIR DIALOOG

• Karakters moet aandag gee aan hoe die teks oorgedra word.
• Let op na die frasering en intonasie van die woorde en sinne.
• Maak gebruik van gesigspel om die inhoud van die teks te ondersteun.
• Die tempo moet afgewissel word en die stemtoon moet by die inhoud pas.
• Elke spreker moet ‘n gelykmatige spreekbeurt kry.
• Kostuums en rekwisiete is toelaatbaar

M8  OPENBARE REDEVOERING

• Eie keuse
• Voorbereide onderwerp
• Aantekenings puntsgewys op kaarte word wel aanvaar.
• Kandidate word daaraan herinner dat hierdie ‘n toespraak is, en nie ‘n opstel uit die kop uit geleer nie.
• Hierdie sessie is nie oop vir Grondslagfase leerlinge nie.

M9  MIMIEK

Hierdie sessie is nie oop vir Grondslagfase leerlinge nie.

M10

KONVENSIONELE (TRADISIONELE) SPREEKKOOR  / EIE KEUSE

• Hierdie tipe vereis nie rekwisiete ens. nie.
• Die grootte van die koor kan deur die afrigter/onderwysers bepaal word, maar mag nie minder as 10 en meer as 50 persone wees nie. 
• Gedigte ens. moet gememoriseerd wees. 
• ‘n Dirigent is nie nodig indien u seker is dat alle persone die voordrag baie goed ken nie.   Ons vind (gereeld) dat spreekkore wat komptetisies wen wel ‘n dirigent het.  ‘n Dirigent help leerlinge om te fokus.     
• ‘n Dirigent moet AGTER die beoordelaars staan.  Hy/Sy mag op enige manier dirigeer solank hy/sy die spreekkoor lei tot ‘n effektiewe en suksesvolle vertoning. 
• Die koor mag verdeel word in ligte, medium en donker stemme.
• Solo stemme vir effek, kontras ens. word toegelaat.
• ‘n Spreekkoor MAG ‘n werk in Afrikaans voordra en dan weer ‘n ander werk in Engels.  Aparte inskrywingsvorms moet hiervoor gebruik word. 
• Geen voorgeskrewe werke nie.  Eie keuse
• Slegs EEN Diploma sal toegeken word aan die groep.  Indien die afrigter/onderwyser vir elke kandidaat ‘n diploma wil gee, dan moet dit so aangeteken word op die inskrywingsvorm en ‘n addisionele fooi   per kandidaat moet betaal word.

M11

DINAMIESE SPREEKKOOR / EIE KEUSE

Hierdie tipe spreekkoor maak gebruik van kostuums. 

• Musiek mag gebruik word.    
• Sou u musiek wil gebruik, moet u asseblief die musiek op ‘n CD, DVD ens. skryf en aan die klankingenieur oorhandig.   
• Die spreekkoor moet die uitvoering op die verhoog doen.   
• Beligting mag gebruik word.
• ‘n Minimum van 10 kandidate en ‘n maksimum van 50 kandidate word toegelaat vir hierdie sessie.
• Slegs EEN Diploma sal toegeken word aan die groep.  Indien die afrigter/onderwyser vir elke kandidaat ‘n diploma wil gee, dan moet dit so aangeteken word op die inskrywingsvorm en ‘n fooi van    per kandidaat moet betaal word.

M12

OPE AFDELING

LET OP:  Hierdie afdeling is vanaf 2019 oop vir alle volwassenes.   Algemene riglyne vir M1 tot M12 is ook op hierdie afdeling van toepassing.

• The syllabus is available in English , Afrikaans and isiXhosa. 
• Entrants may only present two (2) items in each session.  However, entrants may present two items in English and another two items PER SESSION in Afrikaans.  Separate entry forms must be completed and the appropriate fee attached to each entry.
• Teachers are allowed to enter any number of learners per session.
• Source material such as published novels, poems, plays etc. may be found in school or public libraries.  Use of South African work is encouraged and the use of the internet is allowed.
• Entrants must not exceed the time limits provided.
• Entrants should perform in school uniform unless the content of the work allows for other clothing to enhance the work and/or to allow for a better and logical overall performance.

