gauteng department of education gautengse departement van ...

GAUTENG DEPARTMENT OF EDUCATION 

GAUTENGSE DEPARTEMENT VAN ONDERWYS 

GUIDELINE DOCUMENTS FOR THE 

SENIOR CERTIFICATE EXAMINATION 

RIGLYNDOKUMENT VIR 

DIE SENIORSERTIFIKAAT-EKSAMEN 

BOOK 1 / BOEK 1 

(Accounting – Commercial Maths) 

2006 / 2007 

1

TABLE OF CONTENTS 

PART / DEEL 1 

Accounting HG & SG 

Additional Mathematics HG 

Afrikaans Primêre Taal HG V1 

Afrikaans Primêre Taal SG V1 

Afrikaans Primêre Taal HG en SG V2 

Afrikaans Primêre Taal HG V3 

Afrikaans Primêre Taal SG V3 

Afrikaans Addisionele Taal HG en SG V1 – See New National Guidelines 

Afrikaans Addisionele Taal HG en SG V2 

Afrikaans Addisionele Taal HG en SG V3 – See New National Guidelines 

Agriculture Science HG and SG – See New National Guidelines 

Applied Agricultural Science 

Animal Husbandry / Veekunde 

Arabic 

Art HG and SG (Open) / Kuns HG en SG (Oop) 

Biblical Studies HG and SG 

Bricklaying and Plastering SG 

Building Construction / Boukonstruksie 

Business Economics HG / Bedryfsekonomie HG– See New National 

Guidelines 

Business Economics SG / Bedryfsekonomie SG – See New National 

Guidelines 

Commercial Mathematics SG / Handelswiskunde SG 

PART / DEEL 2 

Computer Studies HG & SG 

Computyping / Rekenaartik 

Dance HG and SG P1 

Dance HG and SG P2 

Design SG 

Economics HG / Ekonomie HG– See New National Guidelines 

Economics SG 

Electricianswork SG 

Electronics SG 

English Primary Language HG P1 

English Primary Language SG P1 





English Additional Language HG and SG P2 

2

PART / DEEL 3 

Farm Mechanics SG 

Fitting and Turning SG / Pas- en Draaiwerk SG 

French HG 

French SG 

Functional Mathematics SG P1 / Funksionele Wiskunde SG V1 

Functional Mathematics SG P2 / Funksionele Wiskunde SG V2 

Functional Physical Science SG 

Geography P1– See New National Guidelines 

Geography P2– See New National Guidelines 

German HG L3 

Graphic Art 

Hebrew 

Hindi 

History of Theatre, Costume and Literature SG P1 and P2 / Geskiedenis 

van Teater, Kostuum en Literatuur SG V1 en V2 

Hotelkeeping and Catering SG 

Home Economics 

Isinbebele ilimi lokuthoma Iphepha lokuthoma 

Isinbebele ilimi lokuthoma Iphepha lesibili 

Isinbebele ilimi lokuthoma Iphepha lesithatu 

Isinbebele ilimi lesibili Iphepha lokuthoma 

Isindebele ilimi lesibili Iphepha lesibili 

Isindebele ilimi lesibili Iphepha lesithatu 

IsiXhosa sephepha lokuqala Iphepha lokuqala 

IsiXhosa sephepha lokuqala Iphepha lesibini 

Isixhosa ulwimi lwenkobe Ipepha lesithathu 

Isixhosa ulwimi lwenkobe Ipepha lokuqala 

Isixhosa ulwimi olongezelelweyo 

Isixhosa ulwimi lwesibini Iphepha lesibini 

Isixhosa ulwimi olongezelelweyo Ipepha lesithathu 

IsiZulu Primary Language SG P1 

Isizulu ulimi lokqala Iphepha lesibili 

Isizulu ulimi lwebele izinga Iphepha lesibili 

Isizulu ulimi lwebele Iphepha lesithathu 

IsiZulu ulimi lwesibili Ipepha lokuqalai 

IsiZulu ulimi lwesibili Iphepha lesibili 

IsiZulu ulimi lwesibili Iphepha lesithathu 

IsiZulu Additional Language HG and SG P3 

Latin HG 

PART / DEEL 4 

Law Subjects: Criminal Procedure and Evidence 

Criminology 

Introduction to Ethnology 

South African Criminal Law 

Statute Law 

Mercantile Law SG 

Metalwork SG 

Motor Mechanics SG 

Motorbody Repair SG 

3

Music HG, SG and MP 

Needlework and Clothing 

Painting 

Physiology HG and SG 

Plumbing and Sheet Metal Work SG / Loodgietery en Plaatmetaalwerk SG 

Portuguese HG and SG 

Sepedi Primary Language HG P1 

Sepedi leleme la gae lephephe la pele 

Sepedi Primary Language SG P2 

Sepedi Primary Language HG P3 

Sepedi Additional Language HG P1 

Sepedi Additional Language SG P1 

Sepedi Additional Language HG and SG P2 

Sepedi Additional Language HG and SG lephephe la boraro 

Sesotho Primary Language HG and SG P1 



Sesotho Additional Language HG and SG P1 

Sesotho Additional Language HG and SG P2 

Setswana Primary Language HG and SG P1 



Setswana Additional Language HG and SG P1 


Setswana Additional Language P2 


PART / DEEL 5 

Siswati Primary Language HG P1 

Siswati Primary Language SG P1 


Siswati Primary Language HG P3 


Siswati Additional Language HG P1 

Siswati Additional Language SG P1 

Siswati Additional Language HG and SG P2 

Siswati Additional Language HG and SG P3 

Speech and Drama HG and SG 

Statute Law 

Tamil 

Technika Civil HG and SG / Technika Siviel HG en SG 

Technical Drawings HG and SG P1 and P2 / Tegniese Tekene 

HG en SG P1 en P2 

Technika Electrical HG and SG 

Technika Electronics HG and SG 

Technika Meganies HG & SG 

Travel and Tourism / Reis en Toerisme 

Tshivenda Primary and Additional Language HG and SG P1, 2, 3 

Typing 

Urdu 

Welding and Metalworking SG / Sweis en Metaalbewerking SG 

Woodwork HG and SG P1 and P2 

Woodworking 

4

Xitsonga Primary Language HG and P1 

Xitsonga Primary Language HG and SG P2 

Xitsonga Primary Language HG and SG P3 

Xitsonga Additional Language HG and SG P1 



• All languages, for additional information, please consult Circular 17 of 2002. 

• All Art subjects, please consult Guidelines Art I and II of 2002. 

• For Guidelines not in this document, please consult the Guidelines of 2004. 

5

Dear Educator 

SENIOR CERTIFICATE EXAMINATION: 

GUIDELINES FOR OCTOBER / NOVEMBER 2006 AND 

SUPP 2007 SENIOR CERTIFICATE EXAMINATIONS 

Attached are the guidelines for the Senior Certificate Examinations of October / November 

2006 and February / March 2007. (Please note that these are guidelines for and not a 

blueprint of the examination paper.) 

It is of the utmost importance that principals ensure that all Grade 12 educators receive 

copies of the relevant reports and guidelines in order to prepare for the Senior Certificate 

Examination in 2006. The guideline document will also be discussed in detail during the 

roadshow meetings which are scheduled for February / March 2006. 

We trust that the attached documentation and the roadshow meetings will contribute to 

increased success for all Senior Certificate candidates in 2006. 

Kind regards 

GAUTENG DEPARTMENT OF EDUCATION 

DIRECTORATE: 

EXAMINATIONS AND ASSESSMENT 

Date: 21 November 2005 GDE Exams 

Tel: (011) 484-4250–6 2 nd Floor Mc Gregor Block 

Fax. (011) 484-3233 Wits (JCE) 

Ref: Helene de Clercq 27 St Andrew Street 

PARKTOWN 2193 

PREM GOVENDER 

SENIOR MANAGER: EXAMINATIONS AND ASSESSMENT 

6

ACCOUNTING HG AND SG 

1. COMPETENCE AND SKILLS TO BE ASSESSED THROUGHOUT THE 

QUESTION PAPER 

1.1 Objectives of the National Core Syllabus (refer to the existing core 

syllabus for full descriptions) 

1.1.1 • Logical thought process 

• Analytical ability 

• New/unfamiliar situations 

1.1.2 • Sound judgement 

• Systematic approach 

• Solution to problems 

1.1.3 • Disciplines of accounting 

• Accuracy 

• Sound judgement 

1.1.4 Interpretation of accounting information 

1.1.5 Accounting concepts, principles and procedures (GAAP) 

1.1.6 Relevance to accounting environment 

1.1.7 Relevance to management situations 

2. CRITICAL OUTCOMES 

2.1 Identify and solve problems, which indicate that responsible decisions, 

using critical and creative thinking, have been made. 

2.2 Organise and manage oneself and one’s activities responsibly and 

effectively. (Limited applicability in a written examination) 

2.3 Collect, analyse, organise and evaluate information critically. 

2.4 Communicate effectively, using visual, mathematical and/or language 

skills in the modes of written presentation. 

2.5 Demonstrate an understanding of the world as a set of related systems 

of recognising that problem-solving contexts do not exist in isolation. 

(Limited applicability in a written examination) 

3. BROAD OUTLINE OF THE ACCOUNTING PAPER 

3.1 One examination paper of a 3-hour duration 

3.2 Marks allocated: HG – 400 

SG – 300 

7

3.3 A specialised and bilingual answer booklet will be provided for each 

candidate. 

3.4 All questions are compulsory. There will be no multiple-choice 

questions. 

3.5 All modules in the Grade 12 syllabus will be examined. 

3.6 Candidates may use non-programmable calculators in the examination. 

4. LEVELS OF QUESTIONING 

4.1 Higher Grade 

• 50% = marks that an average HG candidate can reasonably 

attain (Av) 

• 30% = application and insight into accounting principles (A/l) 

• 20% = analysis, interpretation, evaluation and higher order 

thinking skills (E). Ratio analysis will form part of this 

component and must not be neglected. 

4.2 Standard Grade 

20 

(E) 

8 

50 

(Av) 

30 

(A/I) 

• 50% = marks that an average SG candidate can reasonably 

attain (Av) 

• 50% = application of insight into accounting principles (A/I) 

5. SYLLABUS COVERAGE 

50 (Av) 

50 (A/I) 

5.1 Approximately 60% of the examination paper will be set on modules in 

the Grade 12 syllabus. All modules in the Grade 12 syllabus will be 

examined. 

5.2 Approximately 40% of the examination paper will be set on modules in 

the Grade 11 syllabus.

5.3 A maximum deviation of 5% in 5.1 and 5.2 is permissible. 

5.4 The above can be summarised in tabular form as follows: 

SYLLABUS NATIONAL GUIDELINE REQUIREMENTS 

Grade 11 35 – 45% 

Grade 12 55 – 65% 

6. BROAD CLASSIFICATION OF TOPICS 

6.1 Final accounts and financial statements must form an integral part 

of the examination and comprise a minimum of 40% and a 

maximum of 50% of the paper. 

6.2 Final accounts and financial statements include the following topics: 

BROAD CLASSIFICATION 

NATIONAL GUIDELINE 

REQUIREMENTS 

Trading account 

Profit and loss account 

Minimum 40% and maximum 50% 

Appropriation account HG minimum 160 marks and 

Income statement 

Balance sheet 

maximum 200 marks 

Notes on financial statements SG minimum 120 marks and 

Cash flow statement including notes maximum 150 marks 

(HG only) 

Statement of receipts and payments 

(clubs) 

Statement of income and 

expenditure (clubs) 

6.3 Subsidiary journals/books and ledger accounts, except final accounts, 

should not exceed 25% of the question paper. 

6.4 The remainder of the examination paper should cover other topics, for 

example: 

• Budgets 

• Ratio analysis 

• Accounting equation 

• Transaction analysis 

• Debtors, creditors and bank reconciliation statements 

• Interpretation of ledger accounts 

• Debtors’ and creditors’ lists 

• Calculations 

• Etc. 

9

7. SUMMARY OF SYLLABUS TOPICS THAT MAY BE EXAMINED 

7.1 Subsidiary books/journals 

• Source documents/supporting vouchers 

• Recording transactions 

• Posting to the general ledger and the subsidiary ledgers 

7.2 Disposal of fixed/non-current assets (asset disposal) 

• At the beginning of the year (HG/SG) 

• During the year (HG) 

• At the end of the year (HG/SG) 

• Interpretation of accounts (HG only) 

7.3 Salaries and wages 

• Preparation of salaries/wages journals 

• Cash payments journal 

• Ledger accounts 

• Interpretation of journals and ledger accounts 

7.4 Periodic inventory system (sole traders only) 

• Subsidiary journals (Background only) 

• Ledger accounts 

• Analysis of transactions 

• Calculation e.g. cost of sales, gross profit, etc. 

• Final accounts and financial statements 

• Analysis and interpretation of accounts and financial statements 

(HG only) 

Note: Effect on accounting equation is not examinable. 

7.5 Debtors and creditors ledger and control accounts 

• Control accounts and other accounts in the general ledger 

• Errors, omissions and transfers (HG only) 

• Debtors/Creditors reconciliation (HG only) 

Note: No single-entry corrections 

7.6 Bank reconciliation 

• Cash journals 

• Bank account 

• Reconciliation statements 

• Interpretations (HG only) 

10

7.7 Sole Traders/Partnerships 

• Cash journals 

• Ledger 

• Financial statements and annexures 

• Analysis and interpretation of financial statements (HG only) 

7.8 Clubs 

• Analysis cashbook 

• Ledger 

• Bank reconciliation 

• Reversals (HG/SG) 

• Receipts and payments statement (T-form and vertical form) 

• Income and expenditure statement, Balance sheet and notes 

from pre-adjustment trial balance and adjustments (HG/SG) 

• Income and Expenditure Statement, Balance sheet and notes 

from previous year’s balances, Receipts and payments 

statement and adjustments (HG/SG) 


7.9 Companies 

• Subsidiary journals 

• Ledger 

• Trading, Profit and Loss and Appropriate accounts 

• Income statement in vertical form (HG/SG) 

• Balance sheet in vertical form (HG/SG) 

• Notes to the financial statements (HG/SG) 

• Cash flow statements with notes (HG only) 


7.10 Close Corporations 

• Subsidiary journals 

• Ledger 

• Trading, Profit and Loss and Appropriation accounts (HG/SG) 

• Income statement in vertical form (HG only) 

• Balance sheet in vertical form (HG only) 

• Notes to the financial statements (HG only) 


11

7.11 Cash budgets and projected income statements (sole traders and 

companies only) 

• Preparation 

• Debtors/Creditors schedules 

• Evaluation and interpretation of cash budgets (HG only) 

Note: Projected balance sheet is not examinable. 

7.12 Year-end adjustments and procedures applicable to all forms of 

ownership: sole traders, partnerships, companies, close corporations 

and clubs. Adjustments include accruals and pre-payments. 

7.13 Accounting equation (Applicable to all sections, continuous inventory 

system only) 

8. FORMATS OF FINANCIAL STATEMENTS 

In interpreting the syllabus for examination purposes, refer to the annexures 

for the standardised accepted formats. 

9. GENERAL 

Please note that an agreement was reached in 2000 on the following issues: 

• The broad contents of guideline documents in order to facilitate a 

national examination in Accounting 

• The objective of the teaching and examining of Accounting in terms of 

the current core syllabus 

• The critical outcomes in terms of Curriculum 2005 which are currently 

applicable to the existing syllabus 

• The thinking skills in terms of Bloom’s Taxonomy, which are applicable 

to the examining of the subject (higher order thinking skills) were 

emphasised. 

• The level of questioning applicable to the Higher Grade and Standard 

Grade papers, to cater for the full range of abilities of candidates 

• The subject must be in line with Generally Accepted Accounting 

Practice, business practice and the economic environment 

• Weighting of the modules in the syllabus would assist the educators in 

the teaching of the subject, as well as the examiners in the testing of 

the subject. 

12

ADDITIONAL MATHEMATICS HG 

INTERPRETATION OF THE SYLLABUS 

General remarks 

• The syllabus consists of a compulsory module (Module A) and four options 

(Modules B, C, D and E) of which at least TWO should be chosen. 

• The examination will consist of ONE single three-hour paper of 400 marks. 

• In the examination paper 50% of the marks will be awarded to Module A and 

25% to each of two of Modules B, C, D or E. During the exam, 1½ hours 

should be spent on Module A and ¾ of an hour on each of the two chosen 

modules. 

• Non-programmable calculators may be used when necessary in the 

examination unless instructed otherwise. Pupils should be encouraged to use 

their calculators. 

• Although a complete knowledge of the contents of the Mathematics (HG) 

course is not presupposed, many concepts from this course are frequently 

used. Educators should take this into account when planning the order in 

which the course is presented. 

• Mathematical exactness and correct formulation and notation are important. 

Candidates should be penalised in class assessments for incorrect notation. 

• A formula sheet will be provided with the paper. This sheet is at the end of 

this document. 

1. PRE-KNOWLEDGE 

MODULE A 

DIFFERENTIAL AND INTEGRAL CALCULUS 

There will be no direct questions on Section A1, but the knowledge is required 

for answering questions on other topics. 

1.1 Sketching and properties of linear, quadratic and absolute value 

functions 

The linear and quadratic functions are the same as in the Mathematics 

HG syllabus, but the absolute value function needs more attention, e.g. 

y=I2x-1I+2, or y=1x 2 -2xl-3 

1.2 Properties of trigonometric functions 

The definition of all 6 functions in a co-ordinate system. The domain 

and range of these functions require attention. 

1.3 Intuitive approach to limits and basic properties 

Only basic concepts at this stage. 

1 1 

1 

The limits lim = ∞; 

lim ∞ and lim = 0 should be known. 

x→0 x x 

x 

2 x→0 2 x→0 2 

13

2. FUNCTIONS 

Explain one-to-one functions as well as horizontal and vertical line tests. 

Terminology: Constant function.. f(x) = k 

Identity function.. f(x) = x 

Linear function.. f(x) = mx + c 

Polynomial functions 

P(x) = pnx n + pn-1x n-1 + …… + p1x + p0 

Rational functions // f(x) = 

Piecewise defined functions 

F(x) 

5x – 2 for x>0 

x 2 + 4x for x≤0 

14 

3 

x + 1 

2 

x + x + 1 

2.1 Composition of functions and inverse functions 

Composition of functions: 

Notation: (f o g)(x) = f(g(x)) 

Composite functions must be composed from functions and composed 

functions must be separated into non-trivial functions. Domain and 

range should receive attention. 

Inverse functions: 

Notation: f -1 (x) is the inverse of a function f, only if f is one-to-one. 

Note that (f o f -1 )(x) = (f -1 o f)(x) = x if and only if the domain of f and f -1 

are the same. 

The domain and range often need to be restricted to make f a one-toone 

function. 

2.2 Radian measure 

s 

• Definition: θ = , where θ is a real number. Pupils must be able 

r 

to solve for any of the 3 variables. 

• They must be able to convert degrees to radians and vice versa. 

Any angles given, used or asked in the paper must be in radians. 

1 

• Areas of sectors may be asked (Area of sector = rθ 

) 

2

2.3 Trigonometric functions of a real variable 

• The identities done in the Mathematics HG syllabus must be 

known. 

• The sketches of the graphs of sin θ , cos θ and tan must be 

known with radians. 

• Formulae for sin 2 θ , sinθ .cosθ , etc. will be given in the formula 

sheet. 

2.4 Inverse trigonometric functions 

It must be stressed that the functions of sinθ , cosθ and tanθ are not 

one-to-one. The domain must be restricted to obtain the inverse 

functions. Pupils should understand the difference between the 

trigonometric functions and the foniometric functions. 

• The definitions as well as the sketches of arcsin x, arccos x and 

arctan x may be asked. 

• Pupils must be able to calculate composite problems without 

using a calculator. Compound angles may also be asked. 

• Arc sin kθ and l.arc sinθ , for positive integer values of k, should 

be looked at. 

3. DIFFERENTIAL CALCULUS 

3.1 Left- and right-hand limits 

Intuitive approach. Use piecewise functions as well as rational 

functions. 

3.2 Limit theorems: Sum, product and quotient rules (without proof) 

• No proofs required. 

• Pupils should be able to calculate limits by means of 

factorisation. 

0 ∞ 

• L’Hospital’s rule may be used when substitution leads to or , 

0 ∞ 

but pupils need to indicate that they have used the rule. 

sin x 

• The property lim = 1 must be known. Care should be taken 

x→0 x 

to stress that this is only applicable when x→0 (and not any 

other values!) 

3.3 Continuity at a point, basic properties 

• Pupils must know the definition: A function f is continuous at a 

point x = a if lim f(x) = f(a). 

x→a 

15

• Pupils may assume that all polynomial functions and also the 

sine and cosine functions are continuous for all real numbers. 

• The definition must be used to prove whether a function is 

continuous at a given point. 

• Correct and concise motivation should be encouraged. 

• The value of an unknown can be asked in order for the function 

to be continuous at a certain point. 

• If a function is discontinuous at a point, the discontinuity can be 

labelled as removable or jump. 

• If it is removable, the function can be redefined so that it will be 

continuous at the point. This should be known. 

• The graphical approach must also be understood. 

3.4 Average and instantaneous rate of change 

Development of formulae should be illustrated graphically: 

Rate of change = 

∆y 

∆ 2 − y1 

f ( x + h) 

− f ( x) 

= = 

∆x 

x − x h 

2 

1 

3.5 Definition of derivative, calculation of derivatives of polynomial functions 

up to degree three with the aid of the definition as well as function f of 

the form 

F (x) = 

1 

ax + b, 

f (x) = ax + b and f (x) = 

16 

1 

ax = b 

, a, b ∈ R 

Notation: The derivative of a function f can be written as: 

Dx[f(x)], f’, 

d 

dx 

f ( x) 

or 

dy 

dx 

The definition of a function being differentiable at a point must be 

known: 

f is differentiable at a point x = a if lim 

f ( a + h) 

− f ( a) 

exists. 

h 

It will be clearly stated in the exam paper if the test should be done 

from first principles. Otherwise the function may be differentiated, e.g. 

Is the following function differentiable at the point x = 0: 

f(x) 

f(x) = 5x – 2 for x > 0 

x 2 + 4x = 2 for ≤ 0 

h→0

Answer: (not from first principles) 

f ( a + h) 

− f ( a) 

f ( a + h) 

− f ( a) 

lim 

= 5 and lim 

= 2x + 4 = 4 

h→0 h 

h 

+ 

h→0 - 

If x → 0 + , f’(x) → 5, if x → 0 - , f’(x) → 4 

17 

or 

∴ the function is not differentiable at x = 0 

Answer: (from first principles) 

f ( a + h) 

− f ( a) 

5 ( 0 + h) − 2 = 5( 

0) 

+ 2 

lim 

= lim 

= 5 and 

h→0 h 

h 

- h→0 - 

lim 

h→0 + 

2 

2 

f ( a + h) 

− f ( a) 

( 0 + h) + 4( 

0 + h) 

− 2 − 0 + 4. 

0 + 2 

= lim 

h 

h→0 h 

- 

∴ the function is not differentiable at x = 0. 

3.6 Theorem: A function that is differentiable at a point is continuous 

at that point. 

Examples to show that the converse is not necessarily true are 

required. However, the fact that if a function is not continuous at a 

point, then it is also not differentiable at that point, may be used without 

proof. 

3.7 Rules of differentiation (without proofs): 

Dx (x n ) = nx n-1 for all n ∈ R 

Dx [kg(x)] = k Dx [g(x)], k ∈ R 

Dx [g(x) – h(x)] = Dx [g(x)] – Dx [h(x)] 

Dx [g(x).h(x)] = g(x).Dx [h(x)] + Dx [g(x)].h(x) 

Dx [g(x).h(x)] = g(x).Dx[h(x)] + Dx[g(x)].h(x) 

Dx [f(g(x))] = Dg(x)[f(g(xx))]. Dx [g(x)]. 

Once again, notation is important. These rules are given on the 

formula sheet, but may be asked in a different notation. The product, 

quotient and chain rules may be extended to involve more than two 

functions. Implicit differentiation will not be asked.

3.8 Differentiation of trigonometric and inverse trigonometric 

functions 

The formulae needed are given on the formula sheet. This section 

must be combined with section 3.7. 

3.9 Higher order derivatives 

• Notation is important. The second derivative has practical value 

in later sections. 

• Pupils must be able to compose a formula for the n’th order 

derivative by recognition of a pattern through repeated 

differentiation. 

• Intermediate derivatives should not be simplified in this case. 

• The factorial notation n! should be used when appropriate. 

3.10 Application of differential calculus to 3.10.1 Optimisation 

• When practical (or more theoretical) problems are done, it might 

be necessary to use the second derivative test or a table of signs 

for the first derivative to determine whether a function value is a 

maximum or a minimum (extreme values of the domain might 

also need to be considered). Note that a table of signs must be 

used when the second derivative test fails (when both the first 

and second derivatives are zero for a particular value of the 

variable) for a polynomial of degree 4 or higher. For example 

f(x) = x n for n = 4 will have a turning point and not a point of 

infliction. 

• When practical (or more theoretical) problems are done, the 

second derivative may be used to ascertain whether the answer 

is a maximum or minimum. (A table of signs could also be used, 

unless the second derivative method is asked.) 

• The problem asked here may use trigonometric and inverse 

trigonometric functions. 

3.10.2 Stationary points 

Determine whether a stationary point is a loval maximum or a minimum 

turning point or a point of inflection. 

3.10.3 Sketching of polynomial functions 

• If polynomial functions are asked, the x-intercepts will usually be 

easy to determine, or not required. 

• Pupils must be able to determine the intervals for which a 

function increases/decreases. Note the following definition: 

• f is increasing on an interval I if f(x) < f(z) whenever x < z and x 

and z are in I. 

18

• f is decreasing on an interval I if f(x) > f(z) whenever x < z and x 

and z are in I. 

• f is strictly increasing on an interval I if f’(x) > 0 for all x ∈ I. 

3.10.4 Newton’s interpolation method (Newton Raphson) 

• For examination purposes learners will not be expected to derive 

the formula, but they should understand where it originated. 

They may be asked to use a sketch and explain the concept. A 

first approximation will sometimes be given, but pupils need to 

be able to show that a continuous function has a zero in a 

particular interval. 

• Notation is important. 

• When trigonometric functions are used, all angles are in radians. 

• If the method has to be used to find the approximate value of the 

f '( 

an 

) 

variable at a turning point, the formula is an+1 = an - 

f '' 

( a ) 

• Notation is again important. 

4. INTEGRAL CALCULUS 

4.1 Antiderivatives, the indefinite integral with its basic properties 

No integral will be asked which cannot also be done without 

substitution. 

Pupils may make use of substitution. 

Integration by parts is not included. 

Basic properties may be used without proof: 

∫ {f(x)±g(x)}dx = ∫ f(x)dx± ∫ g(x)dx 

∫ k.f(x)dx = k ∫ f(x)dx 

4.2 The definite integral as an area, Riemann sums 

The definite integral gives the area bounded by the graph, the x-axis 

and the lines x=a and x=b if f(x) ≥ 0 for all x ∈ [a; b] 

The Riemann sum should be developed intuitively as an approximation 

of the area between graphs (or a graph and the x-axis). When n is 

finite, show the difference in the answer with different placements of xI 

or at the beginning, centre or end of the interval when working with the 

limit. The formulae for the ∑ i and ∑ i 2 will be given in the formula 

sheet. 

19 

n

4.3 Fundamental theorem of the differential and integral calculus 

(without proof) 

The significance of this theorem must be explained. 

4.4 Properties of the definite integral (without proof) 

These properties may be used without proof. They are usually used 

with areas between graphs when the interval for the area includes the 

intersection of the graphs. However the question will lead to the fact 

that the graphs intersect or that a graph cuts the x-axis. 

4.5 Integration of trigonometric functions and of sin 2 θ and cos 2 θ 

The same table on the formula sheet used for differentiation can be 

used for this section. 

Integrals of sin 2 x, sinx.cosx, etc. may be asked. These formulae are on 

the formula sheet. 

Pupils must be able to do completion of the square for integrals with 

1 

answers arctanx, arccosx and arcsinx, eg.: ∫ 

dx 

2 

− 3 − 4x 

− x 

The use of the chain rule (in reverse) should be taught. Examples for 

n 

this form: ∫ sin x. 

cos xdx (and similar) might be asked. 

4.6 Volumes of solids of revolution 

• The derivation of the formula will not be asked. The formula is 

on the formula sheet. 

• Only rotation around the x-axis will be asked. 


MODULE B 

MATHEMATICS OF FINANCE 

1.1 Definition and properties of logarithms 

This should not be done in great detail as it is covered in the 

Mathematics HG syllabus. The rules can be given to the pupils and a 

few examples done. The main reason for this section is to enable 

pupils to solve exponential equations when the number of periods must 

be calculated. This section as well as the next (B1.2) can be done 

when it is needed in section B4.2. 

1.2 Solution of equations of the form a x = b. 

Pupils must be able to solve such equations. The theory behind it will 

not be tested in this exam. 

20

1.3 Finite arithmetic progressions 

• Derivation and use of the formulae for the sum of a finite 

arithmetic progression, and for specific terms. 

• The same applies as in section B1.1 The main reason for this 

section is the use of the formulae in financial problems. The 

derivation will not be asked. 

• This section as well as the next (B1.4) can be done when it is 

needed in section B5. 

1.4 Finite geometric progression: Derivation and use of the formula 

for the sum of a finite geometric progression 

• The same applies as in section B1.1. The main reason for this 

section is the use of the formula in financial problems. The 

derivation will not be asked. 

2. MARGINAL COST AND REVENUE 

As this section requires the use of integration and differentiation, it should be 

done after Module A is completed. 

2.1 Terminology: cost, marginal cost, revenue, marginal revenue and 

price 

• Also: fixed cost, variable cost, total cost, average cost 

• And the same for revenue 

2.2 Use of differentiation to determine marginal cost and revenue 

Learners should understand the meaning of marginal cost/revenue. If 

the marginal cost function is given, the cost function can be obtained by 

integration. Be careful of the constant, which represents the fixed 

cost/revenue. 

2.3 Profit and optimisation of profit 

• The profit function can be derived in the cost and revenue 

functions are given. If the marginal functions are given, the 

functions must be integrated. 

• A graphical interpretation of the marginal cost and revenue 

functions to obtain maximum profit is required. 

• Pupils must be able to determine the number of units/years to 

obtain maximum profit. 

• The average cost/revenue/profit may be asked, as well as the 

cost/revenue/profit for the production of (e.g.) the 20’th to the 

25’th units (the integral in this case is from 19 to 25). 

• Note that C’(q) ≈ X(q+1) – C(q) which is the exact cost of the 

(q+1) th item. 

21

3. DEPRECIATION AND APPRECIATION 

• The straight line and constant percentages methods 

4. SIMPLE AND COMPOUND INTEREST 

• Formulae for these calculations are given on the formula sheet. 

• Derivation and use of the formulae 

4.1 Simple interest 

• If simple interest is given, it does not matter whether the period is 

in years, months, etc. 

• The whole amount gets interest for the whole period. 

• Any of the 4 variables may be asked. Hire purchase problems 

may be asked. 

4.2 Compound interest 

• The period is of importance: whenever the interest is added 

yearly, monthly, etc. 

• Examples where the interest rate changes should be included. 

• Any of the 4 variables may be asked. If n needs to be 

calculated, logs generally need to be used (in simple cases trial 

and error are useful in concept development). 

4.3 Effective and nominal rates of interest 

Stress the difference between the following: 

Interest is 12% p.a., compounded monthly (where I = 0,01) and 

Interest is 12% p.a., compounded yearly, but the investments are done 

monthly. 

In this (the second) case the future value of the annuity will be 

x+x(1,00948879…)+x(1,00948879…) 2 +x(1,0098879…) 3 +…(where 

1,0098879… = 2 1 , 12) 

4.4 Present value for compound interest 

• Pupils should be encouraged to draw time lines. Equations can 

be set up by equating the values of money being deposited and 

money being withdrawn at any point on the time line. At some 

points, the calculations are easier than at others. 

22

5. ANNUITIES AND SINKING FUNDS 

Derivation and use of the formulae 

(These formulae are given in the formula sheet. The derivation will not be 

asked in the exam, but pupils should know this to enable them to use it if the 

situation changes.) 

• Examples should be done where the interest rate/period/payment 

change. 

• It must be stressed that the formula on the formula sheet cannot be 

used in the case of deferred annuities. 

5.1 Future value of an annuity 

Encourage the use of time lines. 

5.2 Present value of an annuity 

Encourage the use of time lines. 

5.3 Sinking funds 

Pupils should be able to distinguish between the different rates given 

here: Depreciation on the present equipment, inflation rate to buy new 

equipment and the interest rate on the sinking fund. If money needs to 

be withdrawn from the sinking fund, care should be taken to use the 

correct effective rate. 

6. AMORTISATION OF LOANS 

The loan will not necessarily be repaid in a number of equal payments at 

regular intervals. 

6.1 Periodic payment 

6.2 Term 

The calculation of the payment if the number of periods, the interest 

rate and the amount of the loan are given. Examples should include 

cases where payment starts after more than one period. If not stated in 

the exam paper, the payment starts after one period and the last 

payment amortises the loan. 

Logs must be used to calculate the term. In these cases there is 

usually a final payment to be determined. 

23

6.3 Outstanding balance of a loan 

The balance still owing can be asked. 

There are basically two ways to do this: 

• Working from the present time to the period when the balance 

must be calculated: (loan + interest) – (sum of payments + 

interest) 

• Working from the last period back to the time in question. Both 

methods should be taught. 

MODULE C 

ANALYTICAL GEOMETRY 

Educators should choose this module only if they have their own sources. There is 

no local South African text which focuses on this module. Over the years it has been 

found to be very time-consuming and somewhat tedious, to the extent that probably 

fewer than 3 candidates each year in Gauteng and probably not many more in all the 

other provinces have attempted this module. The IEB no longer examines Analytical 

Geometry at all! 

BASIC FORMULAE ARE GIVEN IN THE FORMULA SHEET 


1.1 Cartesian axes 

1.2 Distance between two points in the plane 

1.3 Coordinates of a point dividing a line segment in a given ratio 

1.4 Area of a triangle calculated from the coordinates of its vertices 

1.5 Locus 

1.6 Equations of a straight line: 

1.6.1 y = mx + c 

1.6.2 x/a + y/b = 1 

1.6.3 ax + by + c = 0 

1.6.4 of given slope through a given point 

1.6.5 through two given points 

1.7 Point of intersection of two lines 

24

2. STRAIGHT LINES 

2.1 The angle between two lines 

2.2 Slopes of parallel and perpendicular lines 

2.3 Distance of a given point from a given line 

2.4 Equation of a perpendicular disector of a given line segment 

2.5 Equations of lines through the common point of two given lines 

3. CONIC SECTIONS IN GENERAL 

3.1 The cone cut by a plane; different figures according to the angle of cut 

3.2 Alternative definition in terms of eccentricity 

3.3 Relation between angle of cut and eccentricity 

3.4 Standard equation of second degree with no term in xy 

4. THE CIRCLE 

4.1 Equations of the circle in the form 

4.1.1 (x-a) 2 + (y-b) 2 = r 2 

4.1.2 x 2 + y 2 + 2gx + 2hy + c = 0 

Equation of a tangent to a given circle at a given point 

Finding a circle with a given line segment as diameter 

Common chord of two intersecting circles 

Circles touching each other internally and externally 

Length of a tangent from a given point at circle 

5. THE PARABOLA 

5.1 Definition in terms of focus-directrix property 

5.2 Derivation of standard equation y 2 = 4ax 

5.3 Equation of tangent and normal at a point 

5.4 Condition for a straight line to be a tangent 

25

5.5 Reflection property 

5.6 Parametric equations 

5.7 Focal chord 

6. THE ELLIPSE 

6.1 Definition in terms of the focus-directrix property 

6.2 The standard equation, foci and directrices 

6.3 Equations of a tangent and normal at a point 

6.4 Area of an ellipse 

6.5 Reflexion property, sum of distances to a focus is constant 


7. THE HYPERBOLA 

7.1 Definition in terms of the focus-directrix property 

7.2 The standard equation 

7.3 Foci, directrices and asymptotes 

7.4 Equation of a tangent and normal at a point 

7.5 Difference between distances to a focus is constant 


7.7 Angle between the asymptotes 

7.8 The rectangular hyperbola xy = c 2 ; its parametric equations and 

eccentricity 

8. THREE DIMENSIONS 

8.1 The axes as a right-handed system 

8.2 Distance between points 

8.3 Direction ratios and direction cosines of a straight line 

8.4 Parametric equations and Cartesian equations of straight line 

26

8.5 Conditions for lines to intersect, to be perpendicular and the angle 

between two intersecting lines 

8.6 Different forms of the Cartesian equation of a plane 

8.7 Common line of two planes 

8.8 Common point of a line and a plane 

8.9 Lines of greatest slope; angle between two planes 

8.10 Distance of a point from a plane 

1. MATHEMATICAL INDUCTION 

Examples should include proofs for: 

MODULE D 

ALGEBRA 

• the sum of a series (sigma notation included) 

• divisibility 

• inequalities 

Mathematical exactness and correct formulation are important. An application 

of a proof can be asked. 