• See the time limits for each grade.
• IMPORTANT NOTE:  We urge teachers and parents NOT to annoy adjudicators and audiences by teaching candidates the same poems.  It is terribly frustrating to sit and listen to 10 candidates reciting the same poem.  There is more than enough time for everybody to learn a poem of their own.  Please pay special attention to this matter.

PLEASE NOTE:   It is not expected from teachers/candidates to attach a poem with the entry form.  Poems can be submitted to the adjudicator on the day of performance.

In order to save time, space  and paper, the entry forms are designed in such a way to make it easier to enter for the various sub-sessions per category.  Read and complete them carefully.

SESSIONS TO CHOOSE FROM:

L7  UNDRAMATISED POETRY (OWN CHOICE)

• The selected poem must be of an appropriate length and standard for the age group.
• Movement and the use of props will not be permitted, i.e. Only facial and vocal expression may be used.
• A copy of the poem must be submitted to the adjudicator secretary.

L8  DRAMATISED POETRY (OWN CHOICE)

• The selected poem must be of an appropriate length and standard for the age group.
• The limited use of props is permitted.
• Simple movements and / or gestures may be used but must not detract from the meaning and feeling of the poem being presented, i.e. do not over-dramatize nor use meaningless gestures.
• A copy of the poem must be submitted to the adjudicator secretary.

L9  SHOW  AND  TELL

• Any topic of interest can be presented, but it must be kept in mind that this is a speech and not a recitation.
• Aids, such as posters, charts and objects, must be an integral part of the speech.
• The use of live animals is not encouraged as they are extremely vulnerable to stress.
• Electronic equipment will not be allowed.
• The speech must be memorised and presented solely by the participant.
• The adjudicator does not require a copy of the speech.

L10  PREPARED PUBLIC  SPEAKING

• Participants may choose to speak on any topic, appropriate to their age and experience.
• Any notes used must be in point form, on postcard-sized cards.
• Simple aids may be used.
• The speech must be memorised.
• A public speech should entertain, inform, motivate, persuade or express a point of view.
• The adjudicator does not require a copy of the speech

L11  INDIVIDUAL STORY TELLING

• The story, which can either be true or invented, should be told in the participant’s own words
• Participants are encouraged to draw on imagery, poetry, movement and sound effects.
• The limited use of songs, other languages, musical and percussion instruments will be allowed.
• The use of props and costumes is permitted, but must not detract from the story.
• The adjudicator does not require a copy of the story.

L12

INDIVIDUAL PROSE (PRIMARY SCHOOLS ONLY AND LIMITED TO GRADES 3 – 7)

Spoken prose may consist of a speech, a sermon, a taped report or a radio broadcast scripted in advance and in the form of a monologue.  It may be read or recited almost anywhere, but the speaker may equally be within visual contact of an audience.  The extract needs to be learned and delivery should be spoken rather than acted out as for Dramatic Monologue.  Supply a copy of the extract for the adjudicator.

L13

MONOLOGUE / SOLO DRAMATISATION (OWN CHOICE)

Perform an extract of your choice from any published work.  A workshop set may be used e.g. chairs, rostra, etc. The extract should be dramatized in the first person, i.e. the participant takes on one particular character.  Participants are encouraged to use movement, mime and sound effects, plus limited use of languages.  The piece may be the participant’s own work.  The candidate is also encouraged to introduce and to set the scene for the particular work.  Please supply a copy of the piece for the adjudicator.  School uniform is not compulsory. 

L.14 MIME

This session is NOT OPEN for foundation phase learners.

The act of using movements of your hands and body, and expressions on your face, without speech, to communicate emotions and actions or to tell a story.

HELPFUL GUIDELINE

L15  PROSE  (OWN CHOICE)

• Any piece chosen from any literary work
• Advisory that dialogue and descriptive and/or narrative parts form a logical unit

L15.1  DRAMATISED PROSE

L15.2  UNDRAMATISED PROSE

L16  DIALOGUE (DRAMATISED OR UNDRAMATISED) (OWN CHOICE)

TWO (2) PERSONS IN CONVERSATION

CLUES:

• Characters should pay attention on how they convey the text.
• Pay attention to the phrasing and intonation of words and sentences.
• Make use of facial expression to support the contents of the text.
• The use of different tempi and your tone should suit the contents.
• Each character should have equal opportunity to speak.
• Costumes and Props are allowed.