2. PRE-KNOWLEDGE CONCERNING POLYNOMIALS 

2.1 Terminology concerning polynomials in one unknown: degree, 

coefficients, polynomial equations, leading coefficient, roots, 

zeros and notation z[x], Q[x], R[x], C[x]. 

Also: constant, linear, constant polynomial 

Note that a polynomial has zeros, an equation has roots. 

Pupils should understand the notation for a general polynomial: 

P(x) = pnx n + Pn-1x n-1 + …… p1x + p0 

2.2 Remainder Theorem 

Proof is not required. 

2.3 Factor Theorem 

• Proof is not required. 

• Note that only linear factors can be obtained by means of this 

theorem. 

• If P( ½ ) = 0, it means that x = ½ is a zero of the polynomial and 

(x - ½) or (2x - 1) is a factor. 

27

3. DIVISION OF POLYNOMIALS 

3.1 Division algorithm for polynomials (without proof) 

Examples of long division with detached coefficients 

3.2 Synthetic division 

• No theory, only the algorithm 

• Note that synthetic division is only suitable for linear divisors. 

• If the divisor is 2x – 1, use ½ in the division algorithm. The factor 

is then (x - ½). It will always (according to Gauss) be possible to 

take out a 2 from the quotient and multiply it in this factor to 

obtain (2x – 1) again. 

3.3 HCF for polynomials. (Highest Common Factor) 

Understanding of the HCF by using polynomials, which can easily be 

factorised 

3.4 Euclid’s Algorithm 

Proof is not required. 

Use this algorithm to determine the HCF. 

This section includes the rationalisation of the denominator, which should be 

done thoroughly. 

4. RELATIONS BETWEEN POLYNOMIALS AND THEIR COEFFICIENTS 

4.1 If f(x) and g(x) are polynomials of degree n or less and f(x) – g(x) for 

more than n values of x, then f(x) – g(x) for all x. 

• This proof will not be asked in the exam. 

• Note the corollary: A polynomial of degree n has at most n 

zeros. 

• This theorem leads to the following relations: 

4.2 Relation between zeros and the coefficients of an arbitrary 

polynomial 

Derivation of the formulae will not be asked. Pupils must know them 

(they are not given) and know how to use them. 

28

4.3 Application to second and third degree polynomials 

Examples should include problems where a new polynomial must be 

found, as well as problems where certain variables must be solved. If a 

new cubic polynomial must be found, the following is useful: 

• If the new zeros are determined, the following can be used: 

(x – z1)(x – z2)(x – z3) 

• If the relationship between the new zeros is determined, use 

x 3 – (ą+β+λ)x 2 + (ąβ + ąλ + βλ)X – ąβλ 

5. FACTORISATION OF POLYNOMIALS 

Note the following definition: 

A factorisation a(x) = q(x).b(x) is said to be trivial if one of the factors is a 

constant. A polynomial is irreducible if all its factorisations are trivial. 

5.1 Factorisation over real numbers 

(a) Theorem (without proof): Any polynomial, over the reals can be 

factorised into the product of factors of the form ax+b and/or of 

the form ax 2 +bx+c. 

(b) Theorem: Irrational roots of the form a + b c appears as 

conjugate pairs. 

Proof as well as applications required. 

This is known as the irrational root theorem or the conjugate 

surd theorem. Examples should include answers given in Q[x] 

as well as R[x]. 

5.2 Factorisation over rational numbers and integers 

(a) Gauss’ lemma 

Proof not required. Pupils must be able to state the lemma. 

According to D4.1, D5.1(a) and this theorem, the following 

factorisation can be done: 

X 4 + 2x 2 + 1 = (x 2 + ax + b)(x 2 + cx + d) and determine a, b, c and d 

by coparing coefficients. According to Gauss, a. b. c and d must 

be integers. 

29

(b) Eisenstein’s criterion 

• Proof not required. 

• Applications include the proof that a polynomial is 

irreducible. Note that, if the criterion is not applicable, no 

conclusion can be drawn. 

• Also remember that if a polynomial does not factorise over 

x[x], it will also not factorise over Q[x]. 

• To use Eisenstein’s criterion, a prime number should be 

found that satisfies all 3 criteria. 

• To show that no conclusion can be made, all possible prime 

numbers must be shown with any one of the criteria, which 

it does not satisfy. 

(c) Rational Roots Theorem 

5.3 Applications 

• The proof is required. This theorem gives rise to linear 

factors only. 

• Using the rational roots theorem on a polynomial of degree 

4 or higher could show that it has no rational linear roots, 

but it does not necessarily imply that it is irreducible. 

• For example x 4 + 3x 3 + 2x 2 + 3x + 1 = (x 2 + 1)(x 2 + 3x + 1) 

• Examples must include the factorisation of polynomials over Q[x] 

as well as Z[x]. 

• Pupils must also be able to show that a number such as 2 is 

not rational. 

• In these questions, more emphasis will be laid on the possible 

rational zeros of a polynomial, as the actual seeking of a zero 

can be time consuming. 

6. RATIONAL FUNCTIONS 

6.1 Terminology: rational functions, numerator, denominator 

6.2 Factorisation into partial fractions: four different cases. The 4 cases 

include an expression where the denominator is in the form: 

• ax + b 

• (ax + b) n 

• ax 2 + bx + c 

• (ax 2 + bx + c) n 

30

In all cases n is an integer, > 1 and ax 2 + c an irreducible polynomial. If 

the degree of the denominator is less than or equal to the degree of the 

numerator, the denominator must be divided into the numerator first 

and partial fraction must then be applied to the remainder over the 

denominator. 

6.3 Applications 

6.3.1 Solving polynomial and rational inequalities 

• With rational inequalities, the degree of both the 

numerator and denominator will be at most 4. 

• Examples should include problems where the numerator 

or denominator is irreducible. 

6.3.2 Sketching simple rational functions by using e.g. 

factorisation, horizontal, vertical and oblique asymptotes, 

turning points 

• The theory of asymptotes will not be asked. Pupils must 

be able to calculate the equations of asymptotes. If these 

equations are given as definitions, they must be able to 

write down the equations and label them, e.g. 

lim{(x) – 2x + 1} means that y = 2x – 1 is an oblique 

x→∞ 

1. THEORY OF PROBABILITY 

asymptote. 

• Examples should include different varieties of graphs. 

1.1 Random experiments 

MODULE E 

STATISTICS 

Explain with the help of examples. 

1.2 Empirical definition of probability 

• An example here: If n → ∞, then the probability of flipping a coin 

and getting a head, is ½ 

• Pupils must be able to apply the definition as the limit of a 

relative frequency of events. The experimental (empirical) 

approach must be used. 

31

1.3 Concepts of an elementary event, of an event and of a sample 

space. The classical definition of probability. 

• Terminology: event, sample space, elementary event. 

• This definition states that the probability of an event 

Number of ways an event can occur 

= 

Number of 

elements in sample space 

1.4 Algebra of events; Venn diagram 

The following concepts must be illustrated: 

Venn diagram, universal set, empty set, complement of a set, 

union and intersection of sets, disjoint sets (mutually exclusive). 

1.5 Rules of probability 

1.5.1 Lower and upper limits of a probability 

Impossible and certain events. The probability scale is always 

between 0 and 1. 

1.5.2 Addition rule for two events 

Prove by means of Venn diagrams; 

P(A∪B) = P(A) + P(B) – P(A∩B). 

1.5.3 The complementary rule: 

P(A’) = 1 – P(A) 

1.5.4 Product rule for two independent events 

Pupils must be able to determine whether two events are 

independent or mutually exclusive by using these rules: 

If P(A∩B) = P(A) . P(B) 

1.5.5 Extension of the addition rule for mutually exclusive events 

▪ and of the product rule for independent events 

Prove by means of the method of complete induction is optional. 

• No proofs are required for examination purposes. 

• Pupils must be able to test whether 2 events are mutually 

exclusive: if P(A∩B) = 0. 

32

1.6 Counting techniques 

1.6.1 Basic counting rule, tree diagrams: 

• Distinguish between events where repetition is possible 

( n r ) and no repetition: 

• Tree diagrams may be used in counting methods or in 

probability. 

• The meaning of n!. 

• Formulae for permutation and combination are given on 

the formula sheet. However, the use of these functions 

on calculators should be encouraged. 

1.6.2 Permutations of distinguishable objects 

• Order is important. 

1.6.3 Combinations 

• Order is not important. 

1.6.4 Pascal’s triangle 

• No proof required. To be used with the binomial theorem. 

1.6.5 Permutations of indistinguishable objects 

• Include examples where some of the outcomes are 

similar, e.g. the number of ways in which the letters of the 

word “statistics” can be grouped. 

1.6.6 The binomial theorem: Prove from first principles as well as 

by means of method of complete induction. 

2. DISTRIBUTION THEORY 

2.1 Random variables 

Proof will not be asked. The application of this theorem only 

includes the binomial distribution. 

Emphasise notation: 

…. If x ….. 

P(X = X) = ….. if x ….. 

0 elsewhere 

33

2.2 Probability distributions 

In all cases, it is easier to calculate 1 – (P(a) + P(B) + …) if A, B, etc, is 

less than half the possible outcomes. 

2.2.1 Discrete case: Probability mass function 

Determine the probability that an event will be a certain value. 

2.2.2 Continuous case: Probability density function. The 

histogram of relative frequencies as an approximation of the 

probability density function 

• Pupils must understand that in a continuous function the 

probability that an event will be a specific number can 

only be obtained, but only that the event will be in an 

interval. 

• The area under the probability function between 2 values 

gives the probability that the event will occur two values. 

The whole area under the curve = 1 

• After integration is done, examples from this section 

should be done with other than linear functions. 

2.3 Special discrete probability distributions 

2.3.1 The binomial distribution 

The definition is given on the formula sheet. 

Pupils must be able to apply it to the solution of problems. 

Make sure that pupils know exactly when to use this distribution: 

• When the probability is fixed as in a multiple-choice 

question test, or the flipping of a coin. 

• When a relatively small sample is taken from a large 

group and the probability of an event for the group is 

known, e.g. if it is known that 5% of all new equipment is 

defective, and a sample of 5 is chosen from a large group. 

• When a number of objects is chosen with replacements 

(e.g. white and black balls, with replacement) 

2.3.2 The hypergeometric distribution 

The definition is given on the formula sheet. 

• Pupils must be able to apply it in the solution of problems. 

• Make sure that pupils know exactly when to use this 

distribution. 

• This is used when a number of objects (e.g. people) are 

chosen without replacement. 

34

2.4 The normal distribution. Calculation of probabilities of normally 

distributed random variables using the standard normal table 

• This is a continuous distribution. 

• Examples should include the calculation of the probability, as 

well as inverse problems where if the probability is given. 

• Revise the meaning of mean, µ, standard deviation, σ and 

variance σ 2 . 

• Make sure which table is given with the exam paper. 

3. INTRODUCTORY STATISTICAL INFERENCE 

3.1 The concept of statistical inference 

3.2 Simple random sampling 

The concepts of population and sample, random numbers and the use 

thereof in sampling. 

3.3 Point estimation: Estimation of population means, variances and 

proportions 

The formulae need not be memorised. Calculators can be used to 

obtain a sample parameter of the mean (Χ), the standard deviation (s). 

2.4 Interval estimation: Confidence intervals and confidence 

coefficients 

This includes estimates for the population means as well as the 

population proportion. On the formula sheet the formula for a 95% 

interval is given, candidates must know how to change the formula for 

96%, 98% and other confidence intervals. In both cases, pupils must 

know how to calculate the intervals, but also the size of the sample the 

percentage or mean and standard deviation. 

35

FORMULA SHEET/ FORMULEBLAD 

36

Differential and Integral Calculus 

Differensiaal- en Integraalrekene 

r = sθ 

sin 2 x= ½(1-cos2x) cos 2 x= ½(1+cos2x) 

sinA.cosB= ½[sin(A+B)+sin(A-B)] 

sinA.sinB= ½[cos(A-B) – cos(A+B)] 

cosA.cosB= ½[cos(A-B)+cos(A+B)] 

a 

n 

∑ 

i = 1 

n 

2 

∑ i 

i= 

1 

n+ 

1 

n( 

n + 1 ) 

i = 

2 

= a 

n( 

2n 

+ 1 )( n + 1 ) 

= 

6 

∫ 

n 

b 

a 

− 

V = π [ 

f ( a 

f ' ( 

a 

n 

n 

) 

) 

2 

f ( x )] dx 

F(x) F '(x) 

a.x n 

na.x n-1 

sin x cos x 

cos x - sin x 

tan x sec 2 x 

sec x sec x.tan x 

cot x - cosec 2 x 

cosec x - cosec x.cot x 

arcsin x 

1 

bgsin x 

2 

1 − x 

arccos x 

bgcos x 

- 

1 

2 

1 − x 

arctan x 

1 

bgtan x 2 

x + 1 

f(x).g(x) f '(x).g(x)+f(x).g '(x) 

f ( x ) f ' ( x ). g( 

x ) − f ( x ). g' 

( x ) 

g( 

x ) 

2 

[ g( 

x )] 

37 

f[g(x)] f '[g(x)].g '(x)

Finance/ Finansies 

F=P(1+i) n F=P(1-i) n 

F=P(1+in) F=p(1-in) 

−n 

1 − ( 1 + i ) 

P = R. 

i 

( 1 + i ) 

F = R. 

i 

n − 

Analytical Geometry/ Analitiese Meetkunde 

y=4ax 2 yy1=2a(x+x1 ) 

2 2 

x y 

+ = 1 

2 2 

a b 

xx1 

yy1 

+ = 1 

2 2 

a b 

x 

a 

2 

2 

2 

y 

xx1 

yy1 

− = 1 

− = 1 

2 

2 2 

b 

a b 

Algebra 

b 

α + β = − 

a 

α .. β = 

c 

a 

α + β + γ = 

b 

− 

a 

αβ + βγ + αγ = 

d 

α . β . γ = − 

a 

Statistics / Statistiek 

P(A ∪B) = P(A) + P(B) - P(A ∩B) 

n! 

n! 

n Pr = 

nC 

r = 

( n − r )! 

( n − r )! n! 

P( 

R 

P ( R 

⎛ n⎞ 

r 

= r ) = ⎜ ⎟ p ( 1 − p ) 

⎝ r ⎠ 

⎛ p⎞⎛ 

N − p⎞ 

⎜ ⎟⎜ 

⎟ 

⎝ r ⎠⎝ 

n − r ⎠ 

= r ) = 

⎛ N ⎞ 

⎜ ⎟ 

⎝ n ⎠ 

− µ 

= 

σ 

X 

z 

n−r 

σ 

σ 

P ( X − 1. 

96 < µ < X + 1. 

96 ) = 

n 

n 

c 

a 

1 

0. 

95 

( 1 − ) 

( 1 − ) 

− 1 . 96 < < + 1. 

96 ⎟ = ⎟ 

⎛ p p 

p p ⎞ 

P ⎜ p 

π 

P 

⎝ 

n 

n ⎠ 

0, 

95 

38

Wiskunde Formuleblad/ Mathematics Formula Sheet 

− b ± 

x = 

T n 

T 

n 

b 

2a 

2 − 

4ac 

n 

n 

= a + ( n − 1 ) d S n = ( a + l ) 

S n = [ 2a 

+ ( n − 1 ) d ] 

2 

2 

= ar 

n−1 

A = P( 

1 + 

f' 

( x ) 

= lim 

h→0 

2 

r n 

) 

100 

f ( x 

1 

2 

S 

n 

+ h ) − 

h 

a( 

1 − r 

= 

1 − r 

A = P( 

1 − 

d = ( x − x ) + ( y − y 

y = mx + c 

y − y1 

= m( 

x − x1 

) 

y 

m = 

x 

2 

2 

m = tanθ 

x 

( 

2 

1 

+ x 

2 

− y1 

− x 

2 

2 

1 

y 

; 

y + x = r 

2 

2 

1 

+ y 

2 

( x − p ) + ( y − q ) = r 

In ∆ ABC: 

2 

) 

2 

a 

sin A 

a 

2 

= 

= b 

2 

2 

2 

f ( x ) 

1 

b 

sin B 

+ c 

area ∆ ABC = 1 

2 ab. 

sinC 

2 

) 

− 

2 

n 

) 

r n 

) 

100 

2bc. 

cos A 

sin(A + B) = sinA.cosB + cosA.sinB 

cos(A + B) = cosA.cosB – sinA.sinB 

tan A + tan B 

tan(A + B) = 

1 − tan A. 

tan B 

sin2A = 2sinA.cosA 

cos2A = cos 2 A – sin 2 A 

2 tan A 

tan2A = 

2 

1 − 

tan A 

S 

n 

a( 

r − 1 ) 

= 

r − 1 

39 

n 

S 

∞ 

a 

= 

1 − r

Area UNDER the Normal Curve / Area ONDER die normaalverdeling 

z 0.00 0.01 0.02 0.03 0.04 0.05 0.06 0.07 0.08 0.09 

0.0 0.0040 0.0080 0.0120 0.0160 0.0199 0.0239 0.0279 0.0319 0.0359 

0.1 0.0398 0.0438 0.0478 0.0517 0.0557 0.0596 0.0636 0.0675 0.0714 0.0753 

0.2 0.0793 0.0832 0.0871 0.0910 0.0948 0.0987 0.1026 0.1064 0.1103 0.1141 

0.3 0.1179 0.1217 0.1255 0.1293 0.1331 0.1368 0.1406 0.1443 0.1480 0.1517 

0.4 0.1554 0.1591 0.1628 0.1664 0.1700 0.1736 0.1772 0.1808 0.1844 0.1879 

0.5 0.1915 0.1950 0.1985 0.2019 0.2054 0.2088 0.2123 0.2157 0.2190 0.2224 

0.6 0.2257 0.2291 0.2324 0.2357 0.2389 0.2422 0.2454 0.2486 0.2517 0.2549 

0.7 0.2580 0.2611 0.2642 0.2673 0.2704 0.2734 0.2764 0.2794 0.2823 0.2852 

0.8 0.2881 0.2910 0.2939 0.2967 0.2995 0.3023 0.3051 0.3078 0.3106 0.3133 

0.9 0.3159 0.3186 0.3212 0.3238 0.3264 0.3289 0.3315 0.3340 0.3365 0.3389 

1.0 0.3413 0.3438 0.3461 0.3485 0.3508 0.3531 0.3554 0.3577 0.3599 0.3621 

1.1 0.3643 0.3665 0.3686 0.3708 0.3729 0.3749 0.3770 0.3790 0.3810 0.3830 

1.2 0.3849 0.3869 0.3888 0.3907 0.3925 0.3944 0.3962 0.3980 0.3997 0.4015 

1.3 0.4032 0.4049 0.4066 0.4082 0.4099 0.4115 0.4131 0.4147 0.4162 0.4177 

1.4 0.4192 0.4207 0.4222 0.4236 0.4251 0.4265 0.4279 0.4292 0.4306 0.4319 

1.5 0.4332 0.4345 0.4357 0.4370 0.4382 0.4394 0.4406 0.4418 0.4429 0.4441 

1.6 0.4452 0.4463 0.4474 0.4484 0.4495 0.4505 0.4515 0.4525 0.4535 0.4545 

1.7 0.4554 0.4564 0.4573 0.4582 0.4591 0.4599 0.4608 0.4616 0.4625 0.4633 

1.8 0.4641 0.4649 0.4656 0.4664 0.4671 0.4678 0.4686 0.4693 0.4699 0.4706 

1.9 0.4713 0.4719 0.4726 0.4732 0.4738 0.4744 0.4750 0.4756 0.4761 0.4767 

2.0 0.4772 0.4778 0.4783 0.4788 0.4793 0.4798 0.4803 0.4808 0.4812 0.4817 

2.1 0.4821 0.4826 0.4830 0.4834 0.4838 0.4842 0.4846 0.4850 0.4854 0.4857 

2.2 0.4861 0.4864 0.4868 0.4871 0.4875 0.4878 0.4881 0.4884 0.4887 0.4890 

2.3 0.4893 0.4896 0.4898 0.4901 0.4904 0.4906 0.4909 0.4911 0.4913 0.4916 

2.4 0.4918 0.4920 0.4922 0.4925 0.4927 0.4929 0.4931 0.4932 0.4934 0.4936 

2.5 0.4938 0.4940 0.4941 0.4943 0.4945 0.4946 0.4948 0.4949 0.4951 0.4952 

2.6 0.4953 0.4955 0.4956 0.4957 0.4959 0.4960 0.4961 0.4962 0.4963 0.4964 

2.7 0.4965 0.4966 0.4967 0.4968 0.4969 0.4970 0.4971 0.4972 0.4973 0.4974 

2.8 0.4974 0.4975 0.4976 0.4977 0.4977 0.4978 0.4979 0.4979 0.4980 0.4981 

2.9 0.4981 0.4982 0.4982 0.4983 0.4984 0.4984 0.4985 0.4985 0.4986 0.4986 

3.0 0.4987 0.4987 0.4987 0.4988 0.4988 0.4989 0.4989 0.4989 0.4990 0.4990 

40

Tydsduur: 2 ½ uur 

Totaal: 100 punte 

Leesbegrip: 30 

Opsomming: 10 

Kommunikatiewe taalgebruik in konteks: 40 

Taalversorging: 20 

AFRIKAANS EERSTE TAAL: HG 

VRAESTEL 1 

FORMAAT 

AFDELING A 

AFDELING B 

AFDELING C 

AFDELING D 

Die vraestel is gebaseer op die huidige tussentydse kernsillabus. 

AFDELING A: LEESBEGRIP 

Die vraag tel 30 punte. 

VRAAG 1 

Twee en/of meer tekste word aan die leerders gegee wat redaksionele kommentaar, 

resensies en huldeblyke insluit. . 

Die leerders moet ook spotprente, strokiesprente, grafieke en advertensies kan 

interpreteer en die tema daarvan bepaal. (Lyftaal, simboliek, ironie) 

Lê in u onderrig klem op: 

• die beantwoording van vrae: een woord, frase, aanhaling, eie woorde; 

• die verskillende soorte vraagstellings (Kyk na vorige vraestelle); 

• die verskillende soorte vraagstellings (Kyk na vorige vraestelle); 

• die feit dat 'n hoofgedagte in 'n enkelvoudige sin aangebied moet word; 

• die skakeling van paragrawe: aaneenskakelend, teenstellend of redegewend; 

• die verskil tussen feit en mening; 

• die verskil tussen letterlike en figuurlike betekenis; 

• wanneer 'n skrywer subjektief/objektief is; 

• die geldigheid van 'n argument aldan nie; 

• kort, duidelike antwoorde; 

• woordbetekenis en uitdrukkings in teksverband; 

• verskille in die inhoudelike van tekste (vergelyking met mekaar) 

• ironie 

41

AFDELING B: OPSOMMING, SAMEVATTING, PRÉCIS 

VRAAG 2 


'n Afsonderlike teks word vir die beantwoording van hierdie vraag gegee. 

Die leerders se aandag word op spesifieke hoofgedagtes gefokus en NET dit moet 

gebruik word. 

Leerders moet hulle EIE woorde gebruik. 

Leerders gee ongeveer 1 feit vir elke 10 woorde gevra: 80 woorde = 8 feite. 

Vereistes: Een paragraaf, nie telegramstyl nie, aanduiding van aantal woorde gebruik. 

NASIEN VAN OPSOMMING: 

Maksimum van 4 uit 10 punte kan by die kandidate se werk afgetrek word. 

Penalisasie (1 punt) vir elke 4 woorde te veel gebruik. 

Penalisasie (2 punte) vir elke 5 woorde te veel gebruik. 

Penalisasie (3 punte) vir meer as 5 woorde te veel gebruik. 

Penalisasie (1 punt) indien aantal woorde gebruik nie aangedui word nie. 

Penalisasie (1 punt) indien oar die aantal woorde gejok word. 

Die leerder verdien geen punte indien die verkeerde teks gebruik word nie. 

Kandidate moet ten minste 50% van die vereiste aantal woorde skryf alvorens Taal 

en Styl beoordeel word. 

TEL VAN WOORDE 

NAME 

• Mnr. Koos van der Merwe = 3 woorde. 

• Mnr. Jan Venter = 3 woorde (kandidaat kon slegs sê: Mnr. Venter). 

• Mnr. Jan Venter, ‘n Vrystaatse boer – kandidaat kan sê: 

* Mnr. Venter, ‘n boer = 4 woorde 

* ‘n Vrystaatse boer = 3 woorde 

• ‘n Boer = 2 woorde 

AKRONIEME 

• Is een woord 

• RAU, SABC 

• IBM Suid-Afrika = 2 woorde 

AFKORTINGS 

• Is een woord. 

• Bv. i.p.v. 

DATUMS 

• 14 Februarie 2005 = 3 woorde 

• Kandidate kan dalk slegs 2005 skryf. 

ONTOELAATBAAR 

• Vorme soos: 

* hy’t/hulle’t/sy’s = 2 woorde en ‘n taalfout 

TITEL 

• Moenie die titel tel nie. 

42

AFDELING C: KOMMUNIKATIEWE TAALGEBRUIK IN KONTEKS 

VRAAG 3 


Daar word gefokus op kommunikatiewe taalgebruiksvaardighede en nie op 

taalstrukture nie. 

Korrekte spelling is belangrik, bv. toring - torinkie. 

Praktykgerigte taalleer (uitgange) is belangrik, bv. mans - mannetjie. 

Idiome (soms word 'n kernwoord gegee) en uitdrukkings in konteks. 

Funksie van leestekens. 

Direkte en indirekte rede. 

Klankuitspraak: hoe dit woordbetekenis kan beïnvloed. Bv. skud hoe die –t- klank die 

betekenis van die woord verander. 

Funksionele gebruik van bedrywende en Iydende vorm: 

• ...word deur ... ge (woordorde MOET korrek wees: ww. aan die einde van ‘n sin) 

• is word in die verlede tyde gebruik (NIE was NIE). 

Wanneer van die kandidaat verwag word om bv. persoonsname te vorm, moet daar 

slegs 'n affiks(e) bygevoeg word. Kandidate moet nie nog 'n basis/starn byvoeg nie: 

blom = bloemis(te), NIE blommeverkoper NIE. 

Indien singedeeltes met een woord vervang moet word, moet die basis deel van die 

nuwe woord vorm. Bv: Geen koste aan verbonde nie = kosteloos 

Afkortings: gebruiksafkortings soos wat dit in die teks voorkom. 

Funksiewisseling van woordsoorte: 

• gee die korrekte vorm van die woord tussen hakies 

• nie woordsoorte benoem nie 

saamgevoegde woord: melkkoffie en koffiemelk: hoe verskil die woorde in betekenis. 

Sinonieme en antonieme moet in die sin/konteks pas. 

SPELLING tel by meervoud, verkleining, trappe van vergelyking, intensiewe vorm. 

SPELLING tel NIE by woordeskatkennis nie. . 

Meervoud, verkleining, akronieme (Ietterwoorde), intensiewe vorme, trappe van 

vergelyking, teenoorgestelde geslag, persoonsname, sinonieme, antonieme, 

homonieme, homofone, lettergrepe (grepe), aksent, uitdrukkings, wisselvorme getal in 

woorde skryf, teenwoordige, toekomende en verlede tyd, letterlike en figuurlike 

betekenis, funksie van skryftekens, voorsetselgebruik in konteks, korrekte Afrikaans vir 

Engelse woord, informele na formele taalgebruik, meer saaklike Afrikaans. 

Korrekte voornaamwoordgebruik: wie, wat, met wie, waarmee. 

Taalverskeidenheid: Standaardafrikaans. 

AFDELING D: TAALVERSORGING 

VRAAG 4 


Lê klem op: spelling, leestekens (nie net weglaat nie, ook op verkeerde plek gebruik), 

skryftekens, ontkenning, uitdrukkings, gebruik van hoofletters, aksent, uitdrukkings, 

woordorde, intensiewe vorme, trappe van vergelyking, verkeerde vorm van die 

voornaamwoord, parentese, voorsetselgebruik, Afrikaanse weergawes vir Engelse 

woorde 

43

FORMAAT 

Tydsduur: 2 uur 

Totaal: 75 punte 

Leesbegrip: 25 

Opsomming : 10 

AFRIKAANS EERSTE TAAL : STANDAARDGRAAD 

Kommunikatiewe taalgebruik in konteks : 30 

Taalversorging : 10 

VRAESTEL 1 

AFDELING A 

AFDELING B 

AFDELING C 

AFDELING D 

Die vraestel is gebaseer op die huidige tussentydse kernsillabus. 

AFDELING A: LEESBEGRIP 

VRAAG 1 


Twee of meer tekste word aan die leerders gegee. (Dit sluit spot- en strokiesprente 

asook advertensies in). 

Lê in u onderrig klem op: 

• die beantwoording van vrae: een woord, frase, aanhaling, eie woorde; 

• die feit dat 'n hoofgedagte in enkelvoudige sin aangebied moet word; 

• die teikengroep van 'n teks; 

• die skakeling van paragrawe: aaneenskakelend, teenstellend of redegewend 

• die gebruik van leestekens as interpretasiemiddel; 

• die verskil tussen feit en mening; 

• die verskil tussen letterlike en figuurlike betekenis; 

• die aard van die teks: beskrywend, informatief, humoristies; 

• boodskap of suggestie wat spotprenttekenaar by leser laat. 

44

AFDELING B: OPSOMMING/SAMEVATTING/PRÉCIS 


VRAAG 2 

'n Afsonderlike teks word vir die beantwoording van hierdie vraag gegee. 

Die vrae word reeds puntsgewys gevra om die SG-leerder se aandag te rig op 'n 

spesifieke saak. 

Leerders MOET steeds in volsinne (hoofsinne) skryf. 

Telegramstyl is onaanvaarbaar. 

Totale aantal woorde moet aan die einde aangedui word. 

NASIEN VAN OPSOMMING 

Penalisasie (1 punt) vir elke 4 woorde te veel gebruik. 

Penalisasie (2 punte) vir elke 5 woorde te veel gebruik. 

Penalisasie (3 punte) vir meer as 5 woorde te veel gebruik. 

Penalisasie (1 punt) indien aantal woorde gebruik nie na elke antwoord aangedui 

word nie. 

Penalisasie (1 punt) indien oar die aantal warde gejok word. 

Penalisasie (1 punt) indien die antwoord nie in 'n voisin gegee word nie. 

PUNTETOEKENNING 

Inhoud = 2; Taal = 1 of Inhoud =1, Taal =1 

'n kandidaat verloor 1 vir elke 3 foute (woordorde- of spelfoute) 

NASIEN 

By elke vraag word Inhoud en Taal en Styl beoordeel 

‘n Maksimum van 4 punte mag in totaal afgetrek word. 

AFDELING C: KOMMUNIKATIEWE TAALGEBRUIK IN KONTEKS 

VRAAG 3 


Daar word. gefokus op kommunikatiewe taalgebruiksvaardighede en nie op 

taalstrukture nie. 

Korrekte spelling is belangrik, bv. toring - torinkie. 

Praktykgerigte taalleer (uitgange) is belangrik, bv. mans – mannetjies. 

Klankuitspraak - hoe dit woordbetekenis beïnvloed. Bv: skud - hoe die-t- klank die 

betekenis van die woord verander. 

Idiome in konteks. 

Indien die lydende vorm gevra word, sal daar leiding aan die kandidate gegee word, 

bv. Begin jou sin met Die bal … 

Afkortings: gebruiksafkortings soos wat dit in die leks voorkom. 

Funksiewisseling van woordsoorte: 

• gee die korrekte vorm van die woord tussen hakies 

• nie woordsoorte benoem nie 

Sinonieme en antonieme moet in die sin/konteks pas. 

SPELLING tel by meervoud, verkleining, trappe van vergelyking, intensiewe vorm. 

SPELLING tel NIE by woordeskatkennis nie. 

45

Meervoud, verkleining, intensiewe vorme, trappe van vergelyking, teenoorgestelde 

geslag, persoonsname, sinonieme, antonieme, homonieme, homofone, lettergrepe, 

aksent, uitdrukkings, getal in woorde skryf, teenwoordige, toekomende en verlede 

tyd, ontkenningsvorm, ironie, direkte en indirekte rede. 

Taalverskeidenheid: Standaardafrikaans. 

AFDELING D: TAALVERSORGING 

VRAAG 4 

. 


Lê klem op: spelling, leestekens, skryftekens, ontkenning, uitdrukkings, gebruik van 

hoofletters, aksent, woordorde, StandaardaAfrikaans, Afrikaanse weergawes vir 

Engelse woorde. 

46

AFRIKAANS PRIMÊRE TAAL HG 

VRAESTEL 2: LITERATUURSTUDIE 

Tyd vir HG: 3 uur 

Voorgeskrewe Werke: Die voorgeskrewe werk bly presies dieselfde soos vir 2004. 

VOORGESKREWE WERK 

POËSIE 

Elegie vir my toekomstige vrou (A. Letoit) 

Lied van die kinders (Lina Spies) 

Pappa en seuntjie stap (William Rowland) 

Troetelwoorde vir Ogilvie Douglas (Marlene van Niekerk) 

Karoo-dorp: Someraand (N.P. van Wyk Louw) 

Treursang vir Van der Merwe (Uys Krige) 

Busrit in die aand (Elizabeth Eybers) 

Musiek (Ernst van Heerden) 

Stad in die mis (D.J. Opperman) 

Bitterbessie dagbreek (Ingrid Jonker) 

Met 'n bossie bergblomme (Breyten Breytenbach) 

Ballade van die onwaarskynlike seun (Antjie Krog) 

AIle grappies op 'n stokkie (T.T. Cloete) 

Hippie (Wilma Stockenstrom) 

Die Here het gaskommel (Adam Small) 

DRAMA 

Die keiser - Bartho Smit 

PROSA 

'n Keuse uit: 

Kringe in 'n bos - Dalene Matthee 

By fakkellig - Karel Schoeman 

Fiela se kind - Dalene Matthee 

Toorberg - Etienne van Heerden 

AFDELING A: POESIE 

Vraag I (kontekstueel) OF Vraag 2 (paragraafvraag) - 10 

Beide Vraag 1 en 2 handel oor onbehandelde gedigte 

47

Enige TWEE vrae uit Vraag 3 tot 6 wat alles kontekstuele vrae is oor die voorgeskrewe 

gedigte – 30 

DIE AFDELING SE PUNTETOTAAL IS DUS 40 

AFDELING B: DRAMA 

Vraag 7 (kontekstueel) OF Vraag 8 (paragraaftipe vrae) oor Die keiser. 

Indien die kontekstuele vrae hier beantwoord word, moet die paragraaftipe vrae uit 

Afdeling C beantwoord word en andersom. 

DIE AFDELING SE PUNTETOTAAL IS 30 

AFDELING C: PROSA 

KONTEKSTUELE VRAE 

Vraag 9, 10, 11, 12. Beantwoord enige EEN van bogenoemde as die paragraaftipe vraag 

uit Afdeling B beantwoord is. Elke vraag handel oor een van die voorgeskrewe romans. 

P ARAGRAAFTIPE VRAE 

Vraag 13, 14, 15 16. Beantwoord enige EEN van bogenoemde as die kontekstuele vraag 


Paragraafvrae se lengtes: 100 tot 150 woorde vir 5 punte; 180 tot 200 woorde vir 10 punte; 

200 tot 250 woorde vir 15 punte; 300 tot 400 woorde vir 20 punte. 

DIE AFDELING SE PUNTETOTAAL IS 30. 

DIE VRAESTEL SE PUNTETOTAAL IS 100. 

NB. Onderrig kandidate oor aktuele sake van die dag en hoe die voorgeskrewe werk 

steeds relevant bly hieroor. Gee ook aandag aan navorsing oor die eienskappe van goeie 

gewilde prosa saam met die ander literêre aspekte wat in die verlede behandel is. 

Hieronder is 'n voorbeeld van die nuwe assesseringsrubriek wat vanaf 2006 gebruik sal 

word. 

48

Assesseringsinstrument (Rubriek) 

LETTERKUNDE: 

PARAGRAAFTIPE 

VRAAG 

20 / 15 / 10 

1 Beplanning, 

paragrafering, 

inleiding en 

afsluiting 

2 Sinsbou, spelling, 

leestekens en 

woordgebruik 

3 Duidelike 

hoofgedagtes, 

uitvoering van 

spesifieke opdrag 

4 Ondersteunende 

bewyse 

5 Kennis van die 

literêre werk 

VLAK 1 VLAK 2 VLAK 3 VLAK 4 

Goed beplan, 

inleiding gee 

struktuur, slot vat 

logies saam 

Nog goed 

gestruktureer, 

maar nie 

heeltemal so goed 

nie 

49 

Neig om 

onsamehangend 

te raak 

Skryfstuk is nie 'n 

goeie geheel nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Logiese sinne, 

min spelfoute, 

verskeie 

leestekens 

effektief gebruik, 

goeie 

woordgebruik 

Sinne, 

woordkeuses, 

spelling en 

leestekens so dat 

paragraaf maklik 

lees 

Sinne is lomp en 

moeilik 

verstaanbaar, 

spelfoute 

algemeen, 

leestekens en 

woordgebruik 

beperk 

Taalfoute is te 

algemeen om 'n 

redelike punt te 

verdien 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Hoofpunte is goed 

gedefinieer en 

sluit direk by die 

gegewe opdrag 

aan 

Hoofpunte is 

onderskei, maar is 

effens vaag en 

sluit nie so direk 

by die opdrag aan 

nie 

Opdrag en 

skryfstuk sluit nie, 

meer 'n geklets as 

wetenskaplike 

aanbieding 

Geen inhoudelike 

struktuur nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Skryfstuk toon 

goeie insig in 

begrippe en die 

korrekte bewyse 

uit die teks word 

vir die stellings 

gebruik 

Steeds insig en 

grootliks 

toepaslike bewyse 

vir stellings 

Opdrag word 

inhoudelik nie 

duidelik verstaan 

nie en bewyse is 

effens lukraak 

Gebrek aan insig 

en bewyse met 

substansie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Skryfstuk toon dat 

die teks gelees is 

en as 'n geheel 

verstaan word 

Teks is duidelik 

gelees en die 

werk word 

verstaan, maar 

nie so volledig 

soos by vlak 4 nie 

Inhoudelike foute 

en oorsigtelikhede 

toon 'n gebrek aan 

leeskennis en 

begrip van die 

teks 

Die werk is nie 

gelees nie en 

word glad nie 

verstaan nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½

AFRIKAANS PRIMÊRE TAAL SG 

VRAESTEL 2: LITERATUURSTUDIE 

Tyd vir SG: 2 uur 

Voorgeskrewe Werke: Die voorgeskrewe werk bly presies dieselfde soos vir 2004. 

VOORGESKREWE WERK 

POËSIE 

Lied van die kinders (Lina Spies) 

Pappa en seuntjie stap (William Rowland) 

Karoo-dorp: Someraand (N.P. van Wyk Louw) 

Treursang vir Van der Merwe (Uys Krige) 

Busrit in die aand (Elizabeth Eybers) 

Musiek (Ernst van Heerden) 

Stad in die mis (D.J. Opperman) 

Bitterbessie dagbreek (Ingrid Jonker) 

Met 'n bossie bergblomme (Breyten Breytenbach) 

Hippie (Wilma Stockenstrom) 

DRAMA 

Die keiser - Bartho Smit 

PROSA 

'n Keuse uit: 

Kringe in 'n bos - Dalene Matthee 

By fakkellig - Karel Schoeman 

Fiela se kind - Dalene Matthee 

Toorberg - Etienne van Heerden 

AFDELING A: POESIE 

Vraag I (kontekstueel) OF Vraag 2 (paragraafvraag) – 12 

EN 

Vraag 3 (kontekstueel) OF Vraag 4 (paragraafvraag) – 13 

DIE AFDELING SE PUNTETOTAAL IS DUS 25 

50

AFDELING B: DRAMA 

Vraag 5 (kontekstueel) OF Vraag 6 (paragraaftipe vrae) oor Die keiser. 

Indien die kontekstuele vrae hier beantwoord word, moet die paragraaftipe vrae uit 

Afdeling C beantwoord word en andersom. 

DIE AFDELING SE PUNTETOTAAL IS 25 

AFDELING C: PROSA 

KONTEKSTUELE VRAE 

Vraag 7, 8, 9, 10. Beantwoord enige EEN van bogenoemde as die paragraaftipe vraag uit 

Afdeling B beantwoord is. Elke vraag handel oor een van die voorgeskrewe romans. 

P ARAGRAAFTIPE VRAE 

Vraag 11, 12, 13, 14. Beantwoord enige EEN van bogenoemde as die kontekstuele vraag 


Paragraafvrae se lengtes: 100 tot 150 woorde vir 5 punte; 180 tot 200 woorde vir 10 punte; 

200 tot 250 woorde vir 15 punte; 300 tot 400 woorde vir 20 punte. 

DIE AFDELING SE PUNTETOTAAL IS 25. 

DIE VRAESTEL SE PUNTETOTAAL IS 75. 

NB. Onderrig kandidate oor aktuele sake van die dag en hoe die voorgeskrewe werk 

steeds relevant bly hieroor. Gee ook aandag aan navorsing oor die eienskappe van goeie 

gewilde prosa saam met die ander literêre aspekte wat in die verlede behandel is. 

Hieronder is 'n voorbeeld van die nuwe assesseringsrubriek wat vanaf 2006 gebruik sal 

word. 

51

Assesseringsinstrument (Rubriek) 

LETTERKUNDE: 

PARAGRAAFTIPE 

VRAAG 

20 / 15 / 10 

1 Beplanning, 

paragrafering, 

inleiding en 

afsluiting 

2 Sinsbou, spelling, 

leestekens en 

woordgebruik 

3 Duidelike 

hoofgedagtes, 

uitvoering van 

spesifieke opdrag 

4 Ondersteunende 

bewyse 

5 Kennis van die 

literêre werk 

VLAK 1 VLAK 2 VLAK 3 VLAK 4 

Goed beplan, 

inleiding gee 

struktuur, slot vat 

logies saam 

Nog goed 

gestruktureer, 

maar nie 

heeltemal so goed 

nie 

52 

Neig om 

onsamehangend 

te raak 

Skryfstuk is nie 'n 

goeie geheel nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Logiese sinne, 

min spelfoute, 

verskeie 

leestekens 

effektief gebruik, 

goeie 

woordgebruik 

Sinne, 

woordkeuses, 

spelling en 

leestekens so dat 

paragraaf maklik 

lees 

Sinne is lomp en 

moeilik 

verstaanbaar, 

spelfoute 

algemeen, 

leestekens en 

woordgebruik 

beperk 

Taalfoute is te 

algemeen om 'n 

redelike punt te 

verdien 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Hoofpunte is goed 

gedefinieer en 

sluit direk by die 

gegewe opdrag 

aan 

Hoofpunte is 

onderskei, maar is 

effens vaag en 

sluit nie so direk 

by die opdrag aan 

nie 

Opdrag en 

skryfstuk sluit nie, 

meer 'n geklets as 

wetenskaplike 

aanbieding 

Geen inhoudelike 

struktuur nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Skryfstuk toon 

goeie insig in 

begrippe en die 

korrekte bewyse 

uit die teks word 

vir die stellings 

gebruik 

Steeds insig en 

grootliks 

toepaslike bewyse 

vir stellings 

Opdrag word 

inhoudelik nie 

duidelik verstaan 

nie en bewyse is 

effens lukraak 

Gebrek aan insig 

en bewyse met 

substansie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½ 

Skryfstuk toon dat 

die teks gelees is 

en as 'n geheel 

verstaan word 

Teks is duidelik 

gelees en die 

werk word 

verstaan, maar 

nie so volledig 

soos by vlak 4 nie 

Inhoudelike foute 

en oorsigtelikhede 

toon 'n gebrek aan 

leeskennis en 

begrip van die 

teks 

Die werk is nie 

gelees nie en 

word glad nie 

verstaan nie 

4 / 3 / 2 3 / 2 / 1½ 2 / 1 / 1 1 / ½ / ½


Punte: 120 

AFDELING A 

Kreatiewe skryfwerk: 40 

AFDELING B 

Funksionele skryfwerk: 50 

AFDELING C 

Vierde genre: 30 

AFRIKAANS PRIMÊRE TAAL: HOËR GRAAD 

VRAESTEL 3 (SLEGS DEELTYDSE KANDIDATE) 

FORMAAT 

AFDELING A: KREATIEWE SKRYFWERK 

VRAAG 1 

Beantwoord EEN vraag in dié afdeling 

Aantal woorde 450 – 550 

Punte: 40 

Skryfstukke oor verskillende genres: vertellings, bespiegelings, artikels, toesprake, 

beredenerend, feitelik, beskrywend, skryfstukke n.a.v. illustrasies 

AFDELING B: FUNKSIONELE SKRYFSTUKKE 

Beantwoord DRIE vrae in dié afdeling 

TWEE vrae uit Vraag 2 en EEN vraag uit Vraag 3 

VRAAG 2 

Beantwoord TWEE vrae 


Punte: 2 x 20 = 40 

Skryfstukke oor verskillende genres: dagboekinskrywings, koerantberigte, verslae, 

briewe (sake en pers) promosie-artikels, resensies 

VRAAG 3 

Beantwoord EEN vraag 


Punte: 10 

Skryfstukke oor verskillende genres: brosjure, kennisgewing, faks, e-pos, instruksies, 

advertensies 

53

ALGEMEEN 

Beplan die skryfstuk. 

Bepaal jou by die onderwerp. 

Gee aandag aan die tegniese versorging en redigering van die skryfwerk. 

Spelling moet keurig wees 

Vermy die gebruik van Engelse woorde en sms-taal (gan i.p.v. gaan) 

Gee aandag aan paragrafering (slegs EEN hoofgedagte per paragraaf) 

Hou die volgende skryfbeginsels in gedagte: 

• Die doel wat met die skryfstuk bereik wil word. 

• Die teikengroep op wie die skryfstuk betrekking het. 

• Die vorm wat die skryfstuk behoort aan te neem 

• Die taal en styl wat by die skryfstuk pas. 

AFDELING C: (VIERDE GENRE – KORTVERHALE) 

Die volgende verhale is voorgeskryf: 

’n Keuse uit Boeket (Tony Links, Edwin Venema en Wium van Zyl) en Verlore paradyse 

(N.J. Snyman). 

Uit Boeket is die volgende verhale voorgeskryf: 

1. De herbergier van Pidalgo - Godfried Bomans 

2. Een heer in de trein - Simon Carmiggelt 

3. Bloed - Gerhard Reve 

4. Handel - Maarten 't Hart 

5. De mier, de eerbied en de roem - Anton Koolhaas 

Uit Verlore paradyse is die volgende verhale voorgeskryf: 

1. Die invloed – Pirow Bekker 

2. Terugkeer van ’n soldaat – Dolf van Niekerk 

3. Slaaptydstorie – Chris Barnard 

4. Die skerpioene (Paul C. Venter) 

Kandidate beantwoord slegs vrae oor die spesifieke boek wat hulle behandel het, d.w.s. 

Boeket OF Verlore paradyse. 

Daar is verder ’n keuse tussen Vraag 4 (kontekstuele vrae oor Boeket) en Vraag 5 

(paragraaftipe vrae oor Boeket) 

54

Kandidate wat Verlore paradyse behandel het, het ’n keuse tussen Vraag 6 (kontekstuele 

vrae oor Verlore paradyse) en Vraag 7 (paragraaftipe vrae oor Verlore paradyse) 

Dieselfde algemene tipe begrippe wat vir Vraestel 2 in die prosa geld, is hier ter sprake: 

karakter, karakterbeelding, karakterontwikkeling, tegnieke van karakterisering, titel, tema, 

tyd en plek, konflik, kontraswerking, ironie, tragiek, humor ens. 

Die totaal van hierdie afdeling is 30 punte. 

55


Punte: 80 

AFDELING A 

Kreatiewe skryfwerk: 30 

AFDELING B 

Funksionele skryfwerk: 3 

AFDELING C 

Vierde genre: 20 

AFRIKAANS PRIMÊRE TAAL: STANDAARDGRAAD 

VRAESTEL 3 (SLEGS DEELTYDSE KANDIDATE) 

FORMAAT 

AFDELING A: KREATIEWE SKRYFWERK 

VRAAG 1 

Beantwoord EEN vraag in dié afdeling 


Punte: 30 

Skryfstukke oor verskillende genres: vertellings, bespiegelings, artikels, toesprake, 

beredenerend, feitelik, beskrywend, beskrywings, skryfstukke n.a.v. illustrasies 

AFDELING B: FUNKSIONELE SKRYFSTUKKE 

Beantwoord TWEE vrae in dié afdeling 

EEN vraag uit Vraag 2 en EEN vraag uit Vraag 3 

VRAAG 2 



Punte: 15 

Skryfstukke oor verskillende genres: dagboekinskrywings, koerantberigte, verslae, 

briewe toesprake, promosie-artikels, resensies, gesprekke (dialoog) 

VRAAG 3 



Punte: 15 

Skryfstukke oor verskillende genres: brosjure, kennisgewing, faks, e-pos, instruksies, 

advertensies, inhoud van groete kaarte 

56

ALGEMEEN 

Beplan die skryfstuk. 

Bepaal jou by die onderwerp. 

Gee aandag aan die tegniese versorging en redigering van die skryfwerk. 

Spelling moet keurig wees 

Vermy die gebruik van Engelse woorde en sms-taal (gan i.p.v. gaan) 

Gee aandag aan paragrafering (slegs EEN hoofgedagte per paragraaf) 

Hou die volgende skryfbeginsels in gedagte: 

• Die doel wat met die skryfstuk bereik wil word. 

• Die teikengroep op wie die skryfstuk betrekking het. 

• Die vorm wat die skryfstuk behoort aan te neem 

• Die taal en styl wat by die skryfstuk pas. 

AFDELING C: (VIERDE GENRE – KORTVERHALE) 

Die volgende verhale is voorgeskryf: 

’n Keuse uit Boeket (Tony Links, Edwin Venema en Wium van Zyl) en Verlore paradyse 

(N.J. Snyman). 

Uit Boeket is die volgende verhale voorgeskryf: 

1. De herbergier van Pidalgo - Godfried Bomans 

2. Een heer in de trein - Simon Carmiggelt 

3. Bloed - Gerhard Reve 

4. Handel - Maarten 't Hart 

5. De mier, de eerbied en de roem - Anton Koolhaas 

Uit Verlore paradyse is die volgende verhale voorgeskryf: 

1. Die invloed – Pirow Bekker 

2. Terugkeer van ’n soldaat – Dolf van Niekerk 

3. Slaaptydstorie – Chris Barnard 

4. Die skerpioene (Paul C. Venter) 

Kandidate beantwoord slegs vrae oor die spesifieke boek wat hulle behandel het, d.w.s. 

Boeket OF Verlore paradyse. 

Daar is verder ’n keuse tussen Vraag 4 (kontekstuele vrae oor Boeket) en Vraag 5 

(paragraaftipe vrae oor Boeket) 

Kandidate wat Verlore paradyse behandel het, het ’n keuse tussen Vraag 6 (kontekstuele 

vrae oor Verlore paradyse) en Vraag 7 (paragraaftipe vrae oor Verlore paradyse) 

57

Dieselfde algemene tipe begrippe wat vir Vraestel 2 in die prosa geld is hier ter sprake: 

karakter, karakterbeelding, karakterontwikkeling, tegnieke van karakterisering, titel, tema, 

tyd en plek, konflik, kontraswerking, ironie, tragiek, humor ens. 

Die totaal van hierdie afdeling is 20 punte. 

58

TYD: 2 uur 

PUNTE: 80 

INHOUD 

Beantwoord enige TWEE afdelings. 

Vir die Opvoeder: 

AFRIKAANS ADDISIONELE TAAL HG EN SG 

VRAESTEL 2: PROSA EN POËSIE 

AFDELING A: 

KRINGE IN ’N BOS (DALENE MATTHEE) 

VRAAG 1 

40 punte 

AFDELING B 

POËSIE 

VRAAG 2, 3, 4 OF 5 

40 punte 

Behandel die gedigte uit Skakering en Senior Keur: 

1. Die Dans van die Reën EN Marais 

2. Voël RK Belcher 

3. Ek is oek important P Snyders 

4. Sprokie vir ’n stadskind K du Plessis 

5. hansie en grietjie E Castelyn 

6. "last grave at dimbaza" F Olivier 

7. Begrafnis van ’n ouma L Spies 

8. Eksamen A de Vos 

9. Melkkantien E Eybers 

10. Sproeireën DJ Opperman 

Vir die Opvoeder: 

AFDELING C 

KINDERS VAN DIE AARDE (C FRYER) 

VRAAG 6 

40 punte 

Behandel die volgende kortverhale: 

1. Rooikoos Willemse is soek AH de Vries 

2. Die Wedloop P Bekker 

3. ’n Man kom tuis C Barnard 

4. My broer se kraai C Barnard 

5. Die ooreenkoms D Matthee 

6. Storm op die berg WA de Klerk 

58

INSTRUKSIES 

AFDELING D 

GOOI HOM IN DIE SLOOT (R VAN RENSBURG) 

VRAAG 7 

40 punte 

• Hierdie vraestel bestaan uit VIER afdelings. 

• Jy moet ENIGE TWEE afdelings van die volgende VOORBEELDE beantwoord 

• Voorbeeld 1: Kringe in ’n Bos – Dalene Matthee (Vraag 1) (40) 

EN 

Poësie (Vraag 2, 3, 4, of 5) (40) 

[80] 

• Voorbeeld 2: Kinders van die Aarde – Charles Fryer (Vraag 6) (40) 

EN 


[80] 

• Voorbeeld 3: Gooi hom in die sloot – Roelf van Rensburg (Vraag 7) (40) 

EN 


[80] 

• Voorbeeld 4: ENIGE TWEE AFDELINGS (40 + 40) [80] 

OF 

OF 

OF 

59

Time: 3 hours 

Marks: 300 

APPLIED AGRICULTURAL SCIENCE 

QUESTION 1 

Maize Production (100) 

QUESTION 2 

Dairy Farming (100) 

QUESTION 3 

Food Processing (100) 

Different types of short questions in Section A: 

1. Supply the correct term for each of the following statements 

2. Fill in the missing word(s) 

3. Choose the correct word from Column B to fit each statement in Column A 

4. Choose the term or word that does not fit with the others 

5. Choose from the list below a word that will fit each phrase 

6. State which of the following are true or false 

Different types of questions in Section B: 

1. Define the following 

2. Mention the factors 

3. Supply the following diagram with labels and answer the question that follows 

4. Explain what is meant by 

5. Identify the following 

6. Discuss the factors that 

7. Name the functions of 

8. Explain the meaning of 

9. Explain the procedure to 

10. List the requirements 

11. Study the reactions 

12. Discuss the effects of 

13. Discuss the process of 

14. Briefly discuss the following 

15. Discuss the concept of 

60

Learners must be able to reproduce knowledge by 

• Defining 

• Selecting 

• Mentioning 

• Identifying 

• Noting 

• Fitting 

• Describing 

NOTE: This is very appropriate for SG 

Learners must also be able to do the following to show insight, specially HG 

• Arranging 

• Changing 

• Estimate 

• Expand 

• Compare 

• Explain 

• Indicate 

• Tabulate 

• Distinguish 

• Conclude 

In the application the learners must be able to: 

• Construct 

• Explain with the aid of 

• Formulate 

• Change 

• Solve 

• Differentiate 

• Show 

• Demonstrate 

Important Diagrams and Figures: 

• Soil classification (soil profile) 

• Alimentary canals of different farm animals 

• Plant reproduction 

• Irrigation systems 

• Drainage systems 

In Applied Agricultural Science candidates must be able to identify certain systems and 

equipment that are used in practise in the different production lines. 

61

ANIMAL HUSBANDRY / VEEKUNDE 

ENGLISH 

Subject ANIMAL HUSBANDRY VEEKUNDE 

Level (HG/SG) HG HG 

Paper (1/2/3) 1 1 

Time/Duration 3 hours 3 uur 

Mark allocation 300 300 

Sections A and B A en B 

Number of questions 7 7 

Weighting of questions A: 75 marks 

A: 75 punte 

B: 5 x 45 marks 

Type of questions Discuss, name, explain, 

define, calculations, multiplechoice. 

62 

AFRIKAANS 

B: 5 x 45 punte 

Bespreek, noem, verduidelik, 

Definieer, bewerkings, 

meervoudige keusevrae 

Component of syllabus Cover syllabus Dek sillabus 

Compulsory/choices A: Compulsory 

A: Verpligtend 

B: Choice 5 of 6 

B: Keuse van 5 uit 6 

Remarks Pocket calculators may be Sakrekenaars mag gebruik 

used 

word 

Recommended Textbooks Animal Husbandry notes Veekunde aantekeninge

ENGLISH 

Subject ANIMAL HUSBANDRY VEEKUNDE 

Level (HG/SG) SG SG 

Paper (1/2/3) 1 1 



Sections A and B A en B 


Weighting of questions A: 50 marks 

A: 50 punte 

B: 5 x 30 marks 

Type of questions Discuss, name, explain, 

define, calculations, multiplechoice. 

63 

AFRIKAANS 

B: 5 x 30 punte 

Bespreek, noem, verduidelik, 

definieer, bewerkings, 

meervoudige keusevrae 


Compulsory/choices A: Compulsory 

A: Verpligtend 

B: Choice 5 of 6 

B: Keuse van 5 uit 6 

Remarks Pocket calculators may be Sakrekenaars mag gebruik 

used 

word 

Recommended Textbooks Animal Husbandry notes Veekunde aantekeninge

INTRODUCTION 

ARABIC 

In terms of the broad outcomes of Arabic, it is imperative that all schools use AL Arabiyyah lin 

Nash’een Book 1 (Parts 1 and 2) in Grades 8 and 9, and Book 2 (Parts 1 and 2) of the same 

series in Grades 10, 11 and 12, with the emphasis being on the latter parts. This extensively 

used series adequately covers all four linguistic skills – listening, speaking, reading and writing. 

The topics deal with teenage interests and make the acquisition of the language easier for them. 

The dialogues and conversation topics will serve the speech and dialogue/conversation 

component of the curriculum. The prose passages will comprehensively cover all aspects of the 

curriculum, namely dictation, comprehension, close procedure exercises, composition and letter 

writing. The exercises that follow each dialogue or prose passage embrace the various 

functional uses of the language, and take care of grammar usage through practical means. 

Structure of Papers 1 and 2 for November 2004 and Supplementary 2005 

PAPER 1 

QUESTION ASPECT HG 

SG 

(Mark) 

(Mark) 

1 Composition 50 40 

2 Letter 25 20 

3 (HG) SMS or E-mail 10 - 

3 (SG) Close Procedure - 10 

4 (HG) Comprehension 30 - 

4 (SG) Dialogues - 10 

5 (HG) Interpretation of data 25 - 

5 (SG) Comprehension - 20 

TOTAL 140 100 

DETAILED DESCRIPTION OF PAPER 1 

Question 1 (HG & SG) There will be a choice of six composition topics – 

narrative and descriptive, of which three must be done. 

Learners can write either TWO shorter pieces or ONE long 

piece. 

Question 2 There will be a choice of THREE letters. Pupils write on 

ONE topic only. HG learners should be familiar with formal 

and informal letters. 

Question 3 (HG only) Learners have the choice between a short e-mail or an 

SMS. 

Question 3 (SG only) The close procedure question will be extracted from the 

Nashi’een series (1 or 2 passages), or they could involve 

filling in documents like application forms for employment, 

visa, a CV, etc. 

64

Question 4 (HG) Comprehension will be an unseen passage. Apart from 

comprehension questions, there will be questions based on 

synonyms, antonyms, choosing correct answers, changing 

from masculine to feminine, etc. 

Question 4 (SG) Learners will be given pictures or simple questions to create 

a short Arabic dialogue. 

Question 5 (HG) Learners will be presented with either a map, the contents 

page of an Arabic magazine, or a simple advertisement. 

They will be asked to elicit specific information. They will 

answer MAINLY in English; a question or two will ask for 

answers in Arabic. They should be acquainted with, inter 

alia, telephone numbers, postal addresses, names of 

important places, subscriptions, etc. 

Question 5 (SG) Comprehension will be an unseen passage. Apart from 

comprehension questions, there will be questions on 

synonyms, antonyms, choosing correct answers, changing 

from masculine to feminine, etc. 

PAPER 2 

ASPECT HG 

SG 

(Mark) (Mark) 

Section A Translation and use of 

Grammar 

90 80 

Section B Literature 90 60 

TOTAL 180 140 

DETAILED DESCRIPTION OF PAPER 2 

SECTION A 

TRANSLATION AND GRAMMAR USAGE 

Translation from English to Arabic – 15 marks for both grades (5 ordinary sentences) 

Translation from Arabic to English – 15 marks for both grades 

Functional use of grammar – 60 marks for HG / 50 marks for SG 

A variety of questions will be asked: 

• Rearranging words to form meaningful sentences and then translating the sentences into 

English 

• Picking the odd word and stating a reason for the choice 

• Choosing the correct word from within the brackets (use of case, mood, tense, gender, 

person, etc.) and giving a brief reason for the choice 

• Supplying questions or answers to information given 

• Changing the word in brackets to singular, dual or plural forms 

• Changing the word in brackets to the present/past/future tenses 

• Constructing sentences with specific words 

65

Learners will be tested on four aspects: 

• Poetry 

• Qur’an 

• Ahadith 

• Prose 

SECTION B 

LITERATURE 

POETRY 

One poem will be given. The questions will be set and the answers from the learners will be in 

English. Learners should be able to translate selected verses of the poem, give the gist of the 

poem in their own words, convey the main ideas of the poem, discuss a theme(s), identify the 

use of imagery and comment on it. There will be no questions about the poets. 

Both HG and SG should study the following poems: 

1. Ilaahi 

2. Muslimun 

3. Iradah al Hayah 

4. Bi Din Yasmu al Mar’u 

QUR’AN 

One Qur’anic passage will be given. Questions will include translation, interpretation and the 

relevance of the Qur’anic message to their context. The information contained in the footnotes 

of Yusuf Ali’s commentary will suffice. Too intensive study is not necessary. No questions will 

be posed on parsing. Yusuf Ali’s commentary could be used, and the English simplified even 

more (avoid “thou”, rather use “you”). The main names of famous Arab musassirum (not their 

full names) and their works should also be studied. Pupils are not required to know the year or 

century in which a musassir lived or died. 

Some of the famous musassirum are: 

1. as Suyuti (d. 1505) – Lubab an-Nugul fi Asbab al Nuzul 

2. Ibn Abbas (d. 687) 

3. Muhammad ibn Jarrir al-Tabari (d. 923) – Jami; al Bayan ‘an Ta’wil al-Qur’an (30 vol 

commentary). 

4. All-Zamakhshari (d. 1143) – Al Kashshaf an Haqa’iq at Tanzil 

5. Al-Baydawi (d. 1286) – Anwar at-tanzir wa asrar at ta’wil 

6. Fakhr al Din al razi (d. 1210) 

7. Jaslal al Din al mahalli (d. 1459) and Jalal al Suyuti (d. 1505) Tafsir Jalalayn 

66

The following passages must be studied by both grades: 

1. Bani Isra’il or Al Isra Verses 23 – 44 

2. Yusuf Verses 1 – 20 

3. Al’Ankabut Verses 1 – 9 

4. Al-Zalzalah Entire sura 

AHADITH 

This section covers the shorter ahadith from al-Nabawi’s Forty Ahadith. 

The prescribed ahadith remain unchanged. They are: 

1. No 7 Sincerity 

2. 11 Doubt 

3. 12 Mind your own business 

4. 13 Love for others 

5. 16 Anger 

6. 18 Fear 

7. 20 Shame 

1. 27 Righteousness (Top hadith only) 

2. 30 Boundaries 

3. 31 Zuhd 

4. Harm 

5. 34 Evil 

6. 40 Stranger (Study both) 

7. 41 Inclinations 

Every exam paper has two ahadith, which are compulsory. Pupils will be asked to translate 

these and to relate these to their lives. Pupils must be acquainted with the terminology like 

sanad and matnh; the 3 broad types of hadith: sahih, hasan, da’if. They should also know the 

names of the six famous compilers (not necessarily full names) and their books on hadith. 

The main compilers were: 

1. Muhammad ibn Isma’il al Bukhari (d. 870) - Sahih 

2. Abu-I Husayn Muslim ibn al Hajjaj (d. 875) - Sahih 

3. Abu Dawud (d. 875) - Sunan 

4. Al-Tirmidh (d. 892) - Jami 

5. Al-Nasa’l (d. 915) - Sunan 

6. Ibn Majah (d. 886) - Sunan 

7. Malik ibn Anas – Muwatta’ 

8. Ibn Hambal - Musnad 

67

PROSE 

One prose passage will be given. Questions about the passage will be in English, and answers 

must be given in English, unless otherwise stated. The prescribed passages (see below) 

remain unchanged and must be studied: 

1. Bk 3 – Nashi’een p. 24 – Qada Waqt al Faragh 

2. Bk 2 – Nashi’een p.65 – Salah al-Din 

3. Bk 3 – Nashi’een p. 174 – Min Buyuti Allah 

4. Bk 4 – Nashi’een p. 180 – Al Mar’ 

All four passages must be studied and pupils should be able to explain key ideas/arguments in 

their own words, in English. They should be able to give their ideas or impressions on 

text/topic. Some general knowledge information about the topics (which may not appear in the 

passage) should also be known. 

CONCLUDING REMARKS 

Should educators require further clarity on any of the aspects discussed, they should not 

hesitate to contact us. 

We hope that educators make the study of Arabic vibrant and interesting, nurturing in learners 

the desire to continue with the study of the language beyond the school years, even though they 

may pursue careers unrelated to Arabic. 

If the language acquisition experience involves rote learning and regurgitation then we would 

stifle the learning of Arabic among this generation of learners. 

Wa billahi al taufeeq 

68

MARKS: 200 

ART HG / SG 

(OPEN EXAMINATION) 

INSTRUCTIONS TO CANDIDATES AND EDUCATORS: 

1. GENERAL INFORMATION 

1.1 The Open Examination comprises TWO OPTIONS: 

OPTION A: Practical work of a candidate’s choice 

AND 

As part of this option, a six-hour Drawing Examination must be 

completed. (Refer to 1.9 on page 3) 

TOTAL: 

OR 

OPTION B: A written assignment comprising Art Documentation and 

Research 

AND 

TWO yearwork assignments. 

(IN THIS OPTION THERE IS NO DRAWING 

EXAMINATION) 

TOTAL: 

1.2 The open examination paper and instructions are to be handed to the 

candidates on MONDAY 15 MAY 2006. 

1.3 The completed WORKBOOK, including the final work(s) of art, must 

be handed in by MONDAY 18 SEPTEMBER 2006 at 12:00. All 

works must be submitted by the schools to the appropriate District 

Office by 12:00 on WEDNESDAY 20 SEPTEMBER 2006. WORK- 

BOOKS must be tied together in numerical order according to the 

examination numbers in piles of ten (or less) and handed in to the 

District Office. The examination drawing must be placed inside the 

front cover of the workbook before it is tied up. 

1.4 Before work commences, educators should discuss all instructions 

and the content of the Open Examination with candidates in order to 

clarify any possible uncertainty. 

69 

(150 marks) 

(50 marks) 

200 marks 

(150 marks) 

(50 marks) 

200 marks

1.5 Work on the WORKBOOK and the final work(s) of art must commence 

immediately. Preparatory work is COMPULSORY. 

Art educators should determine deadlines for the different stages of development 

(progress). These deadlines form part of the examination paper and are binding 

on the candidates. 

Candidates and parents should be notified immediately in writing, of the deadlines. 

1.6 All work on the final work(s) of art must be done under the supervision of the art 

educators and may not be removed from the school premises. 

Work that through necessity has to be done outside the school (e.g. pottery to be 

fired in private kilns) must be fully supervised by the art educators at all times. 

Please note that work(s) completed under the supervision of private educators and 

not the school art educators, cannot be accepted for examination purposes. 

1.7 Art educators may guide and advise pupils, but no direct assistance is permitted. 

1.8 Candidates will be PENALISED for not adhering to the requirements laid down in 

this examination paper. 

1.9 Candidates choosing OPTION A (Practical Work of own choice) must complete the 

SECOND Examination Paper (Art: Second Paper) which will take place at the 

end of the year. This will be in the form of a six-hour PERCEPTUAL or 

CONCEPTUAL DRAWING which should be completed within the set period of six 

hours. 

This Drawing examination will count 50 marks. 

Candidates who select OPTION B (Art Documentation and Research) will not do 

this drawing examination (Art: Second Paper). 

2. COMPILATION OF THE WORKBOOK (Refer to the diagrams on page 6.) 

2.1 WORKBOOKS must not be smaller than A3 size and not bigger than A2 size. 

No other sizes will be accepted. 

2.2 The cover of the workbook must be sturdy, but lightweight, made out of a light 

cardboard or strong paper. 

The cover must remain undecorated. 

A FULLY COMPLETED ADDENDUM A MUST BE SECURELY ATTACHED TO 

THE COVER OF ALL WORKBOOKS. THE WORKBOOKS MAY NOT BE 

COVERED IN PLASTIC. 

70

2.3 The inside pages of the workbook should be paper or thin cardboard. Thick 

cardboard (triplex) is not to be used inside the workbook. The workbook must be 

presented in the form of an album. It must open easily and the pages must turn 

easily. 

All pages in the workbook must be firmly attached to the cover and to one another 

along the spine. 

Plastic envelopes (sleeves) must not be used. 

(PLEASE CONSULT DIAGRAMS ON PAGE 6 FOR THE COMPILATION OF THE 

WORKBOOK.) 

2.4 All work must be the candidate’s own original work. 

Any form of copying will be severely penalised. 

2.5 The final work(s) must relate to the preparatory drawings and must be a 

development of the theme. In cases where more than one final work is handed in, 

all work will be taken into consideration. Where candidates exceed the MAXIMUM 

requirements for any discipline, only the REQUIRED WORKS will be marked. 

2.6 WORKBOOKS must consist of a minimum of FIVE pages and a suggested 

maximum of TEN pages. Works must be attached flat on the pages of the 

workbook, and both sides of the page may be used. The entire workbook will be 

evaluated as a unit. Marks will be allocated to workbooks which are neat and well- 

presented. 

ALL WORKBOOKS, IRRESPECTIVE OF THE OPTION CHOSEN, MUST 

INCLUDE ORIGINAL PREPARATORY DRAWINGS AS PART OF THE 

PREPARATORY WORK, EXCEPT WHERE CANDIDATES HAVE CHOSEN TO 

DO PHOTOGRAPHY OR OPTION B (ART DOCUMENTATION AND 

RESEARCH). MARKS WILL BE ALLOCATED FOR THESE DRAWINGS. 

2.7 Ornamental window mounts, thick cardboard mounts and unnecessary decorations 

are not allowed. 

71

3. CONTENTS OF THE WORKBOOK 

Page 1: DRAWING EXAMINATION 

The drawing must be placed LOOSE inside the front cover of the 

WORKBOOK – please remember to adhere ADDENDUM A to the back of the 

drawing. 

NB: Yearworks must not be submitted with the Examination Drawing. 

Page 2: A brief explanation of how the problem, stated in the assignment, has been 

interpreted. Reasons for focusing on a particular interpretation of this theme 

must be included. A maximum of 50 words is permitted (allowed). 

The candidate’s interpretation of the theme should be PERSONAL and 

ORIGINAL. Candidates should use their own experiences as a basis for 

exploring the theme. 

Page 3: Preliminary drawings for the final work(s) in the chosen discipline must fill the 

remaining pages. All preliminary work must be related to the theme and 

should be a development towards the final work. 

The final work(s) must be attached to the last page(s) of the workbook. Clear 

photographs from all angles must be taken of three-dimensional works. These 

photographs must be attached to the last pages of the workbook. 

NB: If candidates do three-dimensional work that does not fit into the workbook, the art 

educator should ensure that the principal gives written notice of work to be marked at 

the school by completing and submitting Addendum B before 14 August 2006. If the 

notice is not received on or before this date, works will not be marked. 

Please note: Art educators may be requested to take three-dimensional works to a 

central point for marking. 

Workbooks of three-dimensional works must be kept at school with the artwork. 

Workbooks and three-dimensional works must be marked as a unit. 

72

3.1 INSTRUCTIONS FOR COMPILATION OF WORKBOOK (A3 OR A2 SIZE) 

Tape pages together 

Drawing 

Examination 

Brainstorming 

Page 1 Page 2 

73 

Reference 

material 

Page 3 Page 4 

Preliminary 

drawings/work 

Page 5 Page 6 

Preliminary 

drawings/work 

Page 7 Page 8 

Preliminary 

drawings/work 

Both sides of a page may be used. 

Tape 

Rationale 

Preliminary 

drawings/work 

Preliminary 

drawings/work 

Reference material may be used on the same page as the explanation 

(rationale). 

Final work(s) of 

art 

A minimum of FIVE pages and a suggested maximum of TEN pages may be 

used.

4. EXAMINATION PAPER 

The Open Examination comprises OPTIONS A and B. 

Candidates must complete ONE of these options. 

OPTION A: PRACTICAL WORK OF A CANDIDATE’S OWN CHOICE 

Candidates choosing to complete a practical workbook must complete Option A 

ONLY. These candidates must also complete the Drawing examination 

(Second paper) during the final examination. (See Addendum C at the end of 

this document.) 

OR 

OPTION B: ART DOCUMENTATION AND RESEARCH 

Candidates doing Art Documentation and Research must not answer 

OPTION A. (Candidate’s practical work and six-hour drawing exam). 

NB: Only candidates who have gained a suitable background in Art 

Documentation and Research during their Grade 11 and Grade 12 

years, should choose this option, instead of a practical component. 

This is a highly specialised option and should only be attempted by 

candidates who have shown particular ability in documentation and 

research over a period of time. 

PLEASE NOTE: The requirements for the different disciplines can be found in the 

guidelines Art (Open examination). 

Please contact Mrs H. de Clercq for copies of this document or 

contact the moderator, H. Pizer. 