L17  IMPROVISATION / CHARACTERISATION

L18

CONVENTIIONAL (TRADITIONAL) SPEECH CHOIR (OWN CHOICE)

• This type does not require the use of props, costumes, nor choreography.
• Do not edit the piece or add additional words.
• The size of the choir can be determined by the teacher/conductor but may not be less than 10 pupils and NOT more than 40 pupils.
• Poems etc. must be memorized.
• Maximum time for ALL grades:  10 minutes
• A conductor is not necessary if you are sure that your choir members really know their parts well, but most often those who win speech choir contests has a conductor.  A conductor helps the focus of your pupils. 
• The conductor may stand at the back of the judges.  He/She may conduct in any manner he/she wants as long as he/she guides the participants for an effective speech choir presentation.
• The choir may be divided into light, medium and dark voices.
• Solo voices for effect, contrast, etc. are allowed.
• Languages:  English or Afrikaans.
• A speech choir may present a work in English and another in Afrikaans.  This must be clearly stipulated on the entry form and accompanied by the appropriated fee.
• No prescribed works.  Own choice

L19  DYNAMIC (OR THEATRICAL) SPEECH CHOIR (OWN CHOICE)

This type of speech choir makes use of costumes and choreography to help bring the speech to life. 

• Music may be used, however, we advise limited use. 
• Should music be used it has to be given to the sound engineer on CD in a recognizable reading format such as mp3 etc.
• Candidates are allowed to perform one item in English and another in Afrikaans.  It is important to complete the appropriate entry forms as such.  A separated entry form must be used in each case and accompanied by the appropriated fee.
• Candidates will perform ON STAGE for this session.
• To enhance their experience, the sound engineer will activate the spotlights towards the stage as well as other colourful lights on the stage to enhance their experience.
• A minimum of 10 candidates and a maximum of 20 candidates are allowed for this session.
• Only ONE Diploma will be issued in this session and the Diploma will be issued to the GROUP.

L20  ONE-ACT PLAY

This is a play that has only ONE act, but may consist of several scenes.    Included in this is also the well-known “10-minute” play known as the “flash drama”.  In this session the festival will also allow the so-called MONODRAMA.  With monodrama candidates are also free to perform only ONE SCENE from any act.

Candidates are free to use published works but are encouraged to use their own imagination and to create their own plays. 

Plays may be serious, funny, heroic etc.  It may take ANY FORM and may be about any topic within the rules and regulations of the festival especially the section of child protection policy.

• Candidates will perform on stage
• Lighting may be used accordingly
• Sound may be used at candidate’s discretion
• A copy of the script of the play must be handed to the Adjudicator Secretary which may not be returned.
• Candidates are limited to a minimum of 10 minutes and a maximum of 15 minutes.
• Candidates to design their own props and to take responsibility for the setup thereof.  Candidates are reminded of limited space on stage, so they are encouraged to stay clear of extravagant props and décor.  Rather spent time on your script, acting and other important factors.
• Costumes may be used.
• A minimum of 4 characters will be allowed on stage and a maximum of 8.
• The Festival will allow for short breaks of 10 minutes between acts (if chosen) in order for candidates to prepare the stage and to ready themselves.
• Plays may either be in English or Afrikaans OR a mixture of both languages depending on the topic and mood of the play.
• There are NO limits as to age or grades of participants for obvious reasons.
• A diploma will be awarded to each candidate involved in the play according to their involvement and participation.
• HINT:  Ensure that all candidates get the opportunity to speak and act enough during the play in order for the adjudicators to form an opinion of each in order to award a diploma.

L21 OPEN SESSION – This session follows the same outlay and rules as all the above but the session is only for candidates aged 19 and above.  It is seen and felt as an ADULT session.