Mrs H. de Clercq: Tel: (011) 484-4250 

Mr H. Pizer: Tel: (012) 348-8624 

OPTION B: ART DOCUMENTATION AND RESEARCH 

Candidates choosing this option do not complete the final Drawing examination. 

GENERAL INSTRUCTIONS 

Use an A4-flat ring binder, or a similar file, to file the research project. Do not use a 

box file. 

Do not submit audio-tapes or videos. 

If possible, all research work should be typed, type-set or computer printed. If the 

research is handwritten, please ensure that the print is legible. 

Length of research paper: a minimum of TEN typed pages and a maximum of 

FIFTEEN typed pages. 

NB: This prescribed length does not include any APPENDICES. 

74

LAYOUT 

Cover page: 

Index page: 

ATTACH ADDENDUM A TO THIS COVER 

INDEX 

Candidates must use the specific headings provided in the examination paper, or they 

may create their own headings. However, these headings must correlate with specific 

page numbers in the text. 

APPENDICES: 

APPENDIX 1 – Must include alphabetically arranged references used in the research. 

APPENDIX 2 – Must include all pictorial information. 

SUBMISSION OF RESEARCH PROJECT 

Research files should be packed in a parcel SEPARATE from the workbooks. This 

parcel should clearly be marked with a label upon which “Research Projects” and the 

relevant number is written and should be submitted at the same time as the workbook. 

75

ADDENDUM A / BYLAAG A 

This Addendum must be cut out and pasted onto the cover of the WORKBOOK or 

RESEARCH PROJECT. 

Hierdie bylaag moet uitgeknip en op die omslag van die WERKBOEK of NAVORSINGS- 

OPDRAG geplak word. 

A copy of Addendum A must also be attached to the back of the Drawing examination. 

ŉ Kopie van Bylaag A moet ook aan die agterkant van die Tekeneksamen geheg word. 

OPEN EXAMINATION 2006 / OOP EKSAMEN 2006 

• *FILL IN ONE OF THESE CHOICES IN BLOCK LETTERS IN THE BLOCK BELOW 

• *VUL EEN VAN DIE VOLGENDE KEUSES IN BLOKLETTERS IN DIE RUIMTE 

HIERONDER IN. 

Painting, Graphic Art (Printmaking), Sculpture, Photography, Ceramic Art, Textile Art, Fibre 

Art, Puppetry, Jewellery Design, Communication / Information Design, Mosaic and Stained 

Glass Art, Art Documentation and Research. 

Skilderkuns, Grafiese Drukwerk, Beeldhoukuns, Fotografie, Keramiekkuns, Tekstielkuns, 

Veselkuns, Poppespel, Juweliersware, Kommunikasie- / Inligtingsontwerp, Mosaïek- en 

Gebrandskilderde glaskuns, Kunsdokumentering en -navorsing. 

PLEASE COMPLETE THE ADDENDUM / VOLTOOI DIE RES VAN DIE BYLAAG 

ENCIRCLE THE GRADE / OMKRING DIE GRAAD 

HG SG 

CANDIDATE’S NUMBER / KANDIDAAT SE NOMMER 

OPEN EXAMINATION / OOP EKSAMEN 

ART / KUNS 2006 

SCHOOL / SKOOL : 

ADDRESS / ADRES : 

TEL NO / FAX 

Please note that the following work(s) must be evaluated at the school: 

Neem asseblief daarvan kennis dat die volgende werk(e) by die skool geëvalueer moet word: 

* 

76

TYPE OF WORK 

AARD VAN WERK 

1. 

2. 

3. 

4. 

THE REASON IT CANNOT BE SUBMITTED FOR MARKING AT 

THE MARKING CENTRE 

REDE WAAROM DIE WERK(E) NIE NA DIE NASIENSENTRUM 

TOE GESTUUR KAN WORD NIE 

PRINCIPAL’S SIGNATURE / HANDTEKENING VAN HOOF: _________________________ 

PLEASE NOTE: THREE-DIMENSIONAL WORKS WILL BE MARKED AT THE SCHOOL (OR 

AT A CENTRAL MARKING POINT) 

LET WEL: DRIE-DIMENSIONELE WERK SAL BY SKOLE (OF ’N SENTRALE PUNT) 

NAGESIEN WORD. 

THESE WORKS AND THE WORKBOOKS THAT ACCOMPANY THEM, MUST BE 

RETAINED IN A SAFE PLACE AT THE SCHOOL FOR MARKING PURPOSES. 

HIERDIE WERKE EN DIE WERKBOEKE WAT DIT VERGESEL, MOET BY DIE SKOOL IN 

VEILIGE BEWARING GEHOU WORD VIR NASIENDOELEINDES. 

EDUCATORS WILL BE NOTIFIED AS TO WHEN EVALUATION WILL TAKE PLACE. 

OPVOEDERS SAL IN KENNIS GESTEL WORD WANNEER EVALUERING SAL PLAASVIND. 

ADDENDUM B MUST BE SENT TO / BYLAAG B MOET GESTUUR WORD AAN: 

Mr H. Pizer 

Fax / Faks (012) 348-8617 

Postal Address: 

P O Box 35073 

MENLO PARK 

0102 

77 

Mnr. H. Pizer 

Posadres: 

Posbus 35073 

MENLO PARK 

0102 

Please do not submit Addendum B to any person or office other than the above-mentioned. 

Moet asseblief nie Bylaag B aan enige persoon of kantoor stuur behalwe aan bogenoemde 

nie.

ADDENDUM C(1) 

DRAWING EXAMINATION 

78 

ART / KUNS HG / SG (OPEN/OOP) 

GUIDELINES / RIGLYNDOKUMENT 

CANDIDATES WHO COMPLETE OPTION A OF THE OPEN EXAMINATION WILL ALSO 

COMPLETE THE DRAWING EXAMINATION (THIRD PAPER) AT THE END OF THE YEAR. 

SOURCE MATERIAL 

The candidate should co-operate with other candidates in gathering source material for the 

final Drawing examination at the end of the year. 

The source material is restricted to objects that can be brought into the examination room, 

and/or a clothed model(s), OR the drawing can be based on the open examination. 

The object(s)/model(s) should be displayed in full view of all the candidates. 

A wide variety of visually stimulating objects and objects that vary in size, shape, texture and 

form must be displayed. 

The objects must be placed in front of the candidates. This should be done before the 

examination commences. 

Candidates are not allowed to use roughly textured paper and drawings must be A2 size. Any 

monochromatic drawing may be used. 

NB: A detailed examination paper for the Drawing examination (Third Paper) will be handed 

out to candidates on the day of the examination. Further instructions will be included in 

the examination paper. 

The drawing must be placed inside the front cover of the workbook. 

UNDER NO CIRCUMSTANCES MAY A CANDIDATE BRING OR USE THE FOLLOWING IN 

THE PRACTICAL EXAMINATION: COLLAGE, PAPIÉR COLLÉ, MAGAZINES, 

PHOTOGRAPHS, PHOTOSTATS/PHOTOCOPIES OR ANY OTHER PRINTED MATERIAL. 

THE FINAL PRACTICAL DRAWING EXAMINATION MAY NOT BE A COLLAGE.

NO. 

NR 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

CENTRE NO. 

SENTRUMNO. 

ADDENDUM C(2) LIST OF CANDIDATES / BYLAAG C(2): LYS VAN KANDIDATE 

CANDIDATE NO. 

KANDIDAATNO. 

TOTAL NUMBER 

OF YEAR 

WORKBOOKS 

TOTALE AANTAL 

JAARWERK- 

BOEKE 

79 

TOTAL NUMBER 

OF EXAMINATION 

WORKBOOKS 

TOTALE AANTAL 

EKSAMEN- 

WERKBOEKE 

TOTAL NUMBER 

OF WORKS 

HANDED IN FOR 

EVALUATION 

AANTAL WERKE 

INGEHANDIG VIR 

EVALUERING 

CANDIDATE’S 

SIGNATURE 

KANDIDAAT SE 

HANDTEKENING

PUNTE: 200 

KUNS HG / SG 

(OOP EKSAMEN) 

INSTRUKSIES AAN KANDIDATE EN OPVOEDERS: 

1. ALGEMENE INLIGTING 

1.1 Die Oop Eksamen bestaan uit TWEE OPSIES: 

OPSIE A: Praktiese werk van ŉ kandidaat se eie keuse 

EN 

As deel van hierdie opsie moet kandidate ŉ Tekeneksamen wat ses uur 

duur, aflê. (Verwys na 1.9 op bladsy 3) 

TOTAAL: 

OF 

OPSIE B: ŉ Skriftelike opdrag oor Kunsdokumentering en -navorsing 

EN 

(150 punte) 

TWEE jaarwerk opdragte. 

(BY HIERDIE OPSIE IS DAAR GEEN TEKENEKSAMEN NIE) 

(50 punte) 

TOTAAL: 200 punte 

1.2 Die oop eksamenvraestel en instruksies moet op MAANDAG 15 MEI 

2006 aan die kandidate oorhandig word. 

1.3 Die voltooide WERKBOEK, insluitend die finale kunswerk(e), moet op 

MAANSDAG 18 SEPTEMBER 2006 om 12:00 ingelewer word. Alle 

werke moet op WOENSDAG 20 SEPTEMBER 2006 om 12:00 deur die 

skole by die betrokke Distrikskantoor ingehandig word. WERKBOEKE 

moet in pakke van tien (of minder) numeries, volgens eksamennommers, 

vasgebind word en by die Distrikskantoor ingehandig word. 

Die eksamentekening moet in die voorste omslag van die werkboek 

geplaas word voordat dit vasgebind word. 

1.4 Voordat die werk ’n aanvang neem, moet opvoeders al die instruksies 

en die inhoud van die Oop Eksamen met die kandidate bespreek om 

alle onduidelikheid op te klaar. 

80 

(150 punte) 

(50 punte) 

200 punte

1.5 Werk aan die WERKBOEK en die finale kunswerk(e) moet dadelik begin. 

Voorbereidingswerk is VERPLIGTEND. 

Kunsopvoeders behoort keerdatums vas te stel vir die verskillende stadiums van 

vordering. Hierdie keerdatums maak deel uit van die eksamenvraestel en is 

bindend vir die kandidate. 

Kandidate en hulle ouers moet onmiddellik skriftelik van die keerdatums verwittig 

word. 

1.6 Al die werk aan die finale kunswerk(e) moet onder toesig van die kunsopvoeders 

plaasvind, en mag nie van die skoolterrein verwyder word nie. 

Werk aan die finale werkstukke wat noodwendig buite die skool gedoen moet 

word (bv. pottebakkery wat in privaat oonde gebak moet word), moet ten volle en 

deurlopend onder die toesig van die kunsopvoeders plaasvind. 

Neem asseblief kennis dat kunswerk(e) wat onder die toesig van privaat 

opvoeders en nie die kunsopvoeders by die skool plaasvind, nie vir 

eksamendoeleindes aanvaar sal word nie. 

1.7 Kunsopvoeders mag kandidate van leiding en advies bedien, maar geen direkte 

hulp word toegelaat nie. 

1.8 Kandidate sal GEPENALISEER word indien hulle nie aan die vereistes voldoen 

wat in hierdie eksamenvraestel gestel word nie. 

1.9 Kandidate wat OPSIE A (Praktiese Werk van eie keuse) kies, moet die TWEEDE 

eksamenvraestel (Kuns: Tweede Vraestel) aflê, wat aan die einde van die jaar 

sal plaasvind. Dit sal die vorm aanneem van ŉ PERSEPTUELE of 

KONSEPTUELE TEKENING wat binne die bestek van ses uur voltooi moet word. 

Hierdie Tekeneksamen sal 50 punte tel. 

Kandidate wat OPSIE B (Kunsdokumentering en -navorsing) kies, moenie hierdie 

Tekeneksamen (Kuns: Tweede Vraestel) aflê nie. 

2. SAMESTELLING VAN DIE WERKBOEK (Verwys na die diagramme op bladsy 6.) 

2.1 WERKBOEKE mag nie kleiner as A3-grootte en nie groter as A2-grootte wees 

nie. Geen ander groottes sal aanvaar word nie. 

2.2 Die buiteblad van die werkboek moet stewig, maar liggewig en van ligte karton of 

sterk papier gemaak wees. 

Die buiteblad mag nie versier word nie. 

’N VOLLEDIGE INGEVULDE BYLAAG A MOET OP DIE BUITEBLAD VAN DIE 

OMSLAG VAN ALLE WERKBOEKE AANGEBRING WORD. DIE WERKBOEKE 

MAG NIE MET PLASTIEK OORGETREK WORD NIE. 

81

2.3 Die binnebladsye van die werkboek moet van papier of dun karton wees. Dik 

karton (triplex) mag nie vir die binnebladsye van die werkboek gebruik word nie. 

Die werkboek moet in albumformaat aangebied word. Dit moet maklik 

oopgemaak en die bladsye moet maklik omgeblaai kan word. 

Al die bladsye van die werkboek moet stewig aan die buiteblad en by die rugkant 

aan mekaar vasgeheg word. 

Plastiekkoeverte (sakkies) mag nie gebruik word nie. 

(RAADPLEEG ASSEBLIEF DIE DIAGRAMME OP BLADSY 6 VIR DIE 

SAMESTELLING VAN DIE WERKBOEK.) 

2.4 Alle werk moet die kandidaat se eie, oorspronklike werk wees. 

Enige vorm van kopiëring sal streng gepenaliseer word. 

2.5 Die finale werk(e) moet duidelik met die voorbereidingswerk verband hou en moet 

ŉ ontwikkeling van die tema wees. In gevalle waar meer as een finale werk 

ingedien word, sal ál die werk in oorweging geneem word. Waar kandidate die 

MAKSIMUM vereistes van enige dissipline oorskry, sal slegs die VEREISTE 

WERKE nagesien word. 

2.6 WERKBOEKE moet uit ŉ minimum van VYF bladsye en ŉ voorgestelde 

maksimum van TIEN bladsye bestaan. Werke moet plat op die bladsye van die 

werkboek geplak word en albei kante van die bladsye mag gebruik word. Die 

hele werkboek sal as ŉ eenheid geëvalueer word. Punte sal toegeken word vir 

werkboeke wat netjies en goed aangebied is. 

ALLE WERKBOEKE, ONGEAG DIE OPSIE WAT GEKIES WORD, MOET 

OORSPRONKLIKE VOORBEREIDINGSTEKENINGE BEVAT AS DEEL VAN DIE 

VOORBEREIDINGSWERK, BEHALWE AS KANDIDATE FOTOGRAFIE OF 

OPSIE B (KUNSDOKUMENTERING EN -NAVORSING GEKIES HET). PUNTE 

SAL VIR HIERDIE TEKENINGE TOEGEKEN WORD. 

2.7 Ornamentele venstermonterings, dik kartonmonterings en onnodige versiering 

word nie toegelaat nie. 

82

3. INHOUD VAN DIE WERKBOEK 

Bladsy 1: TEKENEKSAMEN 

Die tekening moet asseblief LOS in die voorste omslagbladsy van die 

WERKBOEK geplaas word – onthou om asseblief BYLAAG A agter op die 

tekening te plak. 

LW: Jaarwerke moenie saam met die eksamentekening ingehandig word 

nie. 

Bladsy 2: ŉ Kort uiteensetting van hoe die probleem wat in die opdrag uiteengesit word, 

vertolk is. Redes waarom jy op ŉ besondere interpretasie van die tema 

gefokus het, moet ingesluit word. ŉ Maksimum van 50 woorde word 

toegelaat. 

Die kandidaat se interpretasie van die tema moet PERSOONLIK en 

OORSPRONKLIK wees. Kandidate moet hulle eie ervarings as ŉ basis vir die 

verkenning van die tema gebruik. 

Bladsy 3: Voorbereidingstekeninge vir die finale werk(e) van die gekose dissipline moet 

die res van die bladsye vul. Alle voorbereidingswerk moet betrekking hê op 

die tema en moet ŉ ontwikkeling tot by die finale werk aantoon. 

Die finale werk(e) moet op die laaste bladsy(e) van die werkboek aangeheg 

word. Duidelike foto’s uit alle hoeke moet van driedimensionele werke 

geneem word. Hierdie foto’s moet aan die laaste bladsye van die werkboek 

aangeheg word. 

LW: Indien kandidate driedimensionele werk doen wat nie in die werkboek pas nie, moet die 

kunsopvoeder verseker dat die hoof voor 14 Augustus 2006 skriftelik kennis gee van 

werk wat by die skool nagesien moet word deur Bylaag B in te vul en in te stuur. Indien 

die kennisgewing nie op of voor hierdie datum ontvang word nie, sal die werke nie 

nagesien word nie. 

Neem asseblief kennis: Kunsopvoeders mag versoek word om driedimensionele werke 

vir nasiendoeleindes na ŉ sentrale punt te vervoer. 

Werkboeke van driedimensionele werke moet saam met die kunswerk by die 

skool gehou word. Die werkboeke en driedimensionele werke moet saam, as ŉ 

eenheid, nagesien word. 

83

3.1 INSTRUKSIES VIR SAMESTELLING VAN WERKBOEKE (A3- TOT A2- 

GROOTTE) 

Heg bladsye aanmekaar 

Tekeneksamen 

Dinkskrum 

Bladsy 1 Bladsy 2 

84 

Verwysingsmateriaal 

Rasionaal 


Voorbereidende- 

tekeninge/werk 







Albei kante van ŉ bladsy mag gebruik word. 

Band 





Finale 

kunswerk/e 

Verwysingsmateriaal mag op dieselfde bladsy as die uiteensetting (rasionaal) 

gebruik word. 

ŉ Minimum van VYF bladsye en ŉ voorgestelde maksimum van TIEN bladsye mag 

gebruik word.

4. EKSAMENVRAESTEL 

Die Oop Eksamen bestaan uit OPSIE A en B. 

Kandidate moet EEN van hierdie opsies voltooi. 

OPSIE A: PRAKTIESE WERK VAN ’N KANDIDAAT SE EIE KEUSE 

Kandidate wat kies om ŉ praktiese werkboek te voltooi, moet SLEGS Opsie A doen. 

Hierdie kandidate moet ook die Tekeneksamen (Tweede Vraestel) gedurende die 

finale eksamen aflê. (Sien Bylaag C aan die einde van hierdie vraestel.) 

OF 

OPSIE B: KUNSDOKUMENTERING EN -NAVORSING 

Kandidate wat Kunsdokumentering en -navorsing kies, moenie OPSIE A (Praktiese 

werk van ŉ kandidaat se eie keuse en sesuurlange tekeneksamen) beantwoord nie. 

LW: Slegs kandidate wat gedurende hulle Graad 11- en 12-jaar ŉ geskikte 

agtergrond in Kunsdokumentering en -navorsing opgedoen het, behoort 

hierdie opsie, in plaas van ŉ praktiese komponent, te kies. 

Hierdie is ŉ hoogs gespesialiseerde opsie en behoort slegs deur kandidate 

aangepak te word wat oor ŉ tydperk besondere vaardigheid in 

dokumentering en navorsing getoon het. 

LET WEL: Die vereistes vir die verskillende dissiplines verskyn in die riglyne Kuns (Oop 

Eksamen). 

Kontak asseblief vir mev. H. de Clercq indien jy nie in besit is van hierdie 

dokument nie of kontak die moderator, H. Pizer. 

Mev. H. de Clercq: Tel: (011) 484-4250 

Mnr. H. Pizer: Tel: (012) 348-8624 

OPSIE B: KUNSDOKUMENTERING EN -NAVORSING 

Kandidate wat hierdie opsie kies, moenie die finale Tekeneksamen aflê nie. 

ALGEMENE INSTRUKSIES 

Gebruik ŉ plat A4-ringbindlêer, of ŉ soortgelyke lêer om die navorsingsprojek in te bind. 

Kaslêers mag nie gebruik word nie. 

Geen bandopnames of videobande mag ingedien word nie. 

Indien moontlik, moet die projek getik, geset of rekenaargedruk wees. As die 

navorsingsprojek handgeskrewe is, moet die skrif leesbaar wees. 

85

Lengte van die navorsingsprojek: ŉ minimum van TIEN en ŉ maksimum van VYFTIEN 

getikte bladsye. 

LW: Hierdie voorgeskrewe lengte sluit nie enige BYLAES in nie. 

UITLEG 

Buiteblad: 

Inhoudsopgawebladsy: 

HEG BYLAAG A AAN DIE BUITEBLAD 

INHOUDSOPGAWE 

Kandidate moet die spesifieke opskrifte wat in die eksamenvraestel voorsien word, 

gebruik of hulle eie opskrifte kies. Hierdie opskrifte moet egter met die spesifieke 

bladsynommers in die teks ooreenstem. 

BYLAES: 

BYLAAG 1 – Moet alle bronne wat in die navorsingsondersoek gebruik is, in 

alfabetiese volgorde insluit. 

BYLAAG 2 – Moet alle beeldmateriaal insluit. 

INLEWERING VAN NAVORSINGSPROJEK 

Navorsingslêers moet APART verpak word en nie saam met die werkboeke nie. 

Hierdie pakkie moet duidelik gemerk word met ŉ etiket waarop die woorde 

“Navorsingsprojek” en die betrokke nommer verskyn, en moet op dieselfde tydstip as 

die werkboek ingelewer word. 

86

BYLAAG C(1) 

TEKENEKSAMEN 

KANDIDATE WAT OPSIE A VAN DIE OOP EKSAMEN GEKIES HET, MOET OOK DIE 

TEKENEKSAMEN (DERDE VRAESTEL) AAN DIE EINDE VAN DIE JAAR AFLÊ. 

BRONNEMATERIAAL 

Die kandidaat behoort met die ander kandidate saam te werk in die versameling van 

bronnemateriaal vir die finale Tekeneksamen aan die einde van die jaar. 

Die bronnemateriaal word beperk tot voorwerpe wat in die eksamenlokaal ingebring kan word, 

en/of ŉ geklede model(le), OF die tekening kan gebaseer word op die oop eksamen. 

Die voorwerp(e) / model(le) moet so uitgestal word dat dit duidelik sigbaar is vir alle kandidate. 

ŉ Wye verskeidenheid visueel-stimulerende voorwerpe, en voorwerpe wat wissel in grootte, 

fatsoen, tekstuur en vorm moet uitgestal word. 

Die voorwerpe moet voor die kandidate geplaas word. Dit moet gedoen word voordat die 

eksamen begin. 

Kandidate mag nie papier met ŉ growwe tekstuur gebruik nie en tekeninge moet van 

A2-grootte wees. Enige monochromatiese media mag gebruik word. 

LW: ŉ Gedetailleerde eksamenvraestel vir die Tekeneksamen (Derde vraestel) sal op die dag 

van die eksamen uitgedeel word. Verdere instruksies sal by die vraestel ingesluit wees. 

Hierdie tekening moet in die voorste omslag van die werkboek geplaas word. 

’N KANDIDAAT MAG ONDER GEEN OMSTANDIGHEDE DIE VOLGENDE IN DIE 

EKSAMENLOKAAL INBRING OF IN DIE FINALE TEKENEKSAMEN GEBRUIK NIE: 

COLLAGE, PAPIER COLLÉ, KOERANTE, TYDSKRIFTE, FOTO’S, FOTOSTATE OF ENIGE 

ANDER GEDRUKTE MATERIAAL. 

DIE FINALE PRAKTIESE TEKENEKSAMEN MAG NIE ’N COLLAGE WEES NIE. 

87

BIBLICAL STUDIES HG AND SG 

• There is still ONE paper of 3 hours and it will cover the whole syllabus. 

• Make sure of those works that are only for the Higher Grade. 

• The questions are set on levels of factual knowledge, understanding and insight. 

• Use previous year's exam paper and discuss with the learners how to answer it. 

• Section A is compulsory and consists of short questions covering the whole 

syllabus. 

• Learners must only do the required number of questions out of each section: TWO 

from SECTION B (four is asked) and TWO from SECTION C (four is asked). If more 

than 5 questions are answered, only the first 5 will be marked. 

• Normally two marks are allocated per fact. 

• Do not to rewrite the question itself – no marks will be allocated. 

• Read the questions carefully to understand what is asked. 

• Remember that Chapter 7 on Hope is NOT in the syllabus. ("That we may love" 

J.J. Barrette). 

• More time must be spent on teaching learners how to answer different types of 

questions, e.g. "supply one word…." then it must be one word. Look out for 

indications like "discuss", "explain" or "write notes on." The allocated marks will 

give an indication of how long the answer must be. 

• Learners must know the meaning of Biblical terms such as gospel, eschatology, 

doxology, apocalyptic, etc. 

• Make sure that they know what a covenant is. 

• The Ten Commandments must all be covered – it is easy marks to gain or lose. 

• Learners need to be encouraged to study consistently. 

• Biblical Study is not an easy subject that can be written on general knowledge. 

• Remember that the portfolios do count and spend more time on the completion of 

the portfolio. 

88

BRICKLAYING AND PLASTERING SG 

QUESTION 1 

Safety procedures unsafe acts and conditions 

Drainage-points to follow when erecting a drain. 

Drainage tests to be carried out. 

QUESTION 2 

Plan drawing for a dwelling including sections and elevation. 

Brickwork and bonding 

Sections of foundation and foundation wall 

Calculation of materials for a building 

The quantity survey method to be followed 

Substructure (foundation wall) 

Superstructure (floor level to wall-plate level) 

Beam filling 

QUESTION 3 

QUESTION 4 

QUESTION 5 

Different members of a sewerage line on site plan 

Testing sewerage line 

The construction of a vacuum tank 

QUESTION 6 

Pile foundations, different members of pile foundations, sketches and materials 

89

Vraestel A 

BUILDING CONSTRUCTION / BOUKONSTRUKSIE SG 

Afdeling A / Section A (COMPULSORY / VERPLIGTEND) 

Vraag 1 / Question 1 

Raamwerk 

Framework 


Huisplanne – aansigte 

House plans – elevations 


Riole / sewerage 

Riool inspeksies / Sewerage Inspection 

Veiligheidsmaatreëls by houtwerkmasjiene 

Safety- Woodwork machines 

Bukswaterpas / Dumpy level 

Swaaideur / Swiveldoors 

Afdeling B / Section B 

Beantwoord enige TWEE vrae / Answer any TWO questions 


Balk met verspreide belasting 

Beam with universal spreaded load 


Trap of Balk (Bekisting + Bewapening) 

Stairs or Beam (Formwork + Reinforcement) 


Riole / Sewers 

Bouregulasies / Building regulations 

Sonkollektor / Solar System 

Afkortings / Abbreviations 


Eensteenfondasie muur 

One brick foundation 

Organisasie struktuur van ‘n bouprojek. 

Organisation structure at a building project 

Bukswaterpas / Dumpy level 

90

Vraestel B 

Afdeling A / Section A (COMPULSORY / VERPLIGTEND) 


Huisplanne (aansigte) 

Houseplans (elevations) 


Balk (Skuifkragte + Buigmomente) 

Beam (Shear force + Bending moments) 


Veiligheid op bouperseel 

Safety at building site. 

Stene / Bricks 

Veiligheid – Houtwerkmasjiene 

Safety – Woodwork machines 

Glas / Glass 

Rioolpype / Sewer pipes. 

Afdeling B / Section B 

Beantwoord enige TWEE vrae / Answer any TWO questions 


Raamwerk / Frame work 


Dakkonstruksie 

Roof construction 


Septiese tenk (skets + werking) 

Septic tank (drawing + working) 

Rioolplan 

Sewerplan 


Hout vir dakkappe 

Wood for roof trusses 

Beton 

Concrete 

Vakuumtenk / Vacuum tank 

Bekisting / Formwork 

Verskillende materiale vir dakke 

Different materials for roofs. 

91

1. GENERAL REMARKS 

COMMERCIAL MATHEMATICS SG 

1.1 The use of recognised short methods should be encouraged as far as 

possible, but not at the expense of insight and understanding. 

1.2 An estimation to determine the possible limits within which the answer falls, 

as well as the testing of the accuracy of answers should be encouraged. 

1.3 Learners should be taught to read carefully and analyse all problems in order 

to set out answers and calculations logically and systematically. 

1.4 Where applicable, graphs should be used to illustrate relationships, which 

occur in the syllabus. 

1.5 The use of the pocket calculator should receive constant attention and its 

possibilities should be fully utilised. 

2. THE EXAMINATION 

2.1 A question paper of three hours will be set. 

2.2 One question consisting of a number of concise, direct questions, to test 

pocket calculator skills, estimation and knowledge of fundamental 

arithmetical concepts 

2.3 Other direct questions (of which one should include a graph) covering the 

whole syllabus 

2.4 The Grade 12 (matric) examination will be set on the Gr. 11 and 12 

syllabuses. 

2.5 Questions will be based on the following sections: 

• Insurance 

• Taxes 

• Foreign currencies and rates of exchange 

• Simple interest and compound interest 

• Depreciation 

• Mensuration – squares, rectangles, triangles, circles, right prisms, 

solid cylinders, cylindrical pipes, spheres 

• Graphs – smooth curve and straight-line graphs, interpretation and 

deductions 

• Ratio and proportion, mixtures 

• Insolvencies 

• Partnerships 

• Profit and loss 

• Stocks, shares and debentures 

• Statistics – Mean, mode, median, tabulation and representation of 

data 

• Annuities – Use of commercial tables to calculate terminable 

annuities, annuities due, deferred annuities, redemption of annuities 

92

1. ALGEMENE OPMERKINGS 

HANDELSWISKUNDE SG 

1.1 Die gebruik van erkende verkorte metodes moet sover moontlik 

aangemoedig word, maar nie ten koste van insig en begrip nie. 

1.2 ’n Benadering om die moontlike grense te bepaal waarbinne die antwoord 

val, asook die toetsing van die akkuraatheid van antwoorde behoort 

aangemoedig te word. 

1.3 Leerders moet geleer word om die probleme deeglik deur te lees en te 

ontleed en om antwoorde en berekenings logies en sistematies uiteen te sit 

en van alle erkende tekens gebruik te maak. 

1.4 Waar van toepassing, moet grafieke gebruik word om verhoudings wat in die 

sillabus voorkom, te illustreer. 

1.5 Die gebruik van die sakrekenaar moet aaneenlopende aandag geniet en sy 

moontlikhede moet ten volle benut word. 

2. DIE EKSAMEN 

2.1 ’n Eksamenvraestel van drie uur sal opgestel word. 

2.2 Een vraag wat bestaan uit ’n aantal kort, direkte vrae om 

sakrekenaarvaardighede te toets, benaderings en kennis van basiese 

rekenkundige konsepte 

2.3 Ander direkte vrae (waarvan een ’n grafiek insluit) wat die hele sillabus dek 

2.4 Die Gr. 12- eksamen sal opgestel word oor die Gr. 11-en 

Gr. 12-sillabusse. 

2.5 Vrae sal op die volgende afdelings gebaseer word: 

• Versekering 

• Belasting 

• Buitelandse valuta en wisselkoerse 

• Enkelvoudige en saamgestelde rente 

• Waardevermindering 

• Maatbepaling – vierkante, reghoeke, driehoeke, sirkel, egte 

prismas, soliede silinders, silindriese pype, sfere. 

• Grafieke, egalige kurwes, reguitlyngrafieke, interpretasie en 

afleidings 

• Verhouding en proporsie, vermengings 

• Insolvensies 

• Vennootskappe 

• Wins en verlies 

• Effekte, aandele en skuldbriewe 

• Statistieke, gemiddeld, modus, mediaan, tabulering en 

voorstelle van data 

• Annuïteite – gebruik van handelstabelle om eindigende 

annuïteite, uitbetalende annuïteite, aflossing van lenings te 

bereken 

93

COMPUTER STUDIES GUIDELINES GRADE 12 

TABLE OF CONTENTS 

I. Compilation of Grade 12 Computer Studies marks from 2006 ................................ 

II. Grade 12 Higher Grade........................................................................................... 

A. Breakdown of mark allocation................................................................... 

TABLE 1: Breakdown of marks for the HG.................................................. 

B. Grade 12 HG Theory Paper 2006 ............................................................... 

1. General aspects relating to the theory examination...................................... 

2. Content that must be covered in each section of the core syllabus .............. 

2.1 Data Representation.......................................................................... 

2.2 Computer Architecture....................................................................... 

2.3 Systems Software.............................................................................. 

2.4 Data Communications ....................................................................... 

2.5 Socio-economic Implications ............................................................. 

2.6 Trends ............................................................................................... 

2.7 Algorithms and Implementation of Turbo Pascal/ Delphi ................... 

2.7.1 General 

2.7.2 Pascal/Delphi for both papers (Theory & Practical) 

Summary of TURBO PASCAL content to be examined 

Summary of Delphi content to be examined 

C. Grade 12 HG Practical Paper 2006 ............................................................ 

1. General ....................................................................................................... 

2. Turbo Pascal ................................................................................................ 

3. Delphi ......................................................................................................... 

4. Coding conventions ...................................................................................... 

5. Algorithmic structures ................................................................................... 

6. Problem solving principles ............................................................................ 

III Grade 12 Standard Grade....................................................................................... 

A. Breakdown of mark allocation................................................................... 

TABLE 2: Breakdown of marks for the SG.................................................. 

B. Grade 12 SG Theory Paper 2006 ............................................................... 

1. General aspects relating to the theory examination...................................... 

2. Content that must be covered in each section of the core syllabus .............. 

2.1 Data Representation.......................................................................... 

2.2 Computer Architecture....................................................................... 

2.3 Systems Software.............................................................................. 

2.4 Data Communications ....................................................................... 

2.5 Socio-economic Implications ............................................................. 

2.6 Trends ............................................................................................... 

2.7 Application Packages ........................................................................ 

C. Grade 12 SG Practical Paper 2006 ............................................................ 

1. General......................................................................................................... 

2. Word processor ............................................................................................ 

TABLE 3: Editing Symbols .......................................................................... 

3. Spreadsheet ................................................................................................. 

4. Database ...................................................................................................... 

5. Integration of packages ................................................................................ 

IV List of Computer Studies Textbooks and other References .................................... 

A. List of textbooks that can be used............................................................ 

94

B. List of other useful References (Optional) ............................................... 

V General Remarks to the educator regarding the Practical Examination.................. 

COMPUTER STUDIES 

I. Compilation of Grade 12 Computer Studies marks from 2006 

Theory (Written 

final examination) 

Higher 

Grade 

200 

Practical (Exam) 100 

CASS 100 

Final Gr 12 Mark 400 

95 

Standard 

Grade 

(150) 

100 

(150) 

125 

(100) 

75 

300 

Guidelines for the compilation of a Portfolio for the Continuous Assessment (CASS) 

mark will be provided separately. Standard Grade: The mark in brackets for each section 

will be converted to mark not in brackets in order to get to the total of 300. 

II. GRADE 12 HIGHER GRADE 

A. Breakdown of mark allocation for final Grade 12 HG examinations 

A Practical Paper of 3 hours and a Theory Paper of 3 hours will be written. The 

Practical Paper will count out of 100 marks and the Theory Paper out of 200 marks. 

Topic 

% in Interim 

Core Syllabus 

Marks in 

Practical Paper 

Marks in 

Theory Paper 

Data Representation 5 15-20 

Computer Architecture 5 30-35 

Systems Software 4 20-25 

Data Communications 8 30-35 

Socio-economic Implications 5 15-20 

Trends 5 15-20 

Algorithms 10 

Implementation in Turbo Pascal / 

Delphi 

Application Packages 18 

40 100 

50-75 

Assessed for HG in CASS 

Portfolio 

Grade 12 Examination Total: 100 % 100 200 

TABLE 1: Breakdown of marks for the HG Final Examination 

B. GRADE 12 HG THEORY PAPER 2006 

1. General aspects relating to the theory examination 

The purpose of this examination is to assess the candidate’s ability to: 

• understand the broad principles of a concept, term or item, being able to describe it

and to discuss advantages and disadvantages relating to it, with no emphasis on 

specific details such as dates, sizes of memory, processor speeds; 

• apply his/her knowledge and not merely to reproduce a list of facts; 

• express an opinion and substantiate it with suitable examples 

The exam will not reflect the specific content/approach of a particular textbook. It is 

important that candidates make use of a variety of resources in preparing for the exam. 

These should include books, magazines, etc. (See Section IV for a list of textbooks and 

useful references) 

There may be multiple choice questions. Optional questions will not be asked. 

2. Content that should be covered in each section of the core syllabus 

2.1 Data Representation 

Constants (0 and 1), variables 

Operators (and, or, not, xor) 

Order of operations 

Basic Boolean algebra and laws 

Minterms 

s- , m - and function notation 

Truth tables, including word problems 

Karnaugh Maps - maximum 4 variables 

Logic circuits 

Adders - half and full 

Candidates should: 

• be aware of the conventions in notation and adopt them 

• understand what the various representations mean and not merely learn them off by 

heart 

• be able to link this section to programming, database and Internet enquiries 

2.2 Computer Architecture 

Internal clock 

Bootstrap loader and start up sequence of computer (CMOS and BIOS) 

Processors (Pentium and AMD) and their development 

Effect of number of transistors on performance of a processor 

Pipelining, superscalar, prefetch-unit 

Hyperthreading 

Interrupts (the basics) 

Buses - internal (data, address, control), external (ISA), local (PCI), AGP 

PCI express 

PS/2 

The basic operation of the CPU: Registers, control unit and arithmetic logic unit 

USB, Firewire, IrDA, MIDI 

Controller cards 

Differences between standard video card, 2D and 3D video cards 

Memory - RAM, types of ROM, SIMMS, cache (disk and memory cache),DIMMS, RIMMS, 

SRAM, DRAM, SDRAM, DDR DRAM(Double Data Rate DRAM), DRDRAM (Direct 

Rambus DRAM) 

Methods of storing data on devices (optical, magnetic, electric charges) 

96

Storing of data on a USB memory stick 

How data is stored on 

RAID 

MMX / SIMD / SSE / 3D Now! 

IDE and SCSI drive controllers 

DVD 

Basic set of instructions, RISC and CISC processors 


• be able to explain terms and concepts using their own words and show that they 

understand the term/concept 

• be able to discuss the general development of processors - not just Intel. It is not 

necessary to know dates, speeds of processors, and specific technical detail. 

2.3 Systems Software 

Basic functions of an operating system 

The user interface and kernel 

Role of the FAT/VFAT/NTFS and boot sector 

Processing techniques – single tasking, multitasking, multiprocessing, batch and 

interactive processing, real time processing, timesharing, multi-threading 

Windows 95/98/2000/XP - outstanding traits, differences, advantages, disadvantages, 

functions 

Embedded operating systems 

Spoolers and buffers 

Drivers 

Assemblers, compilers and interpreters 

Virtual memory 

Maintenance of a computer (general "housekeeping", keeping the system virus-free, etc.) 

System Tools provided with the Windows operating system 

Winzip 

Linux 

LindowsOS/Linspire 

Installing/uninstalling software 


• be able to discuss general issues relating to the OS and use specific products as 

examples 

• be familiar with the operating system which they work on and should be able to 

compare in order to highlight the differences, e.g. text-based versus Graphical Users’ 

Interface (GUI) operating systems 

2.4 Data Communications 

Fundamental concepts 

parallel and serial transmission 

serial and parallel ports 

interface devices - hardware needed to set up various types of networks (hubs, 

switches, network cards, cables, etc); - software needed 

Transmitting data 

analogue - digital conversions 

modems 

97

transmission media (cables, wireless: microwave, radio wave, infra red, satellite, 

bluetooth, Wi-Fi) 

transmission speed (bandwidth, mbps, bps) 

transmission modes (synchronous, asynchronous, half duplex, full duplex) 

types of transmission (line/circuit switching, packet/message switching e.g. X.25, 

frame relay, cell switching) 

protocols (general concept and examples e.g. IPX, TCP/IP, ATM) 

GPRS, WAP, VolP 

medium access methods (CSMA/CD, token passing) 

error checking (e.g. parity, checksum) 

Network operating systems (e.g. Novell, Windows NT, Windows 2000) - use commercial 

examples to explain the basic issues/concepts of data communications and 

networking 

Network applications - where networks are used and what they are used for 

Network security (Crimes, network security controls e.g. Digital signatures, ect) 

Internetwork devices: repeaters, bridges, routers (logical and physical addressing), 

gateways, etc. 

LAN 

topologies (bus, star, ring) 

technologies (FDDI , Ethernet, Token Ring) 

types of LANs (peer-to-peer, client-server) 

WAN 

diginet. 

Types of connections to the Internet, e.g. Analogue dial up, ISDN, ADSL, satellite 

MAN and GAN 

characteristics and examples 

Types of servers (e.g. print server, proxy server, etc) 

Internet 

terminology - e.g. Homepage, website, URL, hypertext, hyperlinks, HTML, XML, 

ISP, FTP, email; 

web browsers 

search engines (how to use search engines as well as examples of search engines) 

ISP’s 

user accounts at ISP 

e-mail accounts (e.g. at ISP, or at Yahoo and others), e-mail addresses 

websites 

registering a domain 

web hosting 

social implications of the Internet 

Internet forum 

spam 

cookies 

E-commerce (Internet banking; Internet auctions; Internet buying/shopping) 

Security on Internet – digital signatures, digital certificates, firewalls etc 

How do digital signatures and digital certificates work 

Spyware, adware 

Installing Flash player 

Downloading programs like Zipcentral, Adobe Acrobat 

98


• be able to explain the general concepts and apply these to a given scenario 

• focus on “what it does” rather than “how it does it” with respect to repeaters, bridges, 

etc. 

2.5 Socio-economic Implications of the computer 

Electronic Communications and Transactions Act 

Availability of information 

Effect on lifestyle 

Type of work that people do 

Legality of storing / deleting data 

Types of computer crimes e.g. software piracy 

Computer ethics, 

Implications of the computer for the environment 

Reaction of people to technology 

Smartcards; Smartphones 

Computers and the disabled 

The use of computers in education 


• be able to discuss broad issues relating to the topics that have been given 

• be able to express an opinion on a given issue and substantiate it with examples 

• be able to discuss issues with specific reference to the South African context where 

this is appropriate 

2.6 Trends 

(These topics will be examined in the relevant sections.) 

Hotspot 

Wi-Fi 

wireless networks 

Handheld devices (e.g. PDA) 

Digital cameras, digital video cameras 

Instant Messaging (IM) 

Flash memory and devices 

RFID- radio frequency identification 

Candidates: 

• understand the basic principles behind the terms/concepts 

• discuss advantages and disadvantages of the technology and instances where the 

technology can/should be used 

2.7 Algorithms and Implementation in Turbo Pascal /DELPHI 

2.7.1 General 

• All algorithms and Turbo Pascal /DELPHI applications that have been done in Grades 

10, 11 and 12 are examinable 

• No specific questions on application packages will be asked in the HG Theory Paper 

• More emphasis on logic and algorithm development, but Pascal/DELPHI syntax will be 

evaluated as well. 

99

Candidates should be able to: 

• Identify and correct errors in given program segments (e.g. using trace tables) 

• Extend/ adapt given program segments 

• Develop an algorithm to solve a given problem - must be able to give a description of 

the steps to solve the problem and may not be written in Pascal/DELPHI code 

• Code a given algorithm in Pascal/DELPHI 

• Choose appropriate data structures for a particular problem 

• Discuss the characteristics of a “good” program and programming techniques (e.g. as 

in Gough-Jones et al, 1995, p51) 

• Know the phases of the system development cycle 

• Compiler directives {$} - definition and examples 

2.7.2 Pascal/Delphi for both papers (Theory and Practical) 

Summary of TURBO PASCAL content to be examined: 

• Data types: Byte, word, integer, longint, real, string, char, boolean 

• Structured data types: 

One-dimensional array: Searching, sorting, remove element(s), insert 

element(s), remove duplicate 

Two-dimensional arrays 

• Sets: create a set, test for an element in a set, union, intersection and difference 

• User defined data types 

Records, array of records, data files, text files 

• Operators: +, -, /, *, MOD, DIV, IN (used with sets) 

• Boolean expressions: AND, OR, NOT, , , =, =>,

Summary of DELPHI content to be examined: 

• Data types: Byte, word, integer, longint, real, string, char, boolean, double, single 

• Structured data types: 

One-dimensional array: Searching, sorting, remove element(s), insert element(s), 

remove duplicate elements 

Two-dimensional arrays: ALL manipulation must be done in memory, 

using the StringGrid ONLY as output for 2D array., 

• User defined types: 

Records, array of records, data files, text files 

• Sets: create a set, test for an element in a set, union, intersection and difference 

• Operators: +, -, /, *, MOD, DIV, IN (used with sets) 

• Boolean expressions: AND, OR, NOT, , ,

N.B 

• Processing text in a text file - word counts, find and replace, count characters, find 

ACSII codes of characters, find characters of ASCII codes (ord and chr-functions). 

• String manipulation & character handling 

• Using a text file to input data for a structured data file/ to update a data file 

Text files: To read integer/real values from a text file, one of two methods can be 

used: 

Read an integer or real value from the text file as a string and convert it to a real 

or integer value using the VAL procedure ( Delphi: StrToInt / StrToFloat) 

Read an integer or real value directly from the text file by declaring a variable as 

e.g. intvalue : integer; and use readln (textfile_name, intvalue); to read the value 

directly from the text file, if each value in the text file is on a separate line. 

• Use another data file (transaction file) to update a master data file 

C. GRADE 12 HG PRACTICAL PAPER 2006 

1. General 

The duration of the HG Practical Paper will be 3 hours and will count out of 100 marks. 

Learners should be able to solve problems and to program a given algorithm. 

• Good programming techniques and principles should be used 

• Data validation must be done where indicated – know the difference between correct 

data and valid data 

Turbo Pascal 

• All Turbo Pascal covered in Grade 10, 11 and 12 may be asked (as summarised 

for the Theory Paper in this document, HG: B - paragraphs 2.7.1 & 2.7.2 

• Basic screen layout techniques – e.g. use of Window, Highvideo, Normvideo, 

TextColor, TextBackground, ect. 

3. Delphi 

The following topics list the minimal set of skills that learners should possess. The topics 

are logically grouped and not necessarily listed in the sequence that they should be 

presented. 

3.1 Delphi IDE (Integrated Development Environment) and project file structure 

3.1.1 Menu bars, Object Inspector, Form 

3.1.2 Edit-mode and Run-mode 

3.1.3 How to save and open projects and units 

3.1.4 How to print the unit. 

3.1.5 How to make an “Alt | Print screen” of the form. 

3.2 Basics of Rapid Application Development (RAD): 

Components as objects – the following properties is a minimum for examination 

purposes. Components grouped according to the component tab in Delphi 7.0. 

Candidates must be able to change all listed properties (except Nameproperty) 

through Delphi code as well as using the object inspector. 

Form (frm~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, Hint, 

Color 

102

On the standard Component bar 

Edit (edt~) Name, Text, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

CharCase, Enabled, Visible, MaxLength, ReadOnly, Taborder. 

Label (lbl~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, Hint, 

Color, 

Button (btn~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, Hint, 

Taborder. 

Radiobutton (rad~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, 

Hint, Color, Checked, Enabled, Visible , Taborder. 

Listbox (lst~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

Columns, Enabled, Visible, TabOrder, Items, Sort. 

Groupbox (gbx~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, Hint, 

Color, Visible, Enabled, TabOrder. 

Panel (pnl~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, Hint, 

Color, Visible, Enabled, TabOrder. Align, 

CheckBox (cbx~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, 

Hint, Color, Checked, Visible, Enabled, Taborder. 

RadioGroupBox (rgp~) Name, Caption, Height, Width, Left, Top, Font, 

ShowHint, Hint, Color, Visible, Enabled, Taborder, Columns, Items, ItemIndex. 

Memo (mem~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

Visible, Enabled, TabOrder, Alignment, ReadOnly, Scrollbars, WordWrap, 

Lines. 

Combobox (cbo~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

Visible, Enabled, Taborder, CharCase, DropDownCount, Items, ItemIndex, 

Style, Sorted. 

MainMenu (mnu~) Name, Items. Submemu up to the second level. 

On the additional component bar 

Bitmapbutton (bmb~) Name, Caption, Height, Width, Left, Top, Font, ShowHint, 

Hint, Taborder, Kind, Glyph. 

MaskEdit (med~) Name, Text, Height, Width, Left, Top, Font, ShowHint, Hint, 

Color, Visible, Enabled, TabOrder, Editmask. 

Image (img~) Name, Height, Width, Left, Top, ShowHint, Hint, Visible, Enabled, 

Taborder, AutoSize, Center, Picture (hint to clear picture – imgX.Picture := 

nil), Stretch. 

StringGrid (sgd~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

Visible, Enabled, Taborder, Align, ColCount, RowCount, FixedColor, 

FixedRows, FixedCols, Options (goEditing), Scrollbars. 

On the Win32 component bar 

RichEdit (red~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

Visible, Enabled, TabOrder, Lines, Align, Alignment, PlainText, ScrollBars, 

Wordwrap. Must be able to set Tabsets. 

On the Samples component bar 

SpinEdit (sed~) Name, Height, Width, Left, Top, Font, ShowHint, Hint, Color, 

MaxLength, MaxValue, MinValue, Enabled, Visible, Taborder, Value. 

On the Dialogs component bar 

DialogBoxes (dlg~) Open / Save Name, Filename, Filter, FilterIndex, 

InitialDir, Title. Must be able to respond to the Cancel button. 

103

Components only available in code: 

InputBox How to make use of the default value for validation. 

ShowMessage 

MessageDlg Must be able to use the response to a button. 

PLEASE NOTE THAT THE FOLLOWING COMPONENTS ARE NOT 

EXAMINABLE IN THE SENIOR CERTIFICATE EXAM (may be used in portfolio 

projects): 

STANDARD popupMenu 

ADDITIONAL shape, bevel, speedButton, labeledEdit. 

WIN32 tabControl, pageControl, imageList, animate, treeView, listView, 

dateTimePicker, statusBar, toolBar. 

DIALOGS color~, font~ and printDialog. 

SYSTEM timer, mediaPlayer. 

SAMPLES gauge, colorGrid. 

3.3 Events and event handlers 

OnClick, OnChange, OnActivate, OnKeyPress, OnSelect. 

3.4 Methods 

Clear, SetFocus, Items.Add, Lines.Add 

Coding conventions 

Principles of readability and maintainability 

Hungarian naming convention in Delphi 

Indenting, blank lines, comments, descriptive variable names 

Algorithmic structures 

Sequential 

Selection (if, case) 

Iteration (for, while, repeat) 

Problem solving principles 

Stepwise refinement 

Algorithmic design 

Testing with trace tables 

Identify and correct logical and syntax errors. 

104

III GRADE 12 STANDARD GRADE 

A. Breakdown of mark allocation for final Grade 12 SG examinations 

A Practical paper of 3 hours and a Theory paper of 3 hours will be written, each 

counting 150 marks 

Topic 

% in Interim 

Core Syllabus 

105 

Marks in 

Practical 

Paper 

Marks in 

Theory Paper 

Data Representation 2 ± 10 

Computer Architecture 5 ± 30 

Systems Software 4 ± 20 

Data Communications 8 ± 35 

Socio-economic Implications 5 ± 15 

Trends 8 ± 15 

Algorithms & packages 18 ± 25 

Application Packages 50 150 

Grade 12 Examination Total: 100 % 150 150 

TABLE 2: Breakdown of marks for the SG Final Examination 

B. GRADE 12 SG THEORY PAPER 2006 

1. General aspects relating to the theory examination 

The examination will not reflect the specific content/approach of a particular textbook. It is 

important that candidates make use of a variety of resources in preparing for the 

examination. These should include books, magazines, newspaper articles, the Internet, 

guest speakers, TV programmes, etc. (Refer to Section IV for a list of textbooks and 

useful references). 

Types of questions: 

• Multiple choice questions 

• Match the columns 

• Give one word for . . . 

• Definitions & explanations - candidates should understand the broad principles of a 

concept/ term/item, be able to describe it and to discuss advantages and 

disadvantages relating to it. 

• There will be NO OPTIONAL QUESTIONS. 

• Emphasis will be placed on practical application types of questions, rather than 

formal theoretical, content-based types. Candidates should be able to apply their 

knowledge.

2. Content that must be covered in each section of the core syllabus 

2.1 Binary logic 

Boolean algebra: operators, variables, order of precedence 

Simplification of Boolean expressions. Example 1 + 0.1 = 1 + 0 = 1 

Truth tables 

Practical applications of binary logic, using the Boolean operators: 

Examples: 

Queries in databases 

To use the operators for search on the Internet 

2.2 Computer Architecture 

Internal clock 

Bootstrap loader and start up sequence of computer 

Processors and their development from the 486 up to the latest 

Internal Buses (data, address, control) 

External Buses (ISA) 

Local Buses (for example: PCI) 

AGP 

PCI express 

The operation of the CPU: Registers, control unit and arithmetic logic unit 

Pipelining 

Hyperthreading 

Controller cards 

Differences between standard video card, 2D and 3D video cards 

Memory - RAM, ROM, SIMMS, cache (disk and memory cache), DIMMS, SRAM, DRAM 

SDRAM, DDR DRAM (Double Data Rate DRAM), DRDRAM (Direct Rambus DRAM) 

Methods of storing data on devices (optical, magnetic, electric charges) 

Storing of data on a USB memory stick 

USB 

Firewire 

PS/2 

MMX / SIMD / SSE 

SCSI and IDE drive controllers 

RISC and CISC processors 

How do certain devices connect to the computer - serial/parallel port, cards fitted into slots 

on motherboard, which cards fit in which slots, etc. 

2.3 Systems Software 

Operating system 

Basic functions of an OS 

Input/output control: buffers & spoolers 

Role of the FAT and boot sector 

Differences between MS-DOS & WINDOWS 95/98/2000 

106

Embedded operating systems 

Virtual memory 

Single-tasking 

Linux 

LindowsOS/Linspire 

Windows 95/98/2000/XP - outstanding traits, advantages, disadvantages, multi-tasking 

and the functions of e.g. Windows Explorer, Recycle Bin, etc. 

Name different versions of Windows & describe outstanding characteristics and 

uses of each, e.g. Windows 95/98/2000/XP, Windows NT, Windows CE. 

System Tools provided with the Windows operating system 

Network Operating Systems - know examples of NOS (e.g. Novell, Windows NT, Windows 

2000, etc) 

Maintenance of a computer (general "housekeeping", keeping the system virus-free, etc.) 

Winzip 

Installing/uninstalling software 

2.4 Data Communications 

Fundamental concepts 

parallel and serial transmission 

serial and parallel ports 

interface devices - hardware needed to set up various types of networks (hubs, 

network cards, cables, dial-up line, dedicated data line, etc); - software needed 

Must be able to name different types of cables & pros & cons of each type. 

Transmitting data 

analog - digital conversions 

modems 

transmission media (e.g. cables, microwave, satellite) 

transmission speed (baud, bandwidth) 

transmission modes (synchronous, asynchronous, simplex, half duplex, full duplex) 

types of transmission (line/circuit switching, packet/message switching e.g. X.25) 

protocols (general concepts: be familiar with the TCP/IP protocol) 

medium access methods (e.g. CSMA/CD, token passing) 

error checking (e.g. parity, checksum) 

Software needed: network operating systems (e.g. Novell, Windows NT, 

Windows 2000) - use commercial examples to explain the basic 

issues/concepts of data communications and networking 

Network applications - where networks are used, what they are used for, advantages 

Security (privacy, hackers, etc.) 

LANs: 

topologies (bus, star, ring) - name pros & cons of each 

technologies (FDDI , Ethernet, Arcnet, Token Ring) - only short description 

types of LANs (peer-to-peer, client-server) 

Internetworks: 

WAN: how formed & advantages; topologies (ISDN, ATM) 

MANs and GANs: characteristics and examples 

Internetwork devices: repeaters, bridges, routers, gateways 

Types of servers (e.g. print server, proxy server, etc) 

ADSL 

107

Internet 

web browsers 

search engines 

• how to use 

• many examples of search engines 

ISP’s 

user account at ISP 

e-mail accounts (e.g. at ISP, or at Yahoo and others), e-mail addresses 

websites 

HTML 

XML 

registering a domain 

web hosting 

website addresses, URL 

hypertext, hyperlinks 

email; social implications of the Internet 

Internet forum 

spam 

spyware, adware 

cookies 

E-commerce (Internet banking; Internet auctions; Internet buying/shopping) 

Security on Internet – digital signatures, digital certificates, firewalls etc. 

How do digital signatures and digital certificates work 

Installing Flash player 

Downloading programs like Zipcentral, Adobe Acrobat 

SG candidates should have a conceptual & overall knowledge - not to be known in such 

detail 

2.5 Socio-economic Implications of the computer 

Electronic Communications and Transactions Act 

availability of information 

effect on lifestyle 

type of work that people do 

new types of computer crime 

implications of the computer for the environment 

reaction of people to technology 

Smartcards 

Smartphones 

The use of computers in education 

Computers and the disabled 

2.6 Trends 

(These topics will be examined in the relevant section.) 

Hotspot 

Wi-Fi 

VoIP 

DVD 

3D Accelerator Cards 

108

Digital cameras 

WAP 

WAP devices 

Bluetooth 

Handheld devices (such as PDA’s) 

2.7 Application Packages 

• Only the Word Processor, Spreadsheet and Database will be examined externally. 

• Theoretical, general questions (not on specific packages) on subject matter as in 

paragraph 3 could be asked. 

• Except for general principles of packages, the following must be known for the 

Theory Paper: 

Of which components well known integrated packages consist of, what their 

functions are and how/what they can be used for: E.g. 

Microsoft Office: Word, Excel, Access, PowerPoint, etc. 

Corel WP Suite: Word Perfect, Quattro Pro, Paradox, etc. 

Lotus Smart Suite: WordPro, Lotus 1-2-3, Approach, etc. 

Star Office: Writer, Calc, Impress, Draw, Base 

Distinguish between system software and application software 

Differences between the functions of a text editor (like Notepad) and a word 

processor 

What are the following packages/programs used for and what are their main 

functions? 

Adobe Acrobat Reader 

Pastel, Accpac, QuickBooks, Brilliant Accounting 

Encarta, Grolier, Encyclopedia Britannica, Bookshelf 

Dr Solomon’s toolkit, Fprot, Trend Penicillin, MacAfee, Norton Antivirus 

Norton Commander 

Publisher 

Imaging, Photo Editor, Photoshop, CorelDraw, PhotoDraw, AutoCAD 

Flash 

Dreamweaver, FrontPage 

Plug-ins: Flash Media player 

Files with a *.pdf extension 

C. GRADE 12 SG PRACTICAL PAPER 2006 

1. General 

Only the word processor, spreadsheet and database will be examined externally 

Candidates should . . . 

• be able to use packages with confidence 

• know which package is most suitable for a specific situation/problem 

• be able to handle everyday tasks done by a secretary for a small company. 

• develop skills in the use of packages - that is, they must be so well practised that 

they must be able to work quickly in a package and must not search for certain basic 

functions. 

• be able to type in documents but no speed typing will be required - enough time will 

be allowed. 

109

Very, very 

important! 

• know how to save their documents on a disk! This is extremely important as 

the work is being marked from the disks. Learners should be absolutely at ease 

with procedures to SAVE a file, SAVE AS a file, to COPY a file and to do it at the 

correct location, e.g. on the hard drive (C:\ in a specific folder or subdirectory or the 

correct path on a network) or on A: (stiffy drive) and they must know how to check 

whether all their files are on their disks before handing the disk in after the 

practical examination. Backup procedures should be decided on by the educator 

and practised with learners long before the final examination (start already in 

Grade 10). 

• ONLY PRINT documents when stipulated. Most of the questions will be marked 

from the disks. 

Weighting in the SG Practical Examinations 2006: 

• Word processing : ± 25 - 30% 

• Spreadsheet : ± 35 - 40% 

• Database : ± 25 - 35% 

• Integration : ± 15% 

2. Word processor 

Candidates should have required the following skills and knowledge in the specific word 

processing package that they are using: 

2.1 Definition, examples, areas of application of a word processor 

2.2 General file handling: Load/Open, Save, Save As, Create (New), Print 

2.3 Print a document neatly on one page. (Especially where dot matrix printers are 

used, candidates must be familiar with the printer.) 

2.4 Insert, delete, copy or move text 

2.5 Display and remove the hidden codes 

2.6 Insert special characters such as the bullet. 

2.7 Word wrapping and the correct use of e.g. only at the end of a paragraph 

2.8 Know and understand the basic editing symbols (see Table 3, page 12) 

2.9 Know that one uses to space a numbered list of words vertically in line 

2.10 Change line spacing 

2.11 Change the format of text that has already been typed to bold, italic or underline 

2.12 Character formatting: style, size (also superscript and subscript), type 

2.13 Neatly display a document containing different paragraphs with headings by using 

horizontal spacing and character formatting 

2.14 Justification: left, right, centre, full 

2.15 Know how to indent a paragraph neatly and how to remove indenting 

(N.B. A paragraph is not indented by using and for each line!) 

2.16 Page formatting: page size, margins, headers and footers, page numbering, 

borders (text and paragraph), insert and remove page breaks, page borders 

110

2.17 Use of tab settings: different types of such as right-aligned, decimal tab 

etc. 

2.18 Use of the Spell checker, Thesaurus, word count 

2.19 Search, Search and Replace functions 

2.20 Handling multiple documents simultaneously 

2.21 Insert pictures and symbols. Format pictures (use picture toolbar), change size of 

symbols. 

2.22 WordArt 

2.23 Insert/remove watermark 

2.24 Use of autoshapes and textbox, format autoshapes and textbox. Insert text, use 

free rotate and change text direction. 

2.25 Drop caps 

2.26 Use of tables, positioning of tables. 

2.27 In tables – divide rows or columns into more rows/columns 

2.28 Use a function to Insert Date 

2.29 Insert columns. 

2.30 Merge from spreadsheet 

2.31 Be familiar with different file formats: 

Learners should be able to open a document that was saved as a text file, in a 

word processor program, to add formatting to the document and then to SAVE 

the file AS a word processor file to retain the formatting. Use the SAVE AS 

NB! 

option and specify the SAVE FILE TYPE AS option as a word processor file. 

Note that the extension of the file changes from *.TXT to *.DOC. 

Saving a word processor file as a text file and knowing that no formatting will be 

saved. 

Retrieving a file of another file format or version and saving a file in another 

word processor file format or version. 

TIPS: 

• When retrieving a document created by someone else, check that the document has 

no "wrong" formatting, such as s inside paragraphs. Use option. 

• Candidates must recognise the formatting used in retrieved documents: 

Examples: 

A right-aligned tab (at 7.5 cm) and a left-aligned tab (at 10 cm): 

Word processing Word 

Spreadsheet Excel 

Database Access 

Indented, full justification: 

Each candidate's disk should be labelled in advance with a sticker 

indicating the number of the examination centre, the examination 

number of the candidate and the name of the application 

package(s) used. 

111

Editing Symbols: 

Instruction Example Meaning Correction 

Print out 

Join Printout 

Colleen Streeet Delete Colleen Street 

λ Make a c λ py Insert Make a copy 

trs Clever is he Transpose He is clever 

Melrose Place 

Beverly Hills 90210 

Switch (vertically) 

Beverly Hills 90210 

Melrose Place 

stet 

# 

stet 

Margins are equal 

Complete thequestion 

Leave in original 

form 

Leave (insert) a letter 

space 

Margins are equal 

Complete the question 

NP 

Complete. 

NP 

Complete. All the 

questions must.... 

New paragraph 

All the questions 

must... 

Continue 

Complete the 

copies. 

Continue the line Complete the copies. 

Yours truly 

o 

trs 

λ # 

ital 

Yours truly 

M. Smit. 

The lay-out of the 

document 

bold Character formatting 

Leave two blank 

lines open in 

between 

Must be printed in 

italics 

Must be printed in 

bold letters 

112 

M. Smit. 

The lay-out of the 

document 

underline Standard 6 Underline Standard 6 

Character formatting 

lc The Computer Lower case letters The computer 

Caps 

Gregory smith 

Summary 

waffle waffle waffle 

waffle waffle 

waffle waffle 

warra warra warra 

warra warra waffle 

waffle waffle 

waffle hum-n 


Dear Mr Du Toit 

With this .... 

ital 

bold 

underline 

lc 

caps 

Upper case (capital) 

letters 

Right indenting 

Remove indenting 

Move to the right 

Gregory Smith 

SUMMARY 

waffle waffle waffle 

waffle waffle 

waffle waffle 


warra warra waffle 

waffle waffle 

waffle hum-n 


Dear Mr Du Toit 

With this .... 

The computer Move to the left The computer 

TABLE 3: Editing Symbols 

2 open lines OR 

press 3 

times

3. Spreadsheet 

Candidates should have required the following skills and knowledge in the specific 

spreadsheet package that they are using: 

3.1 Definition, examples, areas of application of a spreadsheet 


3.3 Rows, columns, cells, cursor movements, naming conventions, ranges, labels, 

values 

3.4 Data entry and editing: insert, add/edit delete, copy, move data 

3.5 Where required, candidates must be able to print a spreadsheet so that all the 

columns fit onto one page width. 

3.6 Fill down, fill right, fill series 

3.7 Basic formatting, such as inserting a heading, using column width, justification, 

character formatting, cell formatting (wrap text, merge) and horizontal/vertical 

spacing to make a spreadsheet more readable, inserting a page break 

3.8 Displaying data in a certain format: currency, number of decimals, date/time 

formats - must be able to format cells in e.g. integer or DATE format. Must be able 

to change formats e.g. date given as 07/01 and displayed as 1 Jul. 

3.9 Formulae and functions: 

Sum, Average, Maximum, Minimum, Large, Small, Absolute, Count, Int, Round, 

Date and Time (inserting a fixed date/time or a date/time that will change 

automatically), as well as formulae using +, -. * and / operations and know how to 

work out a percentage of a value 

3.10 The use of absolute cell references 

3.11 The IF-statement as well as Nested IF statement 

3.12 IF statement with more than one condition using AND / OR 

3.13 Functions COUNTIF and DAYS360 in the package used. Learners should be able 

to do calculations with data in cells in DATE-format, e.g. determine the number of 

days between two dates COUNTIF with wildcards e.g. COUNTIF (A2:A13,”A*”) 

3.14 Sorting of data 

3.15 Use of filters 

3.16 Charts: line, bar and pie - charts representing adjacent or non-adjacent data 

3.17 Candidates must know which chart will be the most suitable to represent certain 

information and format a chart e.g. change the size of the graph or change the 

scale of the axes. 

3.18 Inserting a header and footer 

3.19 Charts must have suitable headings, the axis must be named and the values on the 

axis must be indicated. Block headings with data. (When years must be displayed, 

format as text.) 

3.20 Candidates must make sure that the spreadsheet is saved again to include the 

charts or any other type of formatting or calculations 

3.21 Working with multiple spreadsheets simultaneously 

3.22 Working with several worksheets in one workbook 

3.23 Freeze panes 

3.24 Copy values (without copying formulae) 

3.25 Row or column headings displayed at the top of each page of a large worksheet 

3.26 Insert picture in spreadsheet. Adjust row height to display picture. 

3.27 Use filters 

3.28 Must be able to print spreadsheet with formulas (Ctr + ~) 

3.29 Text join, using & operator (example: A1&A2) 

113

4. Database 

Candidates should have required the following skills and knowledge in the specific 

database package that they are using: 

4.1 Definition, examples, areas of application of a database 


4.3 Formatting fields as specific data types: text, numeric, date, logical (True/False or 

Yes/No). 

Candidates must be able to display fields with a certain number of places after the 

decimal point. 

4.4 Designing and creating a new database: fields, format field as specific data types, 

field 

names, field contents, field width/format, records 

Adding/deleting/editing/formatting fields 

Adding the primary key, add validity test for fields 

4.5 Adding/deleting/editing records 

4.6 Sort the records in a database table in LIST View (Works) / DATASHEET View 

(Access) 

4.7 Do a QUERY with a maximum of two criteria per field, e.g. 

age < 30 AND age > 20 

length = 20 OR length = 40 

Do calculations in the query for example addition of VAT to a value 

4.8 Create a report based on a table or a query. The report facility of the database 

package should be used to create the report. It is not correct to use a database 

table and to delete the fields and records that do not match the query and then 

to print the table. No marks will be given if the report generator is not used. 

Change the title and heading(s) in a report 

Use of grouping in a report 

Insert a page break in a report 

4.9 Learners should be able to do similar calculations on the data in the fields of a 

database table as on the data in a spreadsheet. Learners should be able to use 

the same functions and formulae in a spreadsheet and a database. 

4.10 Add labels and functions/formulae to a report (e.g. SUM, AVERAGE, COUNT, 

MINIMUM or MAXIMUM of a range of values, etc.) and display the calculated 

value in the report with a label/legend. 

4.11 Formatting of numerical values, for example 2 places after the decimal point (also in 

functions) 

4.12 Insert/customise a header/footer in a report - place e.g. text/date/exam number 

left/centre/right in the header/footer 

4.13 Usage of the date function 

4.14 Must be able to print table, report form letter and query. Must be able to print query 

and report in design view 

4.15 Create a form, use of list box, combobox, comments 

4.16 Print a table or query in landscape orientation 

4.17 Must be able to print query and report in design view 

114

5. Integration of packages 

5.1 Form letters: The database table must be created and opened as well as the 

word processor document and the necessary fields merged from the database. 

5.2 Inserting or copying a chart/spreadsheet into a word processing document, 

with/without a link to the original document. 

5.3 Copying columns/fields/data between word processor/spreadsheet/database 

Only ONE integrated package should be used, and this has to be of the same version, for 

example Office 2000. 

Schools should try to standardise to MS Office Professional (including database Access) 

IV List of Computer Studies Textbooks and other References 

A. List of textbooks used 

Theory 

Sandra Jacobs, et al. 1999/2000. Computer Studies 2000/1/3, Grade 10 Theory. 

Dorandia: Study Opportunities. 

Sandra Jacobs, et al. 1999/2000. Computer Studies 99/2000/1/3/5, Grade 11 Theory. 


Sandra Jacobs, et al. 1999/2000. Computer Studies 99/2000/1/3/5 Grade 12 Theory. 


Breytenbach, S.S.J. and Pretorius, E.P. (1996) Computer Studies The Facts, Part I 

(Revised Edition). Paarl. 

Breytenbach, S.S.J. and Pretorius, E.P. (1996) Computer Studies The Facts, Part II 

(Revised Edition). Paarl. 

Practical 

Sandra Jacobs et al. (1999/2000) Word Processing with Microsoft WORD 

97/2000/Works. Dorandia: Study Opportunities. 

Sandra Jacobs et al. (1999/2000) Spreadsheets with Microsoft EXCEL 97/2000/Works. 

Dorandia: Study Opportunities 

Sandra Jacobs et al. (1999/2000) Databases with Microsoft ACCESS 97/2000/Works. 


Annette Bezuidenhout, et al. (1999) Programming in Turbo Pascal, Part 1. Randburg: 

ββ Publications. 

Annette Bezuidenhout, et al. (2000) Programming in Turbo Pascal, Part 2. Randburg: 

ββ Publications. 

Marietjie Havenga & Christina Moraal. (1998) Creative programming in Turbo Pascal. 

Grade 10. Potchefstroom: BitaByte. 

Marietjie Havenga & Christina Moraal. (1999) Creative programming in Turbo Pascal. 

Grade 11 and 12. Potchefstroom: BitaByte. 

Gough-Jones, V.J. et al. (1993) Computer Studies for today, Pascal Std 8 (Second 

Edition). Isando: Heinemann Publishers. 





Craig Pournara, Delia Kench & Genevieve Wilcock. (1997) Pascal := Work + Fun: A 

115

Turbo Pascal Workbook, Modules 1 to 5. Saxonwold: Funworks.Pas CC. 

Annette Bezuidenhout et al (2004) Enjoy Delphi - A Guide to Problem Solving and 

Programming –Part1. Dorandia: Study Opportunities. 

Annette Bezuidenhout et al (2006) Enjoy Delphi - A Guide to Problem Solving and 

Programming –Part2. Dorandia: Study Opportunities. 

J Bezuidenhout (2004) Delphi for Beginners Braamfontein Do & Learn 

Marietjie Havenga & Christina Moraal. (2002) Creative programming in Delphi. Part 1. 

Potchefstroom: BitaByte. 

Marietjie Havenga & Christina Moraal. (2002) Creative programming in Delphi. Part 2. 

Potchefstroom: BitaByte. 

Richard Bradley (2001) Delphi for Scholars Learning Unit 1 – 4 Rosettenville 

W J G Meyer (2000) Exploring Delphi Grootvlei: Zoenik cc 

Keith Gibson (2002) Dealing with Delphi Port Elizabeth 

J Barrow (2003) Introducing Delphi Programming. Pretoria 

B. List of useful references (Optional) 

This list contains books and websites that may be of use in preparing candidates for the 

theory paper. The list is not exhaustive nor is it compulsory to investigate all items on the 

list. 

Magazines 

PC Magazine 

SA Computer Magazine 

PC Computing 

C. Websites 

For information on a specific topic, use any search engine e.g. 

HYPERLINK "http://www.google.com" www.google.com 

HYPERLINK "http://www.altavista.com" www.altavista.com 

Type in the topic such as: RISC and CISC 

Websites with general information on computer technology topics: 

www.pcwebopedia.com - good 

HYPERLINK "http://www.pcguide.com" www.pcguide.com - good but can be on the 

technical side 

HYPERLINK "http://www.intel.com" www.intel.com 

HYPERLINK "http://www.acme.com/build_a_pc" www.acme.com/build_a_pc - 

shows you all the components with information 

HYPERLINK "http://arstechnica.com" http://arstechnica.com - good explanations 

on issues such as RISC and CISC 

HYPERLINK "http://cmt.tstc.edu" http://cmt.tstc.edu - click on: online database, 

networking, devices – shows you the components with information – good (website of a 

Technical College in Texas) 

www.telkom.co.za 

116

V General Remarks to the Educator regarding the Practical Examination 

Special Instructions for the Computer Studies Practical Examination 

Please refer to the Gauteng Department of Education MANUAL FOR THE CONDUCT OF 

THE SENIOR CERTIFICATE EXAMINATION, Section 9. 