African dance embodies athleticism and a graceful beauty flowing with rhythm.  In Africa, dance is a means of marking the experiences of life, encouraging abundant crops, and healing the sick soul and body.  It is also done purely for enjoyment.  All ceremonial African Dances have purpose.  They tell stories and relate history.  The distinctive beat of powerful African drums, energetic African dance – warriors, gumboot dancers, pantsula and township jive.  A real slice of vibrant AFRICA!!!

• Candidates must ensure that the particular style is maintained throughout and the music and dress/costume is appropriate to the dance subject.
• Candidates/Groups that entered for one style may also enter for the other styles. Separate entry forms together with the appropriate fee must be submitted.

• NO ITEM MAY EXCEED 4 MINUTES!!!  JUDGES WILL STOP THE PERFORMANCE IF THE TIME LIMIT IS EXCEEDED

• This explosive and vibrant category ONLY FOCUS ON GROUPS OF 2 and more BUT NOT EXCEEDING 20.
• Teachers must ensure that the names and surnames of candidates are legible on entry forms.  Each candidate receives a Diploma.
• If pre-recorded music is used, it must be saved in mp3-format on CD / DVD OR MEMORY STICK and handed to the sound engineer before performing.
• Groups that make use of African Drums etc. must bring their own.
• Participants are free to compile their own groups.  Groups may consist of any age and any grade.

Types of African dances

1.  Warrior dances

2.  Dances of love are performed for special occasions such as weddings and anniversaries.

3.  Rites of passage and coming of age dances

4.  Dances of welcome

5.  Dances of possession and summoning. 

Dances of possession and summoning are common themes in African dance and very important in many Traditional African Religions.  Their purpose is to call a spirit and these can be spirits of Plants or Forests, Ancestors or Deities.  The dances are used to honour the spirits, ask for guidance or to appease the spirits if they are angry

Characteristics:

There are some basic characteristics that are common to most African dance forms:

The relationship to the earth – working together with gravity as opposing to trying to defy it as is such with some Western dance forms.

The spiritual representation – dance in African within the traditional context, was used as a way of elevating oneself from the human realm to that of the spiritual universe. A dance form that engages the mind, body and spirit in order to truly release the conscious, allowing the individual to experience the power of self-expression.

Importance of the Community. Africans danced mainly with and for the community. Solo performers were supported and affirmed by the group through song, hand clapping, and shouted encouragement. The circle is a common structure in African dance representing unity and completeness

The relationship to rhythm – rhythm is fundamental to the existence of African culture. It acts as a thread, binding the very fabric of African culture together through its expression. An attribute of African culture that has successfully influenced and continues to influence the world over.

The whole theatre structure – the practice of dance is one in which the union of movement, song and drama come together, crystallising expression through the medium of communication.

The connection to culture – African dance forms are direct expressions of culture through the medium of dance. Culture a stimulus to the development of movement and artistic expression

Music

The African concept of music is totally different to the Western one. Traditional African musicians do not seek to combine sounds in a manner pleasing to the ear. Their aim is simply to express life in all of its aspects through the medium of sound. The African musician does not merely attempt to imitate nature by music, but reverses the procedure by taking natural sounds, including spoken language, and incorporate them into the music. To the uninitiated this may result in cacophony, but in fact each sound has a particular meaning. To be meaningful, African music must be studied within the context of African life.

Music has an important role in African society. Music is an integral part of the life of every African individual from birth. At a very early stage in life the African child takes an active role in music, making musical instruments by the age of three or four.  Musical games played by African children prepare them to participate in all areas of adult activity - including fishing, hunting, farming, grinding maize, attending weddings and funerals and dances.

An intimate union forms between man and art in Africa. It amounts to a total communion that is shared by the whole community. This may help explain why some languages in black Africa has precise noun to define music.

The art of music is so inherent in man that it is superfluous to have a particular name for it. The drum is so important in African society that it is sometimes equated with a man. Women must consequently treat it with the same respect that they would show towards their men folk. In some African countries women are not even allowed to touch a drum under any circumstance, though Islam and European colonial influence have softened some of these traditions.

African music is nearly always coupled with some other art such as poetry or dance and is one of the most revealing forms of expression.