Marking of the practical paper: 

Although some printouts are handed in, most of the files are marked from the disks to 

check aspects as correct use of indenting, margins and s, spreadsheet formulae 

and functions, etc. Learners must be absolutely sure of the procedures of how to 

SAVE/SAVE AS/COPY files to his/her own disk. Only the required files must be on the 

disk. Questions must be saved using the name indicated on the question paper only. 

Check that there are no viruses on your school's computers. NB!! Please invest in a 

regularly updated copy, as new viruses appear almost daily. You are also at great risk that 

the candidates' files can be damaged by a virus. 

Let your candidates hand in their printouts for your own tests and examinations as is 

expected from them in the final examination. The following must be done: 

All required printouts must be made by the candidates themselves 

Candidates must be able to handle the printers themselves (A page on continuous paper 

must not start in the middle of a page and overlap over the perforation) 

Printouts must be placed in the correct order 

On each printout the centre number, the candidate's examination number and the number 

of the question must appear - let candidates make use of headers or footers in their 

documents 

If continuous paper is used, the pages must be separated and the perforated sides be torn 

off neatly 

Staple the printouts to the right side of the folder, in the left corner. 

Place each candidate's disk (marked correctly) in the folder provided. 

Complete the question numbers on the cover page. 

Candidates will be penalised if the required printouts are not handed in - even though the 

files appear on the examination disk. HG candidates must print out their Turbo Pascal 

programs to hand in together with their disks. 

Printing (VERY IMPORTANT): 

See to it that all the printers are in a working condition and print clearly (new cartridges if 

possible?) 

See that the printers are set/configured correctly (especially DOS-based programs): 

text marked italic in a word processor should actually print italic (not underlined) 

printers should print different fonts and font sizes 

117

N.B 

Where different candidates use the same computer and printer to print, it is essential that 

every candidate first closes all his/her files on the computer and remove his/her disk and a 

printout before the next candidate is allowed to use the computer and printer! 

Security Measures 

NETWORKS - strict security measures should be in place when a network is used. The 

network set-up should be specified in such a way that a candidate under no circumstances 

has any access to another candidate's folder/directory and user rights should be restricted. 

Define users’ rights in such a way that a candidate is only allowed to login once at the 

beginning of the examination and that if he/she logs out of the system during the 

examination, he/she is not allowed access again. In this way you can ensure that a 

candidate cannot log in under another user’s name. 

If it is at all possible, it is recommended that you de-activate or disconnect your network 

during the practical examination. 

Database files must be saved correctly. Avoid working on the hard disc and copying to the 

stiffy at the end of the session. Very often copying to the stiffy is not done correctly. 

Rather work on the stiffy from the beginning of the session. If you prefer to work on the 

hard disc, make sure that the files are copied correctly to the stiffy. You must be able to 

open the files on another computer than the one that the learner worked on. 

Backup Procedures 

Additional invigilators are essential at this stage 

of the Practical Examination. 

Educators should decide on a workable strategy for making backup of the candidates' 

examination files. Practice these procedures with the candidates (if they are involved) 

during every practical examination since Grade 10, and ensure that there is a workable 

system in place and that you have enough extra invigilators available during the end of any 

practical examination. 

Please note that a set of backup disks has to be handed in together with the candidates’ 

original disks and printouts for the final Practical Examination. It is not necessary to hand 

in a separate disk for every candidate. If possible, use a CD for backups, or one or two 

disks can be used with a folder for every candidate especially if zipped - use the follow 

number of a candidate's examination number - i.e. without the centre number. Mark the 

backup disk(s) distinctly with the Centre Number and e.g. Backup Disk 1 of 2. Write down 

the examination numbers of the first and the last candidate on sticker, e.g. Candidates nr. 

2300015 - 23000125. With good organisation and practicing of backup procedures you 

can ensure that your candidates have the best opportunity to achieve their best and that 

the risk of a disk that cannot be read, and therefore cannot be marked, is minimized. 

Check that all the necessary files are on the backup disk. 

Learners should check that they could open ALL their files before submitting the disk. 

118

1. PAPERS 1 AND 2 

COMPUTYPING / REKENAARTIK 

Educators should note that the Computyping examination will be divided into two papers. 

Paper 1 will consist of the timed accuracy test (ten minutes) and Paper 2 will consist of the 

theory and practical questions (three hours including reading time). No keying in or editing 

of documents may take place during reading time. 

2. SESSIONS 

The number of candidates per centre cannot exceed two sessions. 

3. EXAMPLE OF EXAMINATION PROCESS 

3.1 ONE SESSION 

Examination process Time allocated Session 1 

Reading and preparation of document 5 minutes 09:00 – 09:05 

Paper 1 (Speed) 10 minutes 09:05 – 09:15 

Rest and printing period 5 minutes 09:15 – 09:20 

Paper 2 (Read) 10 minutes 09:20 – 09:30 

Paper 2 (Practical) 2 hours 50 minutes 09:30 – 12:20 

Printing 30 minutes 12:20 – 13:10 

Cleaning drives 40 minutes 13:10 – 13:45 

Candidates will not be permitted to vacate the examination venue until all printing is 

complete and all candidates' answers have been submitted. Candidates sitting for the 

second session will have to report at 11:00 for supervised study so that no contact is made 

with candidates sitting for the first session. 

119

3.2 TWO SESSIONS 

Examination 

process 

Reading and 

preparation of 

document 

Time allocated Session 1 Session 2 

5 minutes 07:30 – 07:35 12:00 – 12:05 

Paper 1 (Speed) 10 minutes 07:35 – 07:45 12:05 – 12:15 

Rest and printing 

period 

5 minutes 07:45 – 07:50 12:15 – 12:20 

Paper 2 (Read) 10 minutes 07:50 – 08:00 12:20 – 12:30 

Paper 2 (Practical) 2 hours 50 minutes 08:00 – 10:50 12:30 – 15:20 

Printing 30 minutes 10:50 – 11:20 15:20 – 15:50 

Cleaning drives 40 minutes 11:20 – 11:50 15:50 – 16:30 

4. INVIGILATION AND SECURITY 

There should be at least three invigilators per session, one of whom should be the 

Computyping educator. All the invigilators must be computer literate (Computer Studies 

educators preferably). If necessary, a consultant should be on call to solve problems and 

to check the drives. Any examination files of candidates which remain on the drive must 

be erased. The consultant will be hired at the school's expense. 

5. ANTI-VIRUS PROGRAM 

Schools should ensure that their computers are provided with a reliable anti-virus program. 

6. PREPARATION OF FILES/DOCUMENTS FOR THE EXAMINATION 

Schools will be provided with a master disk for the Computyping examination a few days 

before the date of the examination. It is the responsibility of the school to ensure that a 

stiffy diskette or folder on the hard drive is provided for each candidate. The same 

diskette/folder will be used for the timed accuracy question and for the rest of the paper. 

All diskettes must be checked before use. Alternatively a CD can be used to store all 

candidates' files. 

It is the responsibility of the Computyping educator to load the required files into folders for 

each candidate on the network or to prepare a stiffy diskette in the appropriate word 

processing program for each candidate. Each stiffy must be clearly labelled with each 

candidate's examination number as well as the examination centre number (see below) or 

in the case of a CD, just with the examination centre number, but each candidate should 

have a folder identified by his/her candidate number. The diskettes/CD must be sealed in 

clearly labelled boxes or envelopes and stored in a secure place (e.g. school strong 

120

oom). The back-up media must be retained by the school until the end of the second 

term of 2007 after which the disks can be discarded or reformatted for use. 

Below is an example of how disks should be labelled. In the case of a CD, each learner 

should have his/her own folder, and the CD should be labelled with the centre number and 

subject code. 

Candidate Number: 801 210096 121 

Exam centre: 210096 

Subject: Computyping SG (942-2/1/2) 

A form will be completed by the educator confirming that the master diskette was received 

and that the candidates' diskettes have been prepared and the information saved for each 

candidate. You may not open the files. The copying of the documents must be 

completed within two days of receipt of the master disk, and the form faxed immediately to 

the fax number supplied. If any problems occur which cannot be fixed by the 

technician/consultant, the Examinations Directorate must be notified immediately. 

Work may be done on the hard drive (recommended) or the stiffy drive during the 

examination. If a networked hard drive is used, documents must be saved under a 

password. This password must be determined by the educator who will issue it to the 

candidates immediately before the examination session begins. 

Answers must be copied onto stiffies (one stiffy per candidate) or onto one CD per school, 

sealed and stored securely in case they should be required by the exams directorate. If 

a CD is used, each candidate should have a folder identified by his/her candidate number. 

Files from both Paper 1 (Timed accuracy question) and Paper 2 should be saved on the 

same diskette/CD. The stiffies/CD must not be sent to the Examinations Directorate 

but must be retained by the school. 

No printing of answers will be carried out at the marking venue and consequently, 

unprinted scripts will not be marked. Disks must not be attached to the answer scripts. 

7. PRINTING OF DOCUMENTS/FILES 

Only one printout per question is allowed. The printing may take place in the course of 

the examination or at the conclusion thereof. All candidates must remain present until all 

printing has been completed and the printed hard copy placed in the folders supplied (only 

one folder per candidate – include both papers). Educators must ensure that all answers 

are printed and inserted into the folder provided. Marking is done from the hard copy only. 

If necessary, arrangements should be made for additional printers to be available for the 

Computyping examination. 

8. STATIONERY 

Each school must ensure there is sufficient paper to cover the printing needs of the 

candidates. Spare cartridges for the printer must be available. 

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9. GUIDELINES TO LAYOUT OF DOCUMENTS 

Official guidelines for the layout of documents are available from district offices or via email 

from aematthews@absamail.co.za. 

10. DESCRIPTION OF PAPER 

The examination paper will consist of Paper 1 (Timed Accuracy test) and Paper 2 (Theory, 

Editing and Practical). The mark allocation will be as follows: 

Paper 1 Speed (20 to 80 wpm – minimum 35 wpm) 60 marks (20%) 

Paper 2 Theory 30 marks (10%) 

Editing 45 marks (15%) 

Practical 165 marks (55%) 

There will be no question on MAIL MERGE in 2006/2007. Educators are referred to the 

CASS portfolio requirements. 

Note that the following can/will be included in Computyping question papers as from 2005: 

• Vertical/rotated headings: The text should read from bottom up. 

• Use of the Spellchecker: Sometimes the incorrectly spelt words are indicated and 

sometimes not. This emphasises the importance of proofreading. Learners must 

select English (SA) as the default language. 

• Expanded/condensed characters: Using expanded characters is a way of displaying 

a heading and getting the effect of spaced letters without the use of a space between 

each letter. Condensed characters have the opposite effect. Look in Format > Font > 

Character spacing > Spacing > Expanded/Condensed. 

• Font effect: The MS instruction for font effects like outline, shadow, emboss, 

engrave, strikethrough, superscript, subscript or small/all caps can be asked. 

• Title case and sentence case: Find this in Format > Change case; or use the 

keyboard shortcut Shift+F3. 

• Other effects/functions/features: These include WordArt, AutoShapes and 

Watermarks. 

• English/Afrikaans proper names: Because we live in a multi-cultural society, names 

from all cultural groups in South Africa will be used in question papers. Reference to 

existing companies and products will, if possible, be avoided. 

• Themes: As from the 2005/6 year, the papers will be based on a theme, e.g. medical, 

pets, entertainment, tourism, etc. All the questions therefore relate to a common 

theme, i.e. a common thread runs through the whole paper. This is part of the 

transition to Computer Applications Technology. 

122

11. AVAILABLE TEXTBOOKS 

There are a number of Computyping textbooks presently available on the South African 

market. Educators should evaluate the books personally and decide which book is most 

suitable for their classroom purposes. Educators should at all times be careful not to 

infringe copyright regulations. More than one source of information for teaching and 

practice purposes is important. 

12. UPDATED EDITING SYMBOLS 

Updated editing symbols were distributed with the Moderator's Report at the end of the 

2003 examination. Please refer to this document. 

123

1. VRAESTEL 1 EN 2 

Opvoeders moet kennis neem dat die Rekenaartikeksamen uit twee vraestelle sal 

bestaan. Vraestel 1 sal uit die tydnoukeurigheidstoets bestaan en sal tien minute duur. 

Vraestel 2 bevat die teorie en praktiese vrae (drie ure insluitend leestyd). Geen 

insleuteling of redigering van dokumente mag gedurende die leestyd plaasvind nie. 

2. SESSIES 

Die aantal kandidate per sentrum mag nie twee sessies oorskry nie. 

3. VOORBEELD VAN EKSAMENPROSES 

3.1 EEN SESSIE 

Eksamenproses Tydtoekenning Sessie 1 

Lees en voorbereiding van dokument 5 minute 09:00 – 09:05 

Vraestel 1 (Spoed) 10 minute 09:05 – 09:15 

Rus- en drukperiode 5 minute 09:15 – 09:20 

Vraestel 2 (Lees) 10 minute 09:20 – 09:30 

Vraestel 2 (Prakties) 2 uur 50 minute 09:30 – 12:20 

Druk 30 minute 12:20 – 13:10 

Skoonmaak van skywe 40 minute 13:10 – 13:45 

Kandidate sal nie toegelaat word om die eksamenlokaal te verlaat voordat alle drukwerk 

afgehandel en alle kandidate se antwoorde ingedien is nie. Kandidate wat die 

eksamen in die tweede sessie aflê, sal om 11:00 moet aanmeld vir studie onder toesig, 

sodat geen kontak met kandidate wat die eksamen in die eerste sessie aflê, gemaak kan 

word nie. 

124

3.2 TWEE SESSIES 

Eksamenproses Tydtoekenning Sessie 1 Sessie 2 

Lees en voorbereiding 

van dokument 

5 minute 07:30 – 07:35 12:00 – 12:05 

Vraestel 1 (Spoed) 10 minute 07:35 – 07:45 12:05 – 12:15 

Rus- en drukperiode 5 minute 07:45 – 07:50 12:15 – 12:20 

Vraestel 2 (Lees) 10 minute 07:50 – 08:00 12:20 – 12:30 

Vraestel 2 (Prakties) 2 uur 50 minute 08:00 – 10:50 12:30 – 15:20 

Druk 30 minute 10:50 – 11:20 15:20 – 15:50 

Skoonmaak van skywe 40 minute 11:20 – 11:50 15:50 – 16:30 

4. TOESIGHOUDING EN SEKURITEIT 

Daar moet ten minste drie toesighouers per sessie wees. Een van hierdie toesighouers 

moet die Rekenaartikopvoeder wees. Al die toesighouers moet rekenaargeletterd wees 

(verkieslik Rekenaarstudieopvoeders). Indien nodig, moet 'n konsultant beskikbaar wees 

om probleme op te los en om die aandrywers tussen sessies te kontroleer. Die 

konsultant moet deur die skool aangestel en vergoed word. 

5. ANTIVIRUSPROGRAM 

Skole moet verseker dat hulle rekenaars met 'n betroubare antivirusprogram gelaai is. 

6. VOORBEREIDING VAN LÊERS/DOKUMENTE VIR DIE EKSAMEN 

Skole sal 'n meesterdisket vir die Rekenaartikeksamen 'n paar dae voor die 

eksamendatum ontvang. Dit is die skool se verantwoordelikheid om te verseker dat elke 

kandidaat met 'n stiffie disket voorsien word. Dieselfde disket mag vir die tydnoukeurigheidsvraag 

en vir die res van die vraestel gebruik word. Alle diskette moet voor 

gebruik getoets word. Anders kan 'n CD vir die stoor van alle kandidate se lêers gebruik 

word. 

Dit is die verantwoordelikheid van die Rekenaartikopvoeder om die vereiste dokumente in 

lêers op die netwerk vir elke kandidaat te laai of om 'n stiffie disket in die toepaslike 

woordverwerkingsprogram vir elke kandidaat voor te berei. Die diskette moet duidelik 

gemerk word met elke kandidaat se eksamennommer sowel as die eksamensentrumnommer 

(kyk voorbeeld hieronder) of in die geval van 'n CD, met slegs die 

eksamensentrumnommer, maar elke kandidaat moet 'n lêer wat duidelik sy/haar 

kandidaatnommer geïdentifiseer hê. Die diskette/CD moet in duidelik gemerkte bokse of 

koeverte verseël word en op 'n veilige plek (bv. skoolkluis) gestoor word. Die 

rugsteunmedia moet deur die skool behou word tot die einde van die tweede kwartaal van 

2007, waarna die diskette weggegooi kan word of weer geformateer kan word vir gebruik. 

125

Hier is 'n voorbeeld hieronder van hoe diskette gemerk moet word. In die geval van 'n CD, 

moet elke leerder sy/haar eie lêer hê, en die CD moet met die sentrumnommer en 

vakkode gemerk word. 

Kandidaatnommer: 801 210096 121 

Eksamensentrum: 210096 

Vak: Rekenaartik SG (942-2/0) 

'n Vorm moet deur die opvoeder ingevul word wat bevestig dat die meesterdisket ontvang 

is en dat die kandidate se diskette voorberei en die inligting vir elke kandidaat gestoor is. 

U mag die dokumente nie oopmaak nie. Die kopiëring van die dokumente moet binne 

twee dae nadat die meesterdisket ontvang is, afgehandel word en die vorm dadelik gefaks 

word aan die faksnommer wat voorsien is. Indien enige probleme opduik wat nie deur die 

tegnikus/konsultant reggemaak kan word nie, moet die Eksamendirektoraat dadelik in 

kennis gestel word. 

Werk mag op die hardeskyf of op die stiffie aandrywer gedurende die eksamen gedoen 

word. Indien 'n hardeskyf wat aan 'n netwerk gekoppel is, gebruik word, moet dokumente 

onder 'n wagwoord (password) gestoor word. Hierdie wagwoord moet deur die opvoeder 

vasgestel word. Die opvoeder sal die wagwoorde kort voor die aanvang van die eksamen 

aan die kandidate gee. 

Antwoorde moet na stiffies (een per kandidaat) of na een CD per skool gekopieer word, 

verseël en veilig gestoor word in geval hulle deur die Eksamendirektoraat aangevra 

word. Indien 'n CD gebruik word, moet elke kandidaat sy/haar eie lêer hê, geïdentifiseer 

met sy/haar eie kandidaatnommer. Lêers vir Vraestel 1 (Tydnoukeurigheidstoets) en 

Vraestel 2 moet op dieselfde disket/CD gestoor word. Die stiffies/CD moet nie aan die 

Eksamendirektoraat gestuur word nie, maar moet deur die skool behou word. 

Geen antwoorde sal by die nasiensentrum gedruk word nie en derhalwe sal ongedrukte 

antwoordstelle nie nagesien word nie. Die stiffies moet nie aan die antwoordstelle 

vasgeheg word nie. 

7. DRUK VAN DOKUMENTE/LÊERS 

Slegs een drukstuk per vraag word toegelaat. Die drukwerk mag in die loop van die 

eksamen plaasvind óf nadat die tyd verstreke is. Alle kandidate moet teenwoordig wees 

totdat almal se drukwerk klaar is, en die uitgedrukte harde kopie in die omslae wat 

voorsien is, geplaas is. Opvoeders moet verseker dat alle antwoorde gedruk word en in 

die voorsiene omslae geplaas is. Slegs die harde kopie word nagesien. Indien nodig, 

moet reëlings getref word om addisionele drukkers beskikbaar te stel vir die 

Rekenaartikeksamen. 

8. SKRYFBEHOEFTES 

Elke skool moet verseker dat daar genoegsame papier voorsien word om die drukbehoeftes 

van die kandidate te dek. Addisionele inkkassette vir die drukker moet 

beskikbaar wees. 

126

9. RIGLYNE VIR DIE UITLEG VAN DOKUMENTE 

Amptelike riglyne vir die uitleg van dokumente is beskikbaar vanaf distrikskantore of deur 

e-pos by aematthews@absamail.co.za. 

10. BESKRYWING VAN VRAESTEL 

Die eksamenvraestel bestaan uit Vraestel 1 (Tydnoukeurigheidstoets) en Vraestel 2 

(Teorie, Redigering en Prakties). Die puntetoekenning sal soos volg wees: 

Vraestel 1 Spoed (20 tot 80 wpm – minimum 35 wpm) 60 punte (20%) 

Vraestel 2 Teorie 30 punte (10%) 

Redigering 45 punte (15%) 

Prakties 165 punte (55%) 

Daar sal geen vraag oor SAAMGEVOEGDE DOKUMENTE (mail merge) in die 

2006/2007-vraestelle wees nie. Opvoeders word na die DASS-portefeulje vereistes 

verwys. 

Neem kennis dat die volgende sal/kan in Rekenaartik-vraestelle vanaf 2005 gevra word: 

• Vertikale/geroteerde opskrifte (rotated text): Die teks moet van onderaf boontoe 

gelees word. 

• Gebruik van die Speltoetser: Ons vind dat al hoe meer Afrikaanse skole nou 

toegang het tot die Afrikaanse speltoetser. Ingeval hulle nie die speltoetser het nie, is 

die woorde wat verkeerd gespel word baie maklike woorde wat gewoonlik ook elders in 

die vraag voorkom. Soms word die woorde wat verkeerd gespel is aangedui en soms 

nie. Dit beklemtoon die belangrikheid van proeflees. Leerders moet die taal van die 

dokument op Afrikaans instel. 

• Uitgebreide/saamgeperste karakters (Expanded/condensed characters): Deur 

uitgebreide karakters in 'n opskrif te gebruik kry jy die effek van gespasieerde letters 

sonder om spasies tussen die letters in te voeg. Saamgeperste karakters het die 

teenoorgestelde effek. Kyk in Format > Font > Character spacing > Spacing > 

Expanded/Condensed. 

• Fonteffek: Die MS-instruksie vir fonteffekte soos omlyning (outline), skadu (shadow), 

verhewe (emboss), graveer (engrave), deurtrekking (strikethrough), boskrif 

(superscript), onderskrif (subscript) of klein-/almal hoofletters (small/all caps) kan 

ook gevra word. 

• Titelkas en sinkas (title/sentence case): Vind dit in Format > Change case; of 

gebruik die sleutelbordkortpad Shift+F3. 

• Ander effekte/funksies: Dit sluit in Woordkuns (WordArt), AutoShapes en 

Watermerke. 

• Engelse/Afrikaanse name: Omdat ons in 'n multi-kulturele gemeenskap bly, sal name 

uit alle kulturele groepe in Suid-Afrika in vraestelle gebruik word. Verwysing na 

bestaande besighede en produkte sal, indien moontlik, vermy word. 

127

• Temas: Vanaf die 2005/6-jaar, sal vraestelle op 'n tema gebaseer word, bv. medies, 

troeteldiere, vermaaklikheid, toerisme, ens. Al die vrae sal dus by die tema inpas, 

d.w.s. die vrae is samehangend. Dit is deel van die transisie na 

Rekenaartoepassingstegnologie. 

11. BESKIKBARE HANDBOEKE 

Daar is 'n aantal Rekenaartikhandboeke tans op die Suid-Afrikaanse mark beskikbaar. 

Opvoeders moet die boeke self evalueer en besluit watter boek die geskikste is vir 

klaskamerdoeleindes. Opvoeders moet ten alle tye versigtig wees om nie 

kopieregreëls te verontagsaam nie. Meer as een bron van inligting vir onderrig- en 

oefendoeleindes is belangrik. 

12. OPGEDATEERDE REDIGERINGSIMBOLE 

Opgedateerde redigeringsimbole is saam met die Moderatorsverslag aan die einde van 

die 2003-eksamen versprei. Verwys asseblief na hierdie dokument. 

128

DANCE HG AND SG 

PAPER I: HISTORY AND MUSIC 

Demarcation of work (in summary) to assist educators and learners. 

TO NURTURE IN LEARNERS 

• the ability to think and create along the lines of the outcomes-based approach to education 

• entrepreneurial skills 

• aesthetic sensitivity and sensibility 

• critical thought / analysis 

• collaborative and collective learning 

HIGHER GRADE VERSUS STANDARD GRADE 

A thorough insight and increased critical awareness will be required on Higher Grade. 

POINT OF DEPARTURE 

Attendance of relevant performances is imperative and will be reflected in the question paper. 

The November 2006 and Supplementary Papers will be based on local and international dance events which 

have taken place in Gauteng during 2005/2006. 

SECTION A: HISTORY 

SUGGESTED MARK ALLOCATION 

HG/SG 

1. ATTENDANCE AND RESEARCH OF DANCE WORKS AND COMPANIES 14 / 10 

1.1 DANCE WORK ATTENDED AND RESEARCHED DURING 2004/2005 

Learners need to take cognizance of the following aspects when watching the performance 

and writing the review: 

- Title of work 

- Performers (name the company and main artists) 

- Venue and date of performance (name the month and year) 

- Choreographer(s) 

- Composer(s) / recorded music / live music 

- Designer(s), set and costume 

- Brief description of the content (abstract work) or plot (story work) 

- Choreographic style in brief (relate to use of music, movement vocabulary, costumes, 

dances, use of space) 

- Discuss the relevance of this work in South Africa today. Support your answer with 

evidence from the work. 

- How did you benefit by attending the performance? If you did not benefit from the work, 

include positive aspects and recommendations for improvement. 

129

1.2 DANCE COMPANIES 

Knowledge of the major dance companies in South Africa and international companies namely, to 

know ONE South African and ONE international company in detail: the history and choreographic 

style of the companies, artistic management, current repertoire (2005/2006) and major dancers. 

2. DANCE IN SOCIETY 14 / 10 

1 How dance is used in society as a means of expression and communication, for example in 

religious ceremonies, courting rituals, customs at birth and death. 

2 Research a project on any group or company in South Africa, which, according to your 

point of view, contributes towards the process of healing. 

3 How could you make a difference through dance? Relate this to issues such as crime, 

HIV/AIDS, substance abuse, dance with the disabled and dance education in schools. 

3. VOCATIONAL POSSIBILITIES OF DANCE (OUTCOMES-BASED) 10 / 10 

3.1 Research job possibilities in the dance industry and the skills and responsibilities required 

for each possible career. 

3.2 Discuss funding potential for professional dancers, choreographers and companies. 

4. DANCE STYLES AND PROFESSIONAL DANCE PERFORMERS 14 / 10 

Choose ONE dance style from the following list: 

• African Dance 

• Ballet 

• Ballroom and Latin American Dancing 

• Contemporary Dance 

• Dance Composition (Choreography) 

• Folk Dance (including Character National) 

130 

• Greek Dance 

(Ginner method) 

• Indian Dance 

• Jazz 

• Spanish Dance 

• Tap Dance 

Research the following aspects of this chosen dance form in writing and through drawings, 

illustrating technical and stylistic points, namely 

4.1 Principles that underpin the chosen style of dance 

4.2 The relevance of the dance form today, personally and in society (open-ended answers). 

4.3 Choose ONE well-known professional performer in the selected style of dance. 

Research the career, movement style, repertoire and achievements of the performer.

5. CHOREOGRAPHERS 14 / 10 

Biographical information: career, output and contribution. This section endeavours to determine 

the learner’s ability to assess career-orientated outcomes, e.g. writing for publications as in theatre 

programmes, newspaper articles, journal entries, newsletters and publicity material (brochures, 

posters, etc.). 

Choose FIVE choreographers as follows: 

FROM THE UK 

ONE of the following: 

ASHTON, Frederick 

BINTLEY, David 

BRUCE, Christopher 

DE VALOIS, Ninette 

FORSYTHE, William 

MACMILLAN, Kenneth 

FROM THE RSA 

TWO of the following: 

CEKWANA, Boyzie 

CRANKO, John 

GLASSER, Sylvia 

GORDON, Gary 

HAWKINS, Mark 

MANTSOE, Vincent S 

MAQOMA, Gregory 

ORLIN, Robyn 

PAEPER, Veronica 

PATHER, Jay 

SEMELA, Mbuyiselwa 

STAFF, Frank 

131 

FROM THE USA 


AILEY, Alvin 

BALANCHINE, George 

CUNNINGHAM, Merce 

GRAHAM, Martha 

LIMÓN, José 

MITCHELL, Arthur 

THARP, Twyla 

FROM EUROPE 


BAUSCH, Pina 

BÉJART, Maurice 

EK, Mats 

JOOSS, Kurt 

KYLIÁN, Jiri 

NEUMEIER, John 

VAN MANEN, Hans 

6. DANCE PRODUCTIONS 14 / 10 

6.1 Write a synopsis for the SEVEN works to be studied (all available on video): 

TITLE CHOREOGRAPHER(S) 

6.1.1 Bessie’s Head Gary Gordon 

6.1.2 Giselle Jean Coralli & Jules Perrot 

6.1.3 Gula Matari Vincent Sekwati Mantsoe 

6.1.4 Revelations Alvin Ailey 

6.1.5 Sacre du Printemps, Le Vaslav Nijinski 

6.1.6 Swan Lake Marius Petipa & Lev Ivanov 

6.1.7 Tranceformations Sylvia Glasser 

6.2 Study FOUR works in detail and comparatively with regard to 

6.2.1 Historical context 

6.2.2 Choreographic style 

6.2.3 Themes and images (where relevant), 

e.g. love, betrayal, ritual, bird images, etc. 

6.2.4 Relevance of traditional productions of this work today 

SUB TOTAL HISTORY = 80 / 60

SECTION B: MUSIC 

7. MUSIC THEORY (See L Haupt, The Dance Book, Chapter on Music) 12 / 9 

7.1 The following aspects (Haupt, p 285-290): 

7.1.1 Note values, rests: semibreve (whole note), minim (half note), crotchet (quarter note), 

quaver (eighth note), semiquaver (sixteenth note), dotted notes and rests 

7.1.2 Simple and compound time signatures 2 3 4 6 

4 4 4 8 

7.1.3 Grouping of notes in these time signatures 

7.1.4 Irregular note groups (duplet and triplet) 

7.2 Application of the above, e.g. learners must be able to write FOUR bars grouped correctly 

according to the time signatures listed above. 

7.3 It is suggested that the music theory be studied with the aid of the attached excerpts from 

dance scores. Learners will be required to identify relevant theoretical principles as they 

appear in these scores, namely 

7.3.1 Note values and rests 

7.3.2 Simple and compound time signatures 

7.3.3 Irregular note groups (duplet and triplet) 

7.3.4 Music terms and signs in the scores (attached) and in Haupt, p 296-297. 

8. BASIC MUSIC ELEMENTS 12 / 9 

A basic knowledge of the elements of music, namely definitions and the ability to identify relevant 

elements as they appear in the scores are required from learners, namely 

8.1 Pitch: high and low, melody, polyphonic and homophonic structure. 

8.2 Pulse/beat, rhythm, tempo, regular and irregular metre, polyrhythm (interlocking) 

8.3 Dynamics: loud, soft and gradations 

8.4 Tone colour 

VOCAL (PITCH) INSTRUMENTAL (SOUND PRODUCTION AND CLASSIFICATION) 

soprano ACOUSTIC ELECTRONIC 

mezzo soprano Aerophones Woodwind e.g. flute, oboe, penny whistle, etc. 

contralto (alto) 

Brass e.g. trombone, trumpet, tuba, etc. synthesizers 

tenor 

Chordophones e.g. bow harp, guitar, sitar, violin, etc. keyboards 

baritone 

bass 

Idiophones 

Membranophones 

etc. 

e.g. cymbals, mbira, triangle, etc. 

e.g. African drums, bongos, timpani, 

8.5 Definitions of structure in music, e.g. phrases, cadences, repetition and contrast, two-part 

form (AB), three-part form (ABA), rondo form (ABACADA), variation form, etc. as used in 

creative movement / creative dance / choreography. 

132

9. MUSIC STYLES 12 / 9 

A choice of TWO of the music styles listed below. Learners should be able to: 

- Know, identify and discuss the general style characteristics of the period, the music style 

(according to music elements) and the relevant terminology. 

- Compare music with other disciplines (painting, literature, philosophy, architecture), where 

relevant. 

- Name at least THREE important personalities (e.g. performers, composers, painters, 

philosophers, poets) in each style (see suggestions below). 

9.1 African (including San), e.g. Shaun Naidoo, Gabrielle Roth, Sibongile Khumalo, Miriam 

Makeba, Kevin Volans, Ladysmith Black Mambazo, Soweto String Quartet 

9.2 Romanticism, e.g. Adam, Tchaikovsky, Verdi, Wagner, Turner, Dickens, Whitman 

9.3 Nationalism, e.g. Russian (Glinka, The “Russian Five”), Hungarian (Liszt), Polish 

(Chopin), Spanish (Sor, Albéniz, Turina), Bohemian (Smetana) 

9.4 Impressionism, e.g. Debussy, Ravel, Satie, Monet, Renoir, Mallarmé, Verlaine 

9.5 Jazz, e.g. Armstrong (dixieland), Joplin (ragtime), Smith (blues), Ellington (swing), Davis, 

Parker (bebop), Brubeck (cool jazz), Gershwin (“classic” jazz) 

10. COMPOSERS 12 / 9 

10.1 Know the composer(s) OR arranger(s) of ALL the prescribed dance works, namely 

TITLE MUSIC: COMPOSER 

Bessie’s Head Erik Satie, Leonhard Praeg, Cesaria Evora 

Giselle Adolphe Adam 

Gula Matari Gabrielle Roth 

Revelations Spiritual songs and Holy blues, arr. Howard Roberts 

Sacre du Printemps, Le Igor Stravinsky 

Swan Lake Peter Ilyich Tchaikovsky 

Tranceformations Shaun Naidoo 

10.2 Choose TWO of the above works (10.1). 

Research the following 

- biographical information of the composer(s) or arranger(s) 

- their music style 

- their contribution to the repertoire of dance 

133 

Deleted: following 

Formatted: Bullets and Numbering 







Deleted: African (including San) 

The music style, career history, 

repertoire and achievements of 

important professional performers 

associated with dance. To know the 

following: 

 

9.7.1 ONE Individual, e.g. Sibongile 

KHUMALO, Miriam MAKEBA , Kevin 

VOLANS 

9.7.2 ONE Band/Ensemble, e.g. 

Ladysmith Black Mambazo, Soweto 

String Quartet

11. DANCE TYPES 12 / 9 

11.1 Allocate a tempo and time signature to ALL of the following dance types: 

Barcarolle, Bolero, Cha-cha, Charleston, Flamenco, Foxtrot, Galop, 

Habañera, Kwela, Mambo, Mazurka, Mbaqanga, Minuet, Polka, 

Polonaise, Ragtime, Rumba, Samba, Tango, Tarantella, Waltz 

11.2 Choose TEN of the above dance types. The dance types chosen to be studied in historical 

perspective and practically and with the aid of audio-visual examples. 

11.3 The use of each dance type in the class situation should be studied as well as the country 

of origin of each. 

SUB TOTAL MUSIC: 60 / 45 

PRESCRIBED SOURCE MATERIALS 

134 

TOTAL HG = 140 / SG = 105 

1. HISTORY: ARTICLES / NOTES / WEBSITES / CONTACT DETAILS 

1.1 DANCE COMPANIES 

EXAMPLES RAMBERT AND NORTHEN BALLET THEATRE 

WEBSITES AND EMBASSIES FOR FURTHER INFO 

WEBSITES www.flyingfish.co.za (Mark Hawkins) 

www.ru.ac.za/firstphysical (Gary Gordon) 

www.midance.co.za (Sylvia Glasser) 

1.2 DANCE IN SOCIETY 

EXAMPLES REMIX THEATRE COMPANY (DANCE AND DISABILITY) 

www.remixtheatre.co.za 

TRANCE DANCES Article supplied - Sylvia Glasser 

KUMINA Folk Dances of Jamaica - Hilary Carty 

INFO ON RITUALS – African Music and Dance from African Music Institute (AMI) 

1.3 VOCATIONAL OPPORTUNITIES IN DANCE 

DOCUMENT ON MAP SETA (Skills Development Strategy for Dance, 2001) 

PROJECT DESCRIPTION 

(Taken from An Introduction to Basic Business Skills for Arts and Culture 

by Jill Waterman, Lulu Khumalo and Nicky du Plessis, June 2001) 

DANCE IN SCHOOLS – Support Material for Creative Movement, p3 

1.4 DANCE STYLES 

SEE ENTRIES IN Oxford Dictionary of Dance, 2000 

SEE INFO IN The Dance Workshop - Robert Cohan, 1986 

Better Contemporary Dance – Janet Wilks, 1981 

1.5 CHOREOGRAPHERS 

SEE ENTRIES IN Ocford Dictionary of Dance, 2000 

Examples of Mats Ek, Frederick Ashton, Martha Graham, 

Pina Bausch 

WEBSITES Gordon / Glasser (See above) 

Vincent Sekwati Mantsoe www.sekwaman.co.za

1.6 DANCE PRODUCTIONS 

Bessie’s Head 

Gary Gordon 

Giselle 

Jean Coralli & Jules 

Perrot 

Swan Lake 

Marius Petipa & Lev 

Ivanov 

Tranceformations 

Sylvia Glasser 

Le Sacre du 

Printemps 

Vaslav Nijinski 

Gula Matari 

Vincent Sekwati 

Mantsoe 

NB: See Order Form for Info on this work 

www.ru.ac.za/firstphysical 

Versions of these works available in bookshops 

Contact the bookshop Dance Books (UK) 

dancebooks@mail.com 

Example: Oxford Dictionary of Dance 

Order video and material from MID, 011 838-2816 / 

info@midance.co.za 

Example: Article from website 

Contact the bookshop Dance Books (UK) 

dancebooks@mail.com 

Example: Oxford Dictionary of Dance 

Order video and material from MID, 011 838-2816 / 

info@midance.co.za 

Poem in MID Brochure 

2. MUSIC 

Excerpts from dance scores (attached), namely 

Don Quixote, Coda, p. 29/30 

Giselle, “Albrecht and the Wilis I”, p. 37/38 

Giselle, “Pas seul”. P. 13/14 

Swan Lake, Variation II, Odile, p. 44/45 

Jazz scores: Ragtime and Blues, Kamien Ed. 6, p 565-568, 577 

Score excerpts taken from the following sources: 

Giselle. Romantic Ballet in Two Acts. 1952. London: W. Paxton and Company. 

Grands pas de deux selected from famous Ballets. 1961. Copenhagen: Wilhelm Hansen. 

3. SYLLABUSES 

Interim Core Syllabus for Dance Higher Grade and Standard Grade. 

Grades 10, 11, 12. 1996. Pretoria: Department of Education. 

Interim Core Syllabus for Dance Performance Standard Grade. 

Grades 8 - 12. 1996. Pretoria: Department of Education. 

4. AUDIO-VISUAL MATERIAL Videos of dance productions, movies relating to dance, 

music styles, etc. 

RECOMMENDED SOURCE MATERIALS 

5. TEXT BOOKS 

AU, Susan. 1988. Ballet and Modern Dance. London: Thames and Hudson. 

HAUPT, Lorna. 1998. The Dance Book. Pretoria: D and V Forms. 

KAMIEN, Roger. 1996/2000. Music: An Appreciation. 6 th or 7 th Edition. New York: 

McGraw-Hill. 

KOEGLER, Horst. 1982. The Concise Oxford Dictionary of Ballet. London: OUP. 

PLAATJIES, Sol. Mhudi 

135

6. MAGAZINES The Dancing Times. The Dance Magazine. Dance Now. 

7. INFORMATION TECHNOLOGY Multi-media info, e.g. The Microsoft Encarta 

Encyclopedia, 2000. 

1 

2 

3 

4 

5 

6 

SUMMARY OF STUDY GUIDE AND EXAMINATION PAPER 

TOPICS AND OPTIONS OF CHOICE 

1.1 DANCE WORK CHOICE GIVEN 

1.2 DANCE COMPANIES CHOICE GIVEN 

DANCE IN SOCIETY CHOICE GIVEN 

VOCATIONAL POSSIBILITIES OF DANCE 

DANCE STYLES AND PROFESSIONAL DANCERS 

CHOREOGRAPHERS CHOICE GIVEN 

Choice of choreographers listed in 4 categories. 

To know FIVE choreographers in detail. 

PRODUCTIONS CHOICE GIVEN 

SUBTOTAL SECTION A : HISTORY OF DANCE / DANCE STUDIES 

7 

8 

9 

10 

11 

MUSIC THEORY 

- Basic knowledge (selected rudiments of music) 

- Application: Writing of a 4-bar phrase 

- Application: Basic score analysis 

BASIC MUSIC ELEMENTS 

MUSIC STYLES CHOICE GIVEN 

To know TWO (HG) and ONE (SG) in detail, selected 

from five. 

COMPOSERS CHOICE GIVEN 

- To know the composers related to the 

productions (no 6) 

- To know TWO (HG) and ONE (SG) in detail 

DANCE TYPES CHOICE GIVEN 

A variety of dance types in various styles 

To know TEN dances in more detail, selected from 

twenty-one 

SUBTOTAL SECTION B : MUSIC 

FINAL TOTAL 

136 

DANCE 

FORMS 

RELEVANT 

TO 

ALL 

DANCE 

FORMS 

RELEVANT 

TO 

ALL 

DANCE 

FORMS 

MARK 

HG 

14 

14 

10 

14 

14 

14 

80 

12 

12 

12 

12 

12 

60 

140 

MARK 

SG 

10 

10 

10 

10 

10 

10 

60 

9 

9 

9 

9 

9 

45 

105

ADDENDUM – SCORES 

Excerpts from dance scores: Don Quixote, Coda, p. 29/30 

Giselle, “Albrecht and the Wilis I”, p. 37/38 

Giselle, “Pas seul”. P. 13/14 

Swan Lake, Variation II, Odile, p. 44/45 

Jazz scores: Ragtime and Blues, Kamien Ed. 6, p 565-568, 577 

Coda from Don Quixote p. 29 

137

Coda from Don Quixote p. 30 

138

Giselle, “Albrecht and the Wilis I” p. 37 

139

Giselle, “Albrecht and the Wilis I” p. 38 

140

Giselle, “Pas seul” p. 13 

141

Giselle, “Pas seul” p. 14 

142

Swan Lake, Variation II, Odile p. 44 

143

Swan Lake, Variation II, Odile p. 45 

144

Jazz scores: Ragtime Kamien Ed. 7, p 573-574 

Section A 

Section B 

Section C 

145

Jazz scores: Blues, Kamien Ed. 7, p 575-576 

146

DANCE HG AND SG 

PAPER 2 

HEALTH CARE AND ANATOMY 

TO NURTURE IN STUDENTS 

the ability to think and create along the lines of the outcomes-based approach to education 

entrepreneurial skills 

aesthetic sensitivity and sensibility 

critical thought and analysis 

collaborative and collective thinking 

HIGHER GRADE VERSUS STANDARD GRADE 

A thorough insight and increased critical awareness will be required on Higher Grade 

POINT OF DEPARTURE 

A knowledge of relevant aspects and an application to motion is required. 

SECTION A: ANATOMY 

NOTE: EACH FACT COUNTS HALF A MARK Suggested mark allocation 

HG/SG 

1. KNOWLEDGE OF MUSCLES 10/8 

1.1 Terminology 

1.2 Structure of skeletal muscles 

1.3 Mechanism of muscle contraction 

1.4 Different types of muscle contraction 

1.5 Engrams 

2. MAJOR MUSCLE GROUPS 10/8 

A variety of questions can be asked relating to 

2.1 The origin of muscles 

2.2 Insertion of muscles 

2.3 Actions of major muscle groups 

3. APPLICATION OF MUSCLES TO A VISUAL 10/6 

Learners should be able to 

3.1 Apply their knowledge of the above (1.2) to motion, e.g. a visual 

3.2 Give an anatomical breakdown of a dance movement including such things 

as agonists, synergists, antagonists, types of muscle contraction being 

performed, what movement (flexion, adduction etc.) will take place at each 

joint etc. in a logical order. 

SUBTOTAL 30/22 

147

SECTION B: HEALTH CARE 

NOTE: EACH FACT COUNTS HALF A MARK Suggested mark allocation 

HG/SG 

4. INJURIES 10/8 

1 Common injuries pertaining to dance. (See attached list.) 

2 Causes 

3 Treatment and prevention 

5. THREE COMPONENTS OF FITNESS 10/8 

5.1 Endurance training (Aerobic and Anaerobic exercise.) 

5.2 Strength training 

5.3 Stretching / Flexibility training 

6. NUTRITION 10/7 

6.1 Nutrients 

6.2 A balanced diet 

6.3 Pre-performance intake 

BIBLIOGRAPHY 

PRESCRIBED SOURCES 

148 

SUBTOTAL 30/23 

TOTAL 60/45 

HAUPT, Lorna The Dance Book, Pretoria: D and V Forms, 1998. 

VAN DER LINDE, Judy The Three Components of Fitness 

(Article, Addendum) 

VAN RYNEVELD, Roelf Anatomical Points Relevant to Dance 

(Article, Addendum) 

RECOMMENDED SOURCE 

RAD Anatomy Syllabus: Section on Muscles

LIST OF MAJOR MUSCLES 

ADDENDUM A 

SECTION A: ANATOMY 

• Trapezius 

• Latissimus Dorsi 

• Pectoralis major 

• Deltoid 

• Biceps 

• Triceps 

• External obliques 

• Internal obliques 

• Transversus 

• Rectus abdominis 

• Erector spinae 

• Iliacus (Ilipsoas) 

• Psoas major (Ilipsoas) 

• Gluteus maximus 

• Gluteus medius and minimus 

• Tensor fasciae latae 

• All the adductors 

• All the quadriceps 

• All the hamstrings 

• Sartorius 

• Gastrocnemius 

• Soleus 

• Tibialis anterior 

• Peroneus longus and brevis 

• Know that the intrinsic muscles of the foot lift the arch and increase the point of the 

foot. 

LIST OF POSSIBLE MOVEMENTS TO ANALYSE 

• Plié 

• Rise 

• Reiré 

• Forwards bend 

• Backwards bend 

• Side bend 

• Tendu devant, derriere, a la second 

• Flatback / Table top 

• A spiral / rotation of the torso 

149

ANATOMICAL ANALYSIS OF DANCE MOVEMENTS 

• A rise in parallel position with the legs hip distance apart. (Include all that will 

take place from the waist downwards.) 

Plantarflexion of the ankle joint will be brought about by the soleus and gastrocnemius 

contracting concentrically. The antagonist for this action will be the tibialis anterior, 

although it will contract in order to counteract any backwards sway. Hamstrings will 

contract to counteract any forwards sway. The correct tilt of the pelvis will be maintained 

by the interaction between the hip flexors and hip extensors, and stability at the knee joint 

is brought about by isometric contraction of the quadriceps. 

• A turned out retire. (Lifting one leg from a turned out position on the floor, 

making sure the toes keep contact with the supporting leg until knee height.) 

Discuss the working leg only. 

Turnout will be brought about and maintained by the adductors, sartorius and gluteus 

maximus. The agonists for hip flexion will be the ilipsoas and rectus femoris. Knee flexion 

will be brought about by concentric contraction of the hamstrings, and plantarflexion of the 

ankle joint will be brought about by the concentric contraction of the soleus. The intrinsic 

muscles of the foot will also be contracting concentrically to increase the arch of the foot. 

• The movement of the arms from in front of the thighs forwards, to above the 

head with the continuation of the movement into a backbend. 

Shoulder flexion will be brought about by the concentric contraction of the pectoralis major 

and the anterior deltoid. Biceps will synergise this movement. Superior and anterior 

deltoid fibres will continues the movement of the arm to above the head. Trapezius and 

litissimus dorsi will be contracting isometrically to this point in order to stabilise the 

shoulder girdle. During the backbend, the erector spinae will be contracting concentrically 

to bring about hyper-extension of the spine, while rectus abdominus will be contracting 

eccentrically to control the movement. 

• Movement of the right arm from in front of the thigh sideways to above the 

head, with the continuation of the movement into a side bend to the left. 

The deltoid will be agonist to abduct the arm, and will be synergised by the biceps, both 

contract concentrically. The trapezuis and latissimus dorsi will be contracting isometrically 

to fixate the shoulder girdle. Once the arm is above the head the deltoid and biceps 

contract isometrically to maintain the position. The correct alignment of the pelvic girdle in 

relation to the shoulder girdle is maintained by the interaction between the rectus 

abdominus and erector spinae. The correct tilt of the pelvis is maintained by the 

relationship between the gluteal muscles and hamstrings posteriorly and the recturs 

abdominus and ilipsoas anteriorly. To side bend, the left internal and external obliques will 

contract concentrically. The transverses will also be contracting cocentrically to keep the 

stomach flat. 

150

• A knee bend (plié) from a turned out position. Only discuss the going into the 

knee bend, not the coming out of it. 

Gravity pulls the body down into a knee bend. The quadriceps contract eccentrically to 

oppose gravity. There is passive hip, knee and ankle flexion. Turnout Is increased and 

maintained by the adductors, glueteus maximus and sartorius. The calf muscles are 

lengthening, and the tibialis anterior and intrinsic muscles of the foot are contracted to 

maintain stability at the ankle joint and to lift the arches of the foot. 

• A tabletop (flatback forward) with the arms in high parallel (parallel fifth), and 

the legs in parallel second. 

The shoulder girdle will be stabilised by the isometric contraction of the trapezuis and the 

latissimus dorsi at all times. Erector spinae will be isometrically contracting to stabilise and 

elongate the spine, while the abdominals will be isometrically contracting to compress and 

stabilise the anterior torso. Hip flexion is brought about by concentric contraction of the 

ilipsoas and rectus femoris, accompanied by eccentric contraction of the gluteus maximus 

and the hamstrings. Extension of the knee joint is maintained by the quadriceps. The calf 

muscles will lengthen and the tibialis anterior will contract concentrically to keep the weight 

forward. 

• A spiral (rotation) of the torso to the left with the arms held at shoulder height. 

(The legs are parallel and hip width apart.) 

To maintain the arm at shoulder height, the deltoid and biceps will have to isometrically 

contract. Trapezuis and latissimus dorsi will be contracting isometrically to stabilise the 

shoulder girdle at all times. The agonists for the spiral action to the left will be the right 

external obliques and the left internal obliques. Erector spinae and latissimus dorsi on the 

left will synergise this action, while transverses will be contracting isometrically to keep the 

stomach lifted. 

• A forward bend with the legs turned out and extended. (Do not discuss any 

arm movement.) 

A slight movement forwards will allow gravity to take the body into a forward bend which 

will be opposed by the eccentric contraction of the erector spinae and hamstrings, allowing 

for smoothness and control of movement. Passive flexion of the hip joint will occur. The 

calf muscles will lengthen and the tibialis anterior will be contracting isometrically to keep 

the weight forwards. Turnout will be maintained throughout by the sartorius, adductors, 

and glueteus maximus. 

• A tendu (leg extension on the ground) devant (to the front). 

Agonists for hip flexion will be the ilipsoas and the rectus femoris, synergised by the 

adductors, sartorius and tensor fascia latae, which will all be contracting concentrically. 

Knee extension is maintained by the isometric contraction of the quadriceps. At full 

extension, the agonists for plantar flexion will be the soleus and the gastrocnemius which 

will be contracting concentrically. To increase the arch of the foot, the instrinsic muscles 

will be contracting concentrically. 

151

• A turned out tendu derièrre from 1 st position. 

Rotation is brought about and maintained throughout by the gluteals and the adductors. An 

extension at the hip joint is brought about by concentric contraction of the gluteals, 

hamstrings and adductors. The anatagonist to this action will be the lengthening of the 

iliopsoas. Knee extension is brought about by the concentric contraction of the quadriceps 

muscle group and plantarflexion of the ankle joint is brought about by the concentric 

contraction of the soleus and the gastrocnemius. The correct tilt of the pelvis is 

maintained by the contraction of the rectus abdominus and the lengthening of the lower 

spine. 

LIST OF POSSIBLE INJURIES 

ADDENDUM B 

SECTION B: HEALTH CARE 

♦ Tendonitis, specifically achillestendonitis 

♦ General joint injuries 

♦ Basic muscle tear 

♦ Stress fractures of the metatarsal 

♦ Muscle stiffness 

♦ Hallux valgus (bunions) 

♦ Hallux rigidus 

♦ Shin splints 

♦ General knee injury (not every exacting injury involving specific structures) 

152

CONTENTS 

ADDENDUM C 

GUIDELINE DOCUMENT: DANCE HG/SG (GRADE 12) 

PAPER 2: HEALTH CARE AND ANATOMY 

THE THREE COMPONENTS OF FITNESS Judy van der Linde 

1. ENDURANCE TRAINING 

2. STRENGTH TRAINING 

3. STRETCHING / FLEXIBILITY TRAINING 

ANATOMICAL POINTS RELEVANT TO DANCE Roelf van Ryneveld 

1. STANCE AND MUSCLE GROUPINGS 

2. TURN-OUT 

3. PLIè 

4. TENDU 

5. RISE 

6. POINTE 

7. TYPES OF INJURIES 

8. CAUSES AND COMPLICATIONS OF DANCE INJURIES 

9. THE PREVENTION OF INJURIES 

153

THE THREE COMPONENTS OF FITNESS Judy van der Linde 

1. ENDURANCE TRAINING (AEROBIC WORKOUT) 

This is one component of fitness. It refers to the ability of the body (the heart, respiratory 

and musculature) to continue exercising. It is also any form of exercise that challenges the 

heart and lungs of an individual e.g. marathon running. It is a highly scientific aspect of 

fitness and for our purposes does not warrant an in-depth study. 

1.1 The Training Heart Rate (THR) 

The most widely used method for controlling intensity is the use of the individual THR. 

Take the person’s Maximum Heart Rate by means of a stress test or by the formula 

Carvonen made famous: 

220 BPM minus the individual’s age = MHR 

Calculate the percentage of the maximum that an individual wants to exercise at e.g. 60– 

90% of MHR. This is called the person’s Training Heart Rate, e.g. 60% of 

(MHR – age of individual) = BPM maintained for 20–30 minutes to ensure a training effect. 

This does not include warm-up time. 

Heart Rate is best taken with the fingers on the wrist or on the artery that runs next to the 

voice box – The Carotid Artery. 

Count for 6 seconds and then multiply by 10. 

For effective cardiovascular improvement, the dancer must work above 60% of MHR. 

1.2 The Recovery Heart Rate 

This must be taken 5–6 minutes after exercise and it should be below 120bpm in a 

conditioned individual. Anything higher points to over-exertion. Another test is 12–16 

breaths per minute, which would rate as normal. Anything higher again points to 

overdoing it. Especially when taking Recovery HR, the 6-minute x by 10 is important. In 

conditioned individuals a full 60-second count would yield an inaccurate result as the 

person’s HR is dropping all the time. 

1.3 How to achieve a training effect 

The person must maintain the training heart rate determined by the previous calculation for 

a 20-minute period at least. 30 minutes will guarantee a training effect. The training effect 

simply means that the body has been challenged sufficiently to result in the adaptation of 

the heart and lungs and musculature i.e. the improvement of the person’s aerobic 

condition. 

A word of caution should be taken into account regarding recovery. After vigorous 

exercise stopping abruptly i.e. neglecting your 5-minute recovery phase of slower, less 

demanding movement results in the “pooling effect”. As the muscles stop their rhythmic 

contractions, blood tends to pool in those specific areas. As this could result in an 

inadequate supply of blood to the head/brain, fainting or light-headedness could result. 

154

A runner should walk for 5 minutes after a workout. A cyclist would take a slower pace 

after the finish line for five minutes and a swimmer would walk around the pool before 

showering or taking a sauna, etc. 

1.4 How to know if someone is overdoing it 

Heart rates are an accurate means but not always practical in a class situation. Folks who 

are not familiar with the taking of their pulses often cannot find their pulse (especially while 

maintaining a decent level of activity), or lose count etc. There are also many factors that 

influence an individual’s heart rate. 

Certain medications and time lapsed since last meal eaten, are two of the most common. 

Rather, engage in some kind of conversation with them and if they are able to answer you 

without total breathlessness they are doing okay. 

Other sure signs that someone is overdoing it and needs to reduce the intensity of their 

workout are: 

• Tightness or pain in the chest 

• Severe breathlessness 

• Light-headedness 

• Dizziness 

• Loss of muscle control 

• Nausea 

• Serious frown 

A common symptom of “overtraining” is an inability to sleep at night. Suggest adjustments 

or either intensity or duration. 

A record of their medical history will also help you “watch individuals wisely”. Someone 

who claims to be “fit’ despite a total lack of formal exercise is a high risk for overdoing it. 

Such a person must be watched carefully. 

1.5 Some results of endurance training are: 

• Weight/mass loss 

• Decrease in size 

• More efficient heart muscle i.e. lower resting pulse rate 

• Increase in lung capacity 

• A general feeling of well-being (result of the release of endorphins) 

155

2. STRENGTH TRAINING 

This component of fitness referred to as strength training refers to the muscles’ ability 

(the voluntary muscles) to contract not repeatedly, as for endurance training, but in one 

maximal effort, e.g. body building, sprinting. These athletes hold their breath (anaerobic) 

and give it one maximal shot at their particular event. Lactic acid is often left in the 

muscles as a result of this kind of training. 

2.1 Contraction of muscles 

In order to understand the strengthening of muscles, a basic understanding of how 

muscles contract is necessary. 

2.1.1 Isotonic Contractions / Dynamic Contractions These fall into two 

categories: 

a) Concentric Contractions: When a muscle shortens against resistance/tension 

b) Eccentric Contractions: When a muscle maintains tension as it lengthens 

2.1.2 Isometric Contractions 

When a muscle neither lengthens nor shortens with resistance/tension. 

2.2 Hypertrophy 

In order to strengthen or produce a strengthening effect on muscles they require the 

stimulus of resistance by means of loading / weight. The muscle then has the ability to 

adapt to the demands made on it and is therefore trained or strengthened. This results 

in an increase in the diameter of the muscle fibres. This effect is called hypertrophy 

which is very celebrated by bodybuilders. 

Please note that it is not possible to increase the number of fibres in the muscle 

sheath. This is predetermined by the individual’s genetics. 

2.3 Hyperplasia – tearing of fibres 

In our class situation the use of the individual’s natural body weight is the only load 

placed on the muscles and so while there is an increase in strength; tonus is the result 

rather than hypertrophy. The body is trained sufficiently for everyday demands. Muscles 

that are not trained lose tones (state of readiness) and the total inactivity of a muscle, 

results in the effect called hypotrophy, also referred to as “wasting” or muscle 

atrophying. This is evident in paraplegics’ legs after as little as eight weeks and also when 

plaster is removed after a bone break or fracture. 

156

2.4 Types of resistance 

Body weight / Gravity 

Levels 

Speed (control vs. momentum) 

Duration and repetition (How long) 

Discuss anaerobic versus aerobic workout. 

3. THEORY AND METHODOLOGY OF STRETCHING 

FOR THE PROFESSIONALLY TRAINED DANCER 

Before we can even attempt to increase our flexibility, it is important to understand the 

working of the muscles around the joints. 

3.1 The working of muscles around the joints 

Muscles always originate on bone surface and are inserted on another bone surface or 

connective tissue, which means that they go over one or more joints (the place where two 

bones connect). When a muscle contracts it pulls the two or more bones together, 

“closing” or flexing the joint, making it smaller, thus producing a movement. The hamstring 

as an example originates on the ischium (sitting bones) and is inserted on the back of the 

tibia (shinbone). The muscle therefore goes over two joints: (i) over the hip joint and (ii) 

over the back of the knee joint. The physical action would be to move my leg to the back 

without tilting the pelvis, as in tendu derrière without turnout, and then to bend my knee. 

To stretch a muscle one needs to know where it originates and is inserted, which will tell 

you over which joints it runs to produce a contraction. Stretching is the exact opposite of 

contraction, which means one must “open” or extend the joint over which the muscle runs. 

To stretch the hamstring then, we need to bring the leg forward, bringing the lower back 

toward the thigh and keeping the knee joint “open” or extended i.e. straight. 

Flexion and extension refers to the movement of the joint whereas contraction and 

relaxation / stretching refers to the action of the muscle. Flexion can be understood as a 

person standing feet facing forward and palms facing forward i.e. the position of the 

anatomical man, bending all the joints toward the front. 

The only exception to the rule is the knee joint, which flexes to the back and extends to the 

front. Another way would be to say that all flexion is toward the foetal position. Extension 

is therefore the opening up from the foetal position. 

3.2 The purpose of stretching 

• Improves performance 

• Increases range of motion (the length between a muscles most contracted state 

and it functional long point) 

• Reduces muscles tension and acts as a transition to a resting state after exercise 

with an emphasis on relaxation. 

• Prevents injury (even a strong muscle that is inflexible is prone to injury) 

• Improves body awareness 

• Promotes circulation and is effective in removing waste products stored in the 

muscles after strenuous exercise. 

• Improves reaction time 

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3.3 Best method of stretching 

The method of stretching that has proven safest and most effective is progressive static 

stretching. 

In order to achieve results the STRETCH REFLEX must be understood. This is the body’s 

automatic protection mechanism against muscle tears and ruptures resulting from being 

extended / stretched beyond its normal range of motion. If a muscle “senses” the potential 

danger of overstretching, (for e.g. moving into a stretch too quickly or without being 

properly warmed up) small receptors in the muscles will automatically cause the fibres to 

contract in order to resist the stretch, hopefully preventing the injury. This is often 

experienced as a trembling sensation when one is stretching a particular muscle. Should 

this reflex be ignored, the muscle will tear. Scar tissue is formed in the healing process. 

This tissue is less elastic than healthy tissue and as a result flexibility is impaired rather 

than improved. 

In a young person the method of bouncing may seem to show results but in later years the 

opposite will prove true. 

3.4 Types of stretching 

3.4.1 The warm up stretch 

This is done after your barre work at the beginning of your class. The same rule applies to 

all stretching but here the purpose of stretching is not the increase of flexibility but 

preparation of the muscle for more strenuous movements. The stretch position is held 

only for about 12 seconds and transition from one position to the next is smooth. Taking 

the muscle gently through its full range of motion prepares the body physiologically and 

psychologically for the next phase of the class therefore making it an effective method of 

injury prevention. 

3.4.2 Dynamic / Ballistic Stretching 

This occurs when a muscle group is rapidly moved through its fullest range of motion or is 

bounced in the stretched / extended position. An example would be a series of high-kicks, 

which would extend the hamstring in this way. At risk are the hamstring and the lower 

back where the hamstring originates. Bouncing, ballistic stretching has the greatest 

potential for damage and as a result should be avoided, unless part of a performance and 

in such a case flexibility should be progressively increased in training for the performance. 

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3.4.3 Static Stretching 

This is the most effective and safest way of stretching. It consists of 3 phases: 

a. The Initial Stage: 

This is being aware of your body alignment. Hips and shoulders “square” to one another. 

The muscle is stretched to its functional long point (this means the muscle can still 

contract or move out of the stretch position without the use of ones hands). The lumbar 

section of the spine must be extended, i.e. lengthened and flattened. 

b. The Developmental / Hold Stage: 

Once you have established your initial stretch, hold the position for 10 seconds. The 

tension in the muscle should ease. Move a fraction further until you feel a mild stretch and 

hold for a further 10 seconds. This is also known as stretching in fractions and a total of 

30 seconds should be sufficient to markedly improve muscle flexibility. 

c. The Contraction Stage: 

This stage is optional to the developmental stage, but it is the most effective when used in 

conjunction with the developmental stage. Hold the stretch for the first 10 – 15 seconds 

until the stretch reflex relaxes and then contract the muscle for the same amount of time. 

Move another fraction of the hold stage and repeat 2/3 times. 

Methods 3.4.3 b and 3.4.3 c are the most effective because the stretch reflex is relaxed 

when a stretch is held gently for an extended time or contracted. When the muscle 

receives the message that it is no longer in danger of tearing, the stretch reflex relaxes 

and becomes temporarily inactive and “unguarded” and so the muscle lengthens as you 

gently move into the next fraction. The mild tension felt after that is the stretch reflex 

coming back into action. 

3.5 Points to remember 

• Never hold your breath. Breathe deeply and slowly during stretches. This will aid 

the removal of waste accumulated in the muscle during exercise. 

• Always be warm before you stretch; this can be determined by a light perspiration 

or dampness on the skin. 

• NB: Never bounce. 

• Concentrate on the muscle group being stretched and try and relax the rest of the 

body i.e. isolate. 

• Stretch opposite muscles, so that equilibrium is maintained with regards to strength 

and flexibility around a joint, e.g. quads and hamstrings or abductors and adductors. 

• Always stretch with one leg in the bend position. Both legs straight could strain the 

lower back. Once you have improved your flexibility to almost maximum in each 

position, one can begin doing stretches with both legs straight such as the straddle 

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and the splits. If however any experience of back pain occurs or a tingling in the 

feet, one should revert back to bending one leg. 

• Try and stretch a muscle by contracting the opposite muscle rather than use your 

hands or body weight to further the stretch. 

If you become more flexible than what you are strong, serious damage can be caused to 

joints, ligaments and tendons. Stretch after a strength / fitness building workout like a 

DANCE or body conditioning class. Beware of stretching for too long at one time as this 

could also cause unnecessary pain and micro tears. Be gentle and listen to your body. 

Some stretch options are included. Do any one stretch per muscle group and follow the 

guidelines. You should see results within 4 – 6 weeks if done 3 – 4 times a week. 

REMEMBER: 

STRENGTH + ENDURANCE + FLEXIBILITY IN EQUAL PORTIONS = FITNESS 

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ANATOMICAL POINTS RELEVANT TO DANCE Roelf van Ryneveld 

The overall use of the muscles is directed at attaining correct stance and weight 

placement. To this end the muscles can be considered in groups rather than as 

individuals. Correct use of these various groups starts at the head and shoulder girdle and 

encompasses all the groups down through trunk and legs to the feet. It is only when all 

the groups are working correctly and in balance with each other that correct stance and 

weight placement will be obtained and the dancer will be completely stable in all the many 

and varied positions required for DANCE. 

1. STANCE AND MUSCLE GROUPINGS 

Trunk stabilisation is achieved by the spine extensors, i.e. the long back muscles assisted 

by the short muscles between the individual vertebrae, and the trunk flexors, which are 

made up largely of the abdominal muscles. The trunk has to be balance on the lower 

limbs. This is achieved by the balance between the hip extensors (the gluteals) and the 

hip flexors, which between them control the tilting of the pelvis. (See previous notes). 

The knees in many people are relaxed when standing and the ligaments alone achieve 

stabilisation. However, in most dancers there is usually some degree of hyperextension of 

the knees (swayback knees) which varies from mild to very marked and in these instances 

the knee has to be stabilised in neutral by contractions occurring in the quadriceps and 

hamstring muscles. Hyperextension of the knees pushes the weight to far back and leads 

to technical faults and injuries. 

The rectus femoris muscle, which is part of the quadriceps complex, and all the hamstring 

muscles, cross the front of and behind the hip joint respectively so they also play a role in 

stabilising the pelvis in relation to the thighs. 

Below the knee, stability depends upon a constant interaction between the calf muscles 

which plantar-flex the foot and the muscle in front of the foot which dorsi-flex the foot. In 

the foot itself the intrinsic muscles are maintaining the arches as well as the general foot 

posture. Note that the gastrocnemius also plays a part in the knee posture. (See: 

Gastrocnemius: Origin and insertion). 

As will be seen when standing correctly on one foot, the line of the centre of gravity is 

moved sideways so it falls through the supporting foot. 

Note that the trunk and pelvis do not alter. The hip on the supporting leg is adducted and 

stability is achieved by the interaction between the adductors and the abductors. (Gluteus 

medius, gluteus minimus and tensor fasciae latae; gluteus maximus is a hip extensor). 

In the turn-out position the stance remains basically the same but the area of weight 

bearing on the floor is much narrower from front to back so the postural muscles have to 

be even more finely and accurately tuned to maintain correct balance with the minimum of 

effort. (Explain the transference of weight and the three-point placing of the foot.) 

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2. TURN-OUT 

The constraints, which limit the possible range of turn-out at the hip, are: 

2.1 Bony 

2.2 Capsule and Ligaments 

2.3 Muscles 

The configuration of the bones of the hip joint results in an absolute limitation in the 

possible range, which cannot be altered by exercises or stretching. These limits are made 

up of the depth of the acetabulum and the angle at which the head and neck of the femur 

are set on the shaft of the femur and length of neck of femur. 

Surrounding the hip joint is the capsule and various ligaments. Tightness in these fibrous 

soft tissues will limit turn-out. It is extremely difficult to stretch ligaments and, to a lesser 

extent, the joint capsules after the age of puberty because the fibrous tissue, of which 

these are composed, becomes mature and practically non-stretchable. 

Tightness in muscles, usually the adductors, contributes in limiting turn-out, but if these are 

involved they can usually be stretched out gently. 

Control of turn-out is by interaction between the external and internal rotators of the hip 

joint. The most important external rotator is the adductor group of muscles and gluteas 

group and satorius. The small muscles around the hip joint are stabilisers of the joint and 

play little part in any rotation. 

There is not active external rotation possible at any level below the hip joint. Passive 

external rotation can be obtained because of friction between the foot and the floor and 

this causes rotation between the knee and the foot, and can produce very damaging 

results. Active and passive rotation is possible when the knee is flexed but this does not 

occur when the knee is extended. 

3. PLIè 

The posture and the pelvis remain unchanged during a pliè. In particular the lumbar spine 

becomes neither lordotic nor overflattened (tucking of pelvis). The hips are flexed and the 

adductors maintain turn-out. Hip flexion is accompanied by knee flexion brought about by 

a controlled relaxation (eccentric) of the quadriceps muscles. The hamstrings play little 

part here. It is gravity, which brings the body into the pliè position, and it is gravity, which 

is opposed by the quadriceps which is relaxing slowly. Ankle dorsi-flexion is largely 

passive and the calf muscles gradually relax. As the pliè progresses to a grand pliè and 

the heels leave the floor the ankle dorsi-flexion is still a passive movement. However 

during the whole range of pliè the intrinsic muscles are acting to maintain foot posture in 

the same manner as when standing. This is achieved by the natural maintenance of good 

tone and strong intrinsic muscles and not by active over-contraction (clenching). 

Rising from the pliè is brought about by the active contraction of the quadriceps and the 

hip extensors. This is achieved by pushing down on the floor with the feet and not merely 

by straightening the knees. Turnout is maintained the whole time by the adductors. Ankle 

movements remain passive but the heels should be allowed to come down onto the floor 

162

as soon as possible and not be kept off the floor, which would require an active calf 

muscle contraction and produce strain of the quadriceps. 

Care must be taken to ensure that the knees and the feet remain aligned, particularly 

when going down as far as a grand pliè, as it will allow the feet to roll and the knees will 

drop forward. 

On rising care must be taken to maintain the weight correctly over the feet otherwise there 

is a marked tendency to come up with the weight too far back. 

Note: During the pliè and the rise, it is essential that he dancer feels the contact with the 

floor through the feet and that he has the sensation that he actually pushes down into the 

floor so that he is pushing himself up from below. This is particularly important in coming 

up from the pliè when the dancer must not feel that he/she is merely straightening his/her 

knees. 

4. TENDU 

This term means “stretched” and its main benefit when correctly carried out are its effect 

on the feet. It is very important that the correct placement in the trunk and supporting leg 

is maintained throughout; otherwise the exercise is totally useless. If the position of these 

other areas is incorrect and the weight is back, the tendu becomes ineffective and the 

muscles in the feet are not stimulated and therefore do not benefit. 

5. RISE 

The trunk and the pelvis move as one and come slightly forward with the line of the centre 

of gravity, to lie over the toes when the rise is completed. This is achieved by pushing up 

from the floor with the forefoot (distal metatarso-phalangeal) in order to maintain correct 

alignment and weight bearing. Anatomically, the calf muscles contract, lifting the heel and 

hindfoot against gravity. At the same time the tone is maintained in the gluteals, the 

adductors, the hamstrings and the knee extensors (quadriceps) giving the feeling of being 

lifted up form above and not pushed up from below. In the presence of swayback knees 

the balance between the quadriceps and the hamstrings is exceptionally important in order 

to maintain correct knee control. 

6. POINTE 

To maintain full control necessitates strength in the intrinsic muscles is just as important 

as in the calf and other leg muscles, all of which have to work much harder to produce the 

rise. (It is important that the learner understands the difference in action between the 

ankle and foot planatar flexors and the action of the instrinsic muscles, for they do not 

cross the ankle joint.) 

Once on point the base becomes very small so that the weight transference has to very 

accurate. This requires even finer control of the position and line of head, trunk and limbs. 

On pointe, relative strength and stability are the crucial factors required maintaining the 

position. 

Relative strength does not mean pure brute strength but rather the accurate and delicate 

balance between one muscle group and another. 

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6.1 Age to Start Pointe Work 

For many years is has been said that twelve is the age to start pointe work. This is, 

however, totally incorrect and there is no particular age at which pointe work should be 

commenced. The only factor that is important is the state of development of the young 

dancer and to be dogmatic about an age does not make any reference to the young 

dancer’s maturity or immaturity. 

There is no shame and certainly no disadvantage in starting pointe work later rather than 

earlier. Starting before the young dancer is physically and technically ready is potentially 

very harmful. Waiting until the correct time, as far as that individual young dancer is 

concerned, will have very positive advantages. There will be far less risk of injury. She 

will be able to achieve the correct technique more readily and accurately and will progress 

more speedily; being able to gain confidence more rapidly than if she started before being 

physically ready. 

Pointe work should not begin until growth has settled in the feet (explain this). Strength 

must have been achieved in the feet and around the ankles with full control of all the 

relevant joints. However it does not end in the feet. It is important for strength to be 

present and well controlled higher up. In particular, young dancers must be able to hold 

the turn-out in the hips and be generally stable around the hips when on both legs or on 

one leg alone. Additionally, they must be strong and stable in the trunk. 

6.2 When to Avoid Pointe Work 

Certainly, pointe work should be avoided if the feet and body are still soft, very mobile and 

floppy. 

Great caution is required when dealing with any young dancer who has hypermobile feet 

and ankles. Although this excessively pointed foot can look very pleasing when it is the 

working leg and the foot is in the air, it is this type of foot that is at greatest risk once pointe 

work has started. It is at this time that, if allowed to come up onto the over-pointed foot, 

the young dancer can sustain lasting damage along the dorsum of the foot and the front of 

the ankle. 