STYLES TO CHOOSE FROM:

K1.1                       Indlamu Dance (Zulu War Dance)

A traditional Zulu war dance where the dancer lifts one foot over his head and brings it down hard, landing squarely on the downbeat. Normally, two dancers in warrior’s pelts perform indlamu routines together shadowing each other’s moves.   This war dance is often performed at weddings.  It is performed with drums and full traditional attire and derive from the war dances of the warriors.  It is danced by men of any age wearing skins (amabeshu), headrings ceremonial belts, shields, rattles and weapons like spears and knobkierries.  This dance shows off muscular strength and control of the weapons with mock stabs at imaginaru enemies. 

K1.2                       Isicathamiya

This is performed by men or boys standing in a straight line or arc.  The music balladic and the lyrics pertain to modern issues but use ancient melodies.  Issues like aids, crime and migrant labour.  The lead singer provides the counterpoint or thythm.  The music form symbolises life in rural Zululand and the townships.

 Source:  http://eshowe.com/zulu-dance

K1.3                       Gumboots

Gumboot dance developed from traditional African roots, to become a part of urban South African working-class culture. The practice began with rural laborers who came to work at the gold mines of Witwatersrand in South Africa. They brought with them strong traditions of rhythm, song, and dance. Facing oppression and hardship at the mines, including punishment if they talked to each other while working, they were forced to adapt and create new forms of communication and entertainment.   Inside the mines, the workers used the gumboots to communicate with each other, by slapping their boots, stamping their feet, and rattling their ankle chains. As the form also developed into a popular social activity, songs dealing with working-class life, drinking, love, family, low wages and mean bosses were sung to accompany the movements.

K1.4                       Pantsula

This is a highly energetic dance form that originated in the balck townships of South Africa during the Apartheid era.  It is a syncopated, quick-stepping, low to the ground form of dance which evokes the urban street culture of which it is a part.  It provides a powerful, stylized form of expression.  Kwaito music is used for this dance as it projects a streetwise, gangster image as strong and sharp like pantsula.

K1.4                       Umteyo Dance (Xhosa shaking dance)

Involves the rapid undulation or shaking of the thorax so that the whole length of the spine appears to be reppling.  Older men, Amadoda, do a similar dance, Xhensa accompanies by singing and clapping. 

K1.6                       AGBEKOR (ancient dance known as the Atamga)

This is a warrior dance depicting men who fought in the battle, which is why the dance involves warfare movements.  It is supposedly an aggressive style of dancing and is characterized by a complex drum rhythm.  The dancers stage mock fights using horsetail as spears to stab the opponent.  It is performed specifically at cultural events and at funerals.  Agbekor is a style of this particular dance type.

K1.7                       DANCE OF POSSESSION AND SUMMONING

This dance type is used to summon the spirits of the world, namely than of ancestors, trees, forests and even deities. 

It is performed to honour the spirits and as a means to ask for guidance. 

K1.8                       Open session (this session includes any other African Dance and it is also open for any age)

Domba/ Ingoma/ Isishameni/  San Trance Dance, etc.

This category is designed for the very young at heart that have positive energy, stamina, determination, fitness and personality to make a real success of this session.  Interpretation and improvisation plays a huge part here. Also known as 20^th century concert dance.   Modern dancers reject the limitations of classical ballet and favour movements derived from the expression of their inner feelings.  Modern dancers express their innermost emotions through dance, often becoming closer to their inner selves.  Before attempting to choreograph a routine, the modern dancer decides which emotions to convey to the audience.

• Appropriate music should be selected for the dance idea or arrangement
• Costumes should suit the dance idea or style
• Focus attention on dance movement and dance composition
• Accompaniment – Own choice.  Electronic music should be saved on CD/DVD/MEMORY STICK in a  

               recognizable computer format like mp3 and handed to the sound engineer before the session begins.

• A maximum of two (2) dances may be performed. 
• Teachers and candidates should pay careful attention to TIME.  Candidates that ignore the maximum

               time limits shall be penalized.

J1.1                                                                                                                         J1.2

SOLO                                                                                                                      DUETS

Maximum time limit:  5 minutes                                                                              Maximum time limit:  5 minutes

J1.3                                                                                                                         J1.4  Open session (adults etc)

GROUPS (4 dancers or more but not exceeding12)

Maximum time limit:  8 minutes