Before a student with this type of foot can start pointe work safely, she has to do a 

considerable amount of work to strengthen all the muscles of the feet and the ankles so 

that a really well controlled foot is held in the correct and not over-pointed position. 

If the foot sickles out, the weight of the body, instead of falling directly through the knee 

and ankle to the floor, will be diverted to the inner side of the foot with all the 

consequences on the knee (explain), the rolling foot (explain) and the hallux valgus 

(explain). The highly arched foot is more apt to sickle in or out. 

There are certainly very well known dancers who were not strong enough to start their 

pointe work until they were over the age of sixteen and this has proved no handicap in 

their career. 

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7. TYPES OF INJURIES 

7.1 Joint Injuries 

In considering joint injuries, we will include the bony parts, the capsule and the external 

ligaments that are supporting the joint, any internal ligaments of the joint, and the synovial 

lining of the joint. In addition, in the knee there are discs of cartilage known as menisci or 

semi-lunar cartilage, which are also subject to injury. 

The commonest injury to a joint is a sprain affecting one or more of its ligaments and 

usually the capsule and synovial lining in addition. A sprain occurs when the fibrous tissue 

of the ligament or capsule is stretched and this is accompanied by what are known as 

micro-tears within the substance of the ligament and capsule where a varying number of 

fibres are actually torn. If the sprain is more severe, there can be an actual lengthening of 

the ligament as these torn fibres tend to pull out past each other. If the force continues, 

the ligament can rupture and a gap can occur. 

The first structure to take the strain in an abnormal movement is usually one of the 

ligaments around the ankle joint. If the stretch continues the adjacent capsule and the 

synovial membrane become involved. A sprain produces local bleeding and this shows 

superficially as discolouration beneath the skin, i.e. bruising. In deep joints (e.g. the hip) 

this bleeding is not usually visible in the subcutaneous tissues. 

If there is any damage or irritation to the synovial lining of the joint, there will be an 

outpouring of fluid into the joint, causing the whole joint to become swollen. This is seen in 

anything more serious than a very minor sprain. If there is any damage to the synovial 

lining, bleeding will occur into the joint, producing a haemarthrosis. An effusion or 

haemarthrosis is always painful, mainly due to the tension (increased pressure) in the joint. 

These cases should be referred to an orthopaedic surgeon. 

The more serious the injury, the longer we wait for treatment, the longer the healing, the 

more permanent the damage, and this leads to chronic instability. The dancer feels 

unsafe on that joint and it tends to give way frequently. Thus immediate action must be 

taken within 24 hours and no longer than 48 hours. 

Sometimes a feeling of instability in the joint is due to the damage to the nerve endings in 

the joint. Intensive physiotherapy improves this condition. The ankle joint is the most 

common joint to be affected in this manner and here a balancing board is one of the most 

vital parts of the rehabilitation programme. 

7.2 Bone Injuries 

7.2.1 Acute Fractures 

Types 

a. Greenstick Fracture - only partially 

b. Transverse Fracture - complete transverse break 

c. Comminuted Fracture - there are several fragments present 

d. Compound Fracture - where the bone comes through the skin 

165

The commonest type of fracture is that affecting the 5 th metatarsal. This is produced by a 

forcible inversion. Fractures take from six weeks to many months to heal. Usually they 

are immobilised with a cast. Once the plaster has been removed, then time has to be 

spent strengthening up muscles which have become weak as a result of the 

immobilisation. (Any part within the body that does not work, will waste away = atrophy.) 

7.2.2 Stress Fractures 

These are particularly common in dancers and are more frequently seen than actual acute 

fractures. They occur as result of repeated local stress on one area of the bone and come 

on gradually. This is well seen in dancers, especially in the 2 nd metatarsal. (much 

thickened on an X-ray). When the stress end, e.g. when the dancer retires, the stress 

thickening will gradually disappear and the bone will return to normal. 

If the stress is more intensive and particularly if it is well localised, small cracks will 

develop in the bone. 

7.3 Tendon Injuries 

7.3.1 Tendonitis 

It is merely an irritation of the tendon without significant damage to the fibres. It is usually 

caused by unaccustomed exertion, e.g. an unexpected large number of repetitions of a 

movement involving one or more tendons repeatedly. Rest, and if necessary, ultrasound 

or ice. 

7.3.2 Tendon Rupture 

Partial rupture 

A dancer experiences sudden pain and may actually hear or feel something give way. 

Rest with or without immobilisation, is usually all that is required. Occasionally surgical 

repair is required if more serious. If adequate rest is not allowed for healing to take place, 

then the condition can progress to a chronic state where a combination of healing and 

further tearing is taking place at the same time. 

Total rupture 

A total rupture of a tendon is fortunately very uncommon. The commonest tendon rupture 

is where of the extensor tendons of the distal phalanx of the finger, causing the phalanx to 

droop down into partial flexion; this is known as mallet finger. Very occasionally in dancers 

the major tendons are ruptured, i.e. the Achilles, patellar or quadriceps tendons. Almost 

invariably this happens because of a sudden violent contraction of a muscle (when a 

dancer misses his /her footing or slips from a prop). More commonly it happens in the 

mature dancer or dance educator who is demonstrating a large jump or unaccustomed 

routine which needs a sudden explosive burst of muscle power. 

7.4 Muscle Stiffness 

Muscle stiffness usually follows unaccustomed exercise, e.g. after a holiday, or 

occasionally due to increase in workload. The cause may be due to tiny ruptures of the 

166

muscles fibres (cells), resulting in local swelling and causing inflammation and pain 

(explain this). Another possible cause is the accumulation of waste products. 

Whatever the cause, continue with regular classes. It is important that classes are carried 

out in a warm atmosphere (winter). Class should finish with an adequate warm-down. 

8. CAUSES AND COMPLICATIONS OF DANCE INJURIES 

All dance injuries are caused by faulty technique. Always determine what technical fault 

has led to the injury. The educator or medical attendant should do this. 

8.1 Causes of Dance Injuries 

8.1.1 Injuries caused by Faulty Technique 

a. Anatomical Causes 

As most dancers are not anatomically perfect for dance, there will be limitations and 

constraints, which may play a part in preventing the development of a perfect technique. 

The commonest anatomical cause of potential problems and injuries is limitation of turnout 

of the hips. Many problems can arise if dancers attempt to turn the feet out further than the 

hips allow. 

b. Lack of Technical Knowledge 

Many injuries are seen during the learning years of the dancer’s career (usually minor). 

Technical help is needed to prevent the injury becoming recurrent or chronic. 

c. Non-Application of Correct Technique 

Professional dancers who allow their technique to slip or become tired are prone to 

injuries. Frequently seen during the course of a long tour, as the tour progresses the injury 

rate increases. Also bad choreography, when they embark on a routine, which is so 

bizarre or awkward. 

d. Bad Teaching 

Bad educators excel in the causation of injury. They commonly fail to appreciate the 

anatomical limitations, which are being experienced by the student. They can fail to notice 

technical faults that the child is developing and even worse, they can be teaching technical 

faults. 

8.1.2 Environmental Causes of Injuries 

These are referred to as dance related injuries over which the dancer has little or no 

control. E.g. inadequate facilities. 

a. Temperature 

Rehearsals or performances much be as such that the dancers do not become chilled 

before, during or after these activities. High temperatures, although not predisposing 

directly to injury, have their own complications – water and electrolyte loss. If this loss is 

167

adequately replaced then no harm will occur if not it will lead to muscle cramps and 

spasms: 

b. The Floor 

This is an extremely important factor. The floor must be sprung. Wooden floor directly on 

a concrete base is of no value. The lack of spring can produce many injuries, e.g. foot 

problems, injuries in the lumbar region of the spine, in the muscles which are associated 

with take off and landing and in the bones, mainly the tibia and the metatarsals, which can 

be the site of stress fractures. 

Another problem is to work on heavily raked stages. Predominantly, a raked stage will 

cause a weight back situation with all its associated problems. 

Overuse of rosin can result in the dancer suddenly finding that his foot is sticking to the 

floor with potentially disastrous consequences if he or she is in the process of a turn, thus 

causing injuries to the ankle and knee. 

8.2 General Complications of Injury 

8.2.1 Effects on the whole body 

a. Decrease in cardio-respiratory fitness. 

b. Generalised muscle wasting. 

c. Increase in body weight 

d. Psychological effects 

8.2.2 Local effects 

a. Persistent swelling 

b. Local vascular effects 

c. Local muscles wasting 

d. Stiffness of joints 

8.3 Specific Treatments of Injuries 

Although most forms of treatment have to be administered by a physiotherapist or when 

severe by an orthopaedic surgeon, there are certainly some measures the dancer himself 

may apply. 

8.3.1 First Aid Measures R – I – C – E 

a. Rest will encourage early healing. 

b. Ice should be immediately applied around the injured area. 

c. Compression with a firm bandage to arrest local bleeding. Once bleeding has 

ceased, compression can no longer be of any benefit. 

d. Elevate the injured part in order to discourage swelling. 

8.3.2 To Dance or Not To Dance? 

In the case of a mild strain it might well be possible to continue class or performing with 

the use of a supporting bandaging or strapping. 

168

If the pain is sufficient or interferes with the performance then nine times out of ten 

disguising the pain with tablets or injections (pain or nonsteroidal antiinflammatory) 

is merely going to hide a temporarily significant underlying injury. 

To perform in that state is going very greatly to increase the period of recovery and may 

indeed cause such further damage that the dancer’s career may be ruined. 

Never forget the pain is a protective mechanism provided by nature in order to stop further 

damage taking place and allow recovery to take place in the shortest possible time. 

Muscles spasm is nature’s way of providing splint age to an injured part so that healing 

can take place as rapidly and successfully as possible. The abolition or relief of muscles 

spasm at the correct time, i.e. during the course of proper treatment, is highly desirable, 

but certainly not in order to allow the dancer to continue performance regardless of 

consequences. 

Inflammation is the body’s natural healing process. Anti-inflammatory drugs will relieve the 

pain but the injury will still be present and serious injury may follow if the dancer persists 

on performing. 

It cannot be over emphasised that far too many dancers have had their convalescence 

unnecessarily prolonged by unwise treatment provided either by themselves or by their 

friend or by ignorant advisors. 

8.4 Anterior Compartment Syndrome 

The anterior compartment of the shin is bounded by the two bones, the tibia and fibula: by 

the interosseous membrane which is very strong fibrous tissue sheet of tissue lying 

between these two bones, joining them together; and then superficially by the deep fascia. 

None of these structures are stretchable and it is this fact that accounts for the problem 

arising in this syndrome. 

If there is any swelling there will be a rise in pressure because of the non-stretch ability of 

the structures encasing the anterior compartment. This rise in pressure will cause 

increasing pain, often known as SHIN SPLINTS. 

CAUSES: 

• Unaccustomed exercise or extra exercise of the anterior tibial muscle and the 

extensors of the toes (Muscle groups within the anterior compartment) 

• Weight back situation cause extra tension in these muscle groups. 

• Weak feet produce similar tension. 

• Over tight ribbons, short shoes, by causing clawing to the toes. 

• Rolling will cause over-work of the anterior compartment muscles. 

169

9. THE PREVENTION OF INJURIES 

Main Factors: 

9.1 The development and maintenance of good technique 

9.2 The development and maintenance of muscle strength and joint mobility 

9.3 The preservation of cardio-respiratory fitness 

9.4 Good nutrition 

9.5 The orthopaedic assessment of the dancer 

170

DESIGN SG 

OPTION A 

ASSESSMENT: MARK ALLOCATION 

The marks (Total 300) will be made up as follows: 

A. CASS MARKS (150 marks) 

Two Year works (100) 

A3 Tonal drawing (25) 

Year Research Project (25) 

B. OPEN EXAMINATION (150 marks) 

171 

TOTAL: [150] 

Final Examination works (100) 


Examination Research Project (25) 

Please Note: 

The Year work Research Project as well as Examination Research Project 

consists of 3 Parts and mark allocation will be as follows: 

Year work Research 

TOTAL: [150] 

Part 1 (5) 

Part 2 (10) 

Part 3 (10) 

TOTAL: [25] 

Examination Research Project 

Part 1 (5) 

Part 2 (10) 

Part 3 (10) 

TOTAL: [25]

DESIGN SG 

OPTION B 

ASSESSMENT: MARK ALLOCATION 

The marks (Total 300) will be made up as follows: 

A. CASS MARKS (100) 

Two Year works (70) 


Year Research Project (15) 

B. OPEN EXAMINATION (200) 

172 

TOTAL: [100] 

Final Examination works (140) 


Examination Research Project (30) 

Please note: 

TOTAL: [200] 

The Year work Research Project consists of 3 parts and mark allocation will be as 

follows: 

Part 1 (5) 

Part 2 (5) 

Part 3 (5) 

TOTAL: [15] 

The Examination Research Project consists of 3 parts and mark allocation will be as 

follows: 

Part 1 (10) 

Part 2 (10) 

Part 3 (10) 

TOTAL:……[30]

ELECTRICIANS WORK SG 

QUESTION 1 

ELECTRICAL CURRENT THEORY 

• Combination circuit: RLC – circuits – Series and Parallel 

• Phasor diagrams 

• Power factor calculations 

• E = Em zin O RMS, Average values (50) 

QUESTION 2 

INSTRUMENTS 

• Sketches, operating principles of instruments (20) 

QUESTION 3 

THREE-PHASE ALTERNATING CURRENT SYSTEMS 

• Calculations on three-phase alternating current 

• Star and Delta connections 

• Active and reactive components (30) 

QUESTION 4 

TRANSFORMERS 

• Operating principles – Phase shift 

• Instrument transformers 

• Calculations of single-phase and three-phase transformers (30) 

QUESTION 5 

ALTERNATING CURRENT MOTOR 

• Calculations, circuit diagrams and starters 

• Calculations on synchronous speed and rotor speed (40) 

QUESTION 6 

ELECTRONICS 

• Characteristic curves of transistors and diodes 

• Applications of diodes and transistors 

• Semi-conductors, covalent bonds 

• Amplifier circuits (20) 

QUESTION 7 

SAFETY 

• Safety (10) 

TOTAL: 200 

173

TIME: 3 hours 

MARKS: 200 

ELECTRONICS SG 

QUESTION 1 

ELECTRIC CURRENT THEORY 

• Calculations on series and parallel RCL circuits: reactances, impendances, currents 

etc. 

• Drawing of phasor diagrams in both the series and parallel RLC circuits 

• Calculations of resonance frequency in both the series and parallel RLC circuits. 

• Conditions existing in series and parallel RLC circuits. 

• Applications of RLC circuits. 

(± 40) 

QUESTION 2 

THREE-PHASE ALTERNATING CURRENT SYSTEMS 

• Calculations of voltages and currents in a star three-phase system. 

• Calculations of voltages and currents in a delta three-phase system. 

• Calculations of true power, apparent power and reactive power. 

QUESTION 3 

SEMICONDUCTORS 

174 

(± 15) 

• SCR connected in an alternating current supply. 

• Characteristics curve of the SCR. 

• Transistors connected in the common BASE, common COLLECTOR and common 

EMMITTER configurations and their properties. 

• Zener diode as a voltage regulator. 

• Operating principle of PNP and NPN transistors. 

(± 24) 

QUESTION 4 

AMPLIFIERS 

• Push-pull amplifiers: labelled diagram and its operation 

• RC coupled amplifier: labelled diagram and its operation 

• Load line, drawing and the calculations 

(± 30)

QUESTION 5 

SWITCHING AND CONTROL CIRCUITS 

• Circuits diagrams and simple operations of thyristors controlling the brightness of a 

lamp and controlling of motors. 

• Integrating and differentiating circuits: input and output waveforms. 

• Clippers and clampers: drawing the output waveforms. 

(± 30) 

QUESTION 6 

OSCILLATORS 

• Inductive coupled oscillator: neatly labelled sketch and brief discussion of its 

operation. 

• Hartley oscillator: neatly labelled sketch and brief discussion on the operation of the 

circuit. 

• Factors affecting the standard and stability of the frequency of oscillators. 

(± 14) 

QUESTION 7 

COMPUTER PRINCIPLES 

• Symbols, Boolean algebra and truth table of the logic gates 

• Sketching of combination circuits of the logic gates to satisfy the Boolean equations 

• Half adder and full adder block diagrams. 

• Truth tables of a half adder and full adder circuits. 

• Simplify Boolean expressions 

• Truth table of a given electronic circuit using American Symbols 

(± 30) 

QUESTION 8 

ELECTRONIC APPARATUS 

• Labelled block diagrams of AM and FM transmitters. 

• Labelled block diagrams of AM and FM receivers. 

• Block diagram of the oscilloscope. 

• Calculations using the oscilloscope 

• Workshop rules 

• Aids / (HIV) related questions 

QUESTION 9 

SAFETY PRECAUTIONS 

175 

(±10) 

(± 7) 

TOTAL: 200

ENGLISH FIRST LANGUAGE HIGHER GRADE 

COMPREHENSION, SUMMARY AND LANGUAGE STUDY (PAPER 1) 

Length of paper: 2½ hours 

Mark Allocation: 100 

This examination paper consists of comprehension, language and summary questions. 

Comprehension type questions: 30 marks 

Summary: 10 marks 

Communicative Language type questions: 40 marks 

Editing 20 marks 

GENERAL 

Attention should be given to the entire language syllabus. The questions will be similar to 

those for 2005/2006. The passages may consist of the following forms of contemporary 

prose: 

Journalistic pieces: articles, reviews, editorial matter, etc. from various types of 

publications. 

Excerpts from works of modern fiction 

Advertisements 

Pamphlets, brochures 

Modern quotations, graffiti, slogans, cartoons, graphs 

A concerted effort has been made to ensure that the texts are relevant to South African 

learners and there will not necessarily be an obvious theme to the paper. 

COMPREHENSION 

The length of passages will vary. The comprehension question may consist of more than 

one passage. Questions will centre around the following: meaning, both direct and 

inferred; vocabulary and dictionary work; the use and effect of punctuation, style and 

imagery; emotive language and connotation, knowledge of general/topical issues, and 

appreciation of texts themselves. There will also be some open-ended type questions in 

which the candidates will be expected to express their own view or opinions – with 

justification. No marks will be allocated for yes/no response. All marks will be allocated to 

reasons. There will be NO choice questions in this paper. 

SUMMARY SKILLS 

An attempt has been made to make the summary a more rigorous and meaningful 

exercise. This means, in terms of the move towards OBE, a move away from the 

‘parroting’ point form while still not returning to the stilted précis format. Similar skills will 

still, of course, be required – identification of main points, synthesis, and so on – but there 

will be a move towards a more personal and critical interpretation of material and a 

knowledge of various transactional formats and registers. The summary will be based 

upon a wholly new text. 

176

Although the mark allocation is 10, the length of the summary has not been cut by very 

much. This is not a throwaway exercise but a key indicator of the candidates’ abilities to 

manipulate and command the language. The length of the summary will still be between 

100 and 200 words. Candidates will be required to present a summary which is one third 

of the length of the given passage. 

Candidates must attempt to put the summary into their own words. It is imperative that 

instructions are adhered to, otherwise candidates will be penalised. 

THE HG SUMMARY MUST NOT BE WRITTEN IN POINT FORM. 

COMMUNICATIVE LANGUAGE STUDY 

The candidates will be presented with a variety of texts, in combined or separate 

questions. The textual editing will not necessarily be examined from a separate passage. 

Direct and reported speech remains a feature of the papers. 

More formal editing skills will also be assessed and candidates should be familiar with the 

rules of concord, forming abbreviations, pronoun usage and common spelling. The mere 

regurgitation of the rules will not be examined but candidates will need to have 

internalised the rules in order to express their answers in a satisfactory manner. 

Diction will continue to be examined on a large scale insofar as it contributes to 

mood/feeling/register. Both ‘modern’ and colloquial vocabulary will be offered for critical 

analysis or appreciation. 

Candidates will also be expected to express sensitivity and tolerance towards broader 

South African and international topics regarding racial and gender issues, the HIV/Aids 

crisis, globalisation, etc. 

Visually impaired candidates who write the Braille paper will not be required to analyse 

cartoons. A separate question on style, register and direct and reported speech has been 

set, however the medium of advertising remains a feature of the paper. 

Skills 

• Extraction of information 

• Inference 

• Drawing conclusions / making connections 

• Insight 

• Paraphrasing/synthesis 

• Listing 

• Retrieval skills 

• Editing (application of rules listed below) 

• Evaluating information 

Rules 

• Correct usage 

• Spelling conventions/rules 

• Singular and plural forms 

177

• Abbreviations 

• Derivations 

• Uses and effects of punctuation marks 

• Syntax 

Vocabulary and Word Usage 

• Explaining meaning in context 

• US / British English / South African English 

• Figurative / Literal usage 

• Idiomatic usage 

• Allusion 

• Denotation and connotation 

• Euphemism, Hyperbole, Innuendo, Irony, Pun 

• Jargon / Colloquial language / Slang / Standard English 

• Abbreviations / Acronyms 

Stylistic Issues 

• Rhetorical devices, e.g. repetition and questioning 

• Tone 

• Atmosphere 

• Emotive language 

• Neutral / objective vs. biased / subjective language 

• Diction / word choice 

• Sentence length and structure 

• Awareness of audience 

• Person (1 st , 2 nd , 3 rd ) 

• Source 

N.B. See Standard Grade guidelines for Abridged Language Syllabus 

178

ENGLISH FIRST LANGUAGE STANDARD GRADE 

COMPREHENSION, SUMMARY AND LANGUAGE STUDY (PAPER 1) 

Length of paper: 2 hours 

Mark Allocation: 75 

This examination paper consists of comprehension, language and summary questions. 

Comprehension type questions: 25 marks 

Communicative Language type questions: 30 marks 

Editing: 10 marks 

Summary: 10 marks 

GENERAL 

Texts may include contemporary / relevant articles from newspapers or magazines. 

Advertisements/ pamphlets, brochures, graphs and/or cartoons may also be used. A 

concerted effort has been made to ensure that texts are relevant to South African learners. 

COMPREHENSION 

The length and type of passages will vary and there will not necessarily be an obvious 

theme to the paper. The comprehension question may consist of more than one passage. 

Questions will centre around the following: meaning, both direct and inferred; vocabulary 

and dictionary work; the use and effect of punctuation, style and imagery; emotive 

language and connotation, knowledge of general/topical issues, and appreciation of texts 

themselves. There will also be some open-ended type questions in which the candidates 

will be expected to express their own view or opinions – with justification. No marks will be 

allocated for yes/no responses. All marks will be allocated to reasons. 

There will NOT be choice questions in this paper. 

LANGUAGE 

Questions will be set in context. The same type of texts as for comprehension type 

questions apply. 

• Functional / communicative approach (e.g. tone, meaning, register, purpose, 

attitude). 

• The selections of texts could allow for questions on : 

• Propaganda / sentimentality / sensationalism / satire / stereotyping 

• Visual literacy 

• Editing (compulsory 10 marks) 

• Logical thinking / reasoning 

• Synthesis 

• Syntax (correct sentence construction) 

• Direct and reported speech 

• Vocabulary 

179

• Idiomatic and figurative language 

• In editing questions, candidates may be required to identify errors (spelling, 

punctuation, word order, choice of words, capitalisation) and make corrections. 

There will not necessarily be a separate text for editing questions. 

SUMMARY 

The summary is not taken from the main / anchor passage. A completely separate text is 

used for this purpose. The summary question requires shortening a passage for a specific 

purpose. The rubric will indicate the degree of formality required and will also determine 

the register and format. The summary for Standard Grade will be in point form. 

Candidates must follow instructions very carefully or penalties will apply. 

POINTS TO NOTE: 

The type of questions will be similar to those of 2005. 

Attention should be given to the entire language syllabus. An abridged version is included 

below for reference purposes. 

Some questions may be of a comparative nature. 

For visually impaired candidates who write the Braille paper, there will not be a question 

on cartoon analysis. However, advertising as a medium, is still examined. 

LANGUAGE SYLLABUS (ABRIDGED) 

The following aspects of the core syllabus are likely to be examined. All language issues 

will be tested in context; the emphasis is on usage. 

1. Comprehension 

• Factual and inferential comprehension 

• Vocabulary usage / meanings of words in context; appropriateness of diction 

• Figurative language, especially hyperbole, euphemism, innuendo, irony, pun 

• Extended / Sustained metaphor 

• Writer’s manipulation of language / words (e.g. for specific effects / purpose) 


• Tone 

• Ambiguity 

• Intention 

• Source 

• Register (which includes appropriateness of style and tone) 

• Literal and metaphorical / figurative language 

• Fact and Opinion 

• Subjectivity and Objectivity 

2. Vocabulary 

• Parts of speech; converting from one part of speech to another 

• Synonyms and antonyms 

• Definition of new words in context 

180

• Confused words e.g. homophones 

• Stress in words / pronunciation 

• Abbreviations; Acronyms 

• South African English Usage 

• Politically correct usage (which avoids racism, sexism, ageism etc.) 

• Correct use of Prepositions e.g. agree to … 

• Connotation and denotation 

• The difference between slang / colloquial / informal language and formal language 

• Clichés 

• Jargon / Buzz words 

• Understanding a dictionary extract / dictionary conventions. 

3. Emotive Language and other issues in: 

• Advertising 

• Propaganda / Bias 

• Sentimentality 

• Sensationalism 

• Satire 

• Stereotyping 

(Be aware of how these uses of language manipulate one’s responses emotionally.) 

4. Spelling 

Recognising and correcting incorrectly spelt words, adding suffixes to words e.g. –ing. 

Actual spelling rules will not be tested. 

5. Punctuation (as an aid to clarifying meaning; how punctuation can change meaning) 

• Apostrophe: possession and contraction 

• Colon 

• Semi-colon 

• Dash 

• Hyphen 

6. Other Grammatical / Syntactical Issues 

• Subject, Object, Predicate 

• Sentence structure (simple, complex, loose, periodic) 

• Incomplete sentences / comma splice 

• Identifying phrases, clauses and subordinate clauses 

• Simple clause analysis – identifying the function of noun, adjectival and adverbial 

clauses 

• Tenses (i.e. consistent and correct use of tenses) 

• Rules of Concord (subject-verb agreement; NOTE each, none, both, few, mob, team 

etc.) 

• Synthesis (using conjunctions, participles, infinitives, prepositions, relative pronouns 

or changing word order) 


• Tautology / Redundancy 

181

• Direct and indirect / reported speech 

7. Style 

• Register : Purpose / Intention, Context, Tone, Style, (i.e. context determining form of 

communication) 

• Style : Diction (word choice and usage) – usually either simple or complex words 

• Figurative language / Imagery e.g. similes, metaphors, personification, symbolism 

• Punctuation (excluding full stops) – e.g. heavily punctuated 

• Sentence structure – short or long / simple or complex 

• Paragraph structure – varied; short or long 

• Other individualising qualities / techniques employed by the writer e.g. tone (serious 

or satirical) 

182

HIGHER GRADE 

ENGLISH PRIMARY LANGUAGE HG 

LITERATURE (PAPER 2) 

A total of FIVE questions for 100 marks must be answered. 

SECTION A: POETRY 

Question 1: Unseen poetry - General South African poetry (contextual) 10 marks 

OR 

Question 2 Unseen poetry – General South African poetry (mini essay ) 10 marks 

It is recommended that learners should be encouraged to explore a representative 

selection of poems by South African poets over the years. Questions from past papers 

should be used as a guide to the approach to the questions in the unseen section. 

Questions 3, 4, 5, 6: 

Prescribed poetry. Candidates must answer TWO of the four questions. 

15 x 2 = 30 marks 

PRESCRIBED POETRY: 

Let me not to the marriage of true minds Shakespeare 

Death be not proud Donne 

On his blindness Milton 

Ulysses Tennyson 

Dover beach Arnold 

Mending Wall Frost 

Preludes (HG only) Eliot 

Anthem for doomed youth Owen 

Do not go gentle… Thomas 

Hawk Roosting Hughes 

183 

TOTAL FOR SECTION A: 40 MARKS 

Educators should ensure that learners are familiar with and able to understand the 

following (please note that this does not include all possible competencies required): 

• the common verse forms, e.g. sonnet 

• the historical context of the prescribed poetry 

• terminology necessary for the study and appreciation of poetry, such as: 

rhythm, rhyme, structure, tone, mood, imagery, diction, theme 

• appreciation of the way the poet’s message is conveyed through the use of poetic 

devices. 

• figures of speech/ sound devices: notably, simile, metaphor, personification, 

alliteration, onomatopoeia, assonance, rhetorical question, hyperbole 

• the way figures of speech, diction, structure, punctuation, irony and other devices are 

used by poets to enhance meaning.

SECTION B: SHAKESPEARE 

Either MACBETH OR JULIUS CAESAR 

Candidates must answer EITHER an essay type question OR a contextual question. 

In addition to the competencies listed under Section C, candidates should 

be able to demonstrate an understanding of the following: 

• the intentions of the playwright in the creation of character and the staging of the 

play. Specifically, candidates should be able to give stage directions that they would 

use if they were directing the play. 

• an understanding of the effect of lighting, sound effects and the use of gesture and 

tone of voice, and any other relevant dramatic devices. 

• an understanding of dramatic irony. 

• an appreciation of the use of imagery and the way imagery reinforces theme. 

SECTION C: NOVEL 

Any ONE of the following: 

A Tale of Two Cities Dickens 

July’s People Gordimer 

Maru Bessie Head 

Nineteen Eighty-four Orwell 

184 

TOTAL FOR SECTION B: 30 MARKS 

Candidates have a choice of EITHER an essay type OR a contextual type question. 

Competencies to be addressed: 

• knowledge of plot 

• knowledge of names of characters and their characteristics 

• ability to comment on the behaviour of certain characters 

• understanding of the motives for the behaviour of certain characters. 

• understanding of main themes 

• ability to show how language is used to create character, mood or theme, eg. through 

the use of figures of speech. 

• knowledge of concepts such as satire, irony, paradox 

• an ability to discuss the use of humour 

• an ability to interpret the intentions of the author. 

NB: Candidates’ answers to Section B (Shakespeare) and Section C (Novel) must 

comprise ONE essay question and ONE contextual question. 

The competencies addressed in the Higher Grade Paper should also be considered when 

teaching Standard Grade learners. The more difficult concepts will be omitted from 

questions.

MARKS: 75 

TIME: 2 hours 

SECTION A: POETRY (25 marks) 

ENGLISH PRIMARY LANGUAGE 

PAPER 2 (LITERATURE) 

STANDARD GRADE 

There will be NO unseen poetry for Standard Grade in 2006. Candidates are to choose to 

answer on ONE poem for 13 marks and ONE poem for 12 marks, giving a total of 25 

marks. 

SECTION A: POETRY (25 marks) 

The poems listed below are prescribed and should be studied IN DEPTH. 

POET'S NAME POEM 

1. Shakespeare Let me not to the marriage of true minds 

2. Donne Death be not proud 

3. Milton On his blindness 

4. Tennyson Ulysses 

5. Arnold Dover Beach 

6. Frost Mending Wall 

7. Owen Anthem for doomed youth 

8. Thomas Do not go gentle… 

9. Hughes Hawk Roosting 

SECTION B: SHAKESPEARE (25 marks) 

185 

TOTAL FOR SECTION A: [25] 

Any ONE of the following: Macbeth OR Julius Caesar. 

Candidates must answer EITHER an essay-type OR contextual-type question. In 

assessing a literary essay at SG level, emphasis is placed on the candidate's appreciation 

of content rather than mastery of style. 

SECTION C: NOVEL (25 marks) 

Any ONE of the following: 

NOVEL AUTHOR 

1. A Tale of Two Cities Dickens 

2. July's People Gordimer 

3. Maru Bessie Head 

4. Nineteen Eighty-four Orwell 

TOTAL FOR SECTION B: [25] 

There is a choice between EITHER an essay-type OR a contextual question. 

TOTAL FOR SECTION C: [25]

GENERAL 

The grand total for the literature papers is 75 marks. 

Candidates are allocated 2 hours for completing this paper. 

It is imperative that you repeatedly highlight the following instruction to your 

students when familiarising them with the format of the literature paper. 

Candidates' answers to SECTION B (Shakespeare) and SECTION C (Novel) must 

comprise ONE essay and ONE contextual answer. 

Thus, if they answer an essay question in Section B, they are required to answer the 

contextual question in Section C or vice versa. 

186

ENGLISH FIRST LANGUAGE HG 

CREATIVE WRITING, TRANSACTIONAL WRITING AND LITERATURE 

(PAPER 3 – PART-TIME CANDIDATES ONLY) 

TIME: 2½ hours 

MARKS: 120 

N.B. THIS EXAMINATION PAPER REPLACES THE PORTFOLIO WHICH IS 

COMPULSORY FOR FULL-TIME CANDIDATES. 

SECTION A: CREATIVE WRITING (40 marks) 

• In this section, candidates are required to answer ONE question only, although there 

are + 9 questions from which to make their selection. 

• Section A requires a creative response to a composition, which should be original, 

sincere, and a reflection of a candidate’s values, views and experiences. (Educators 

must inform candidates of these criteria and must discourage the use of any type of 

pre-prepared writing). 

• The candidates’ response should consist of 400 to 500 words. 

• The given topics will encourage a variety of responses, e.g. 

- Narrative 

- Descriptive 

- Reflective 

- Philosophical 

- Expository 

- The Short Story 

- Argumentative 

- Interpretative 

- Discursive 

• Visual material will be used to encourage a response in some topics. 

• Candidates must obey instructions (i.e. supply the number of the topic and supply a 

title if one is not given in the topic). 

• Educators must encourage candidates to plan and edit their compositions thoroughly 

before writing a final draft. The blank left-hand page of the examination booklet 

should be used for this purpose. 

SECTION B: TRANSACTIONAL WRITING 

• Candidates are required to answer THREE questions from this section: 

- One letter from Question 1 (20 marks) 

- One longer piece of Transactional Writing from Question 2 (20 marks) 

- One shorter piece of Transactional Writing from Question 3 (10 marks). 

187

• There will be ± 3 choices of topic per section. 

• Letters and longer pieces of transactional writing require a response of 

approximately 200 words. 

• The response to the shorter piece of transactional writing should be approximately 80 

words in length. 

• Educators must teach candidates the different formats that are required for the 

various topics. 

• The following is a list of the various types of transactional writing that could be 

included in the examination paper: 

• Letters (Formal for Higher Grade) 

- Letter to the press 

- Letter of complaint 

- Letter of thanks / appreciation 

- Letter of invitation 

- Letter of application 

- Letter of apology 

- Letter of sympathy 

• Longer pieces of transactional writing 

- Diary entries 

- Role Play 

- Reports 

- Investigations 

- Minutes 

- Obituaries 

- Advertisements 

- Pamphlets / Brochures etc. 

• Shorter pieces of transactional writing 

Facsimiles 

Memoranda 

E-mail messages 

Posters 

Classified advertisements 

Postcards 

Forms which must be completed 

Notes with a definite purpose 

TOTAL FOR SECTIONS A + B: 90 MARKS 

188

HIGHER GRADE 

Section C is the Literature section, as detailed below: 

Candidates are required to answer ONE QUESTION ONLY from this section. 

• Candidates may choose to answer either an essay or a contextual question. 

Questions are set, in the usual way, on the following works: 

1. Film: Strictly Ballroom 

2. Short stories: To Kill a Man’s Pride 

3. Short stories: Focus 

General: 

1. Questions will examine issues of content and interpretation/application for HG students 

and mainly content for SG. 

2. HG questions will total 30 marks and SG questions 20. 

Tips to educators: 

1. Film: Knowledge of filmic terminology is essential. Candidates must be able to interpret 

stills; comment on the sound track; discuss issues such as casting, costuming, setting, 

lighting, editing, production, continuity, etc. 

2. Short Stories: The problem here in the past has been that the candidates frequently 

confuse plot lines and characters from one story with those of another. Summaries and 

brief character sketches, linked with each story may help to obviate this. Where 

comparisons between stories are required, candidates must take care to address the 

issues involved, and not merely recount the narrative concerned. Marks will not be given 

where the question has not been answered. 

3. Mark allocation: Once again, it is important to answer with the marks in mind. Teach 

candidates to look for the central issue question and to address that specifically. 

4. Literature essays: Please consult the general guidelines given in the full-time paper. 

189

TIME: 2 hours 

MARKS: 80 

ENGLISH FIRST LANGUAGE STANDARD GRADE 

CREATIVE WRITING, TRANSACTIONAL WRITING AND LITERATURE 

(PAPER 3 – PART-TIME CANDIDATES ONLY) 

N.B. THIS EXAMINATION PAPER REPLACES THE PORTFOLIO WHICH IS 

COMPULSORY FOR FULL-TIME CANDIDATES. 

SECTION A: CREATIVE WRITING (30 marks) 

• In this section, candidates are required to answer ONE question only although there 

are + 7 questions from which to make their selection. 

• Section A requires a creative response to a composition, that should be original, 

sincere, and a reflection of a candidate’s values, views and experiences. (Educators 

must inform candidates of these criteria and must discourage the use of any type of 

pre-prepared writing). 

• The candidates’ responses should consist of 300 to 400 words. 

• The given topics will encourage a variety of responses, e.g. 

- Narrative 

- Descriptive 

- Reflective 

- Philosophical 

- Expository 

- The Short Story 

- Argumentative 

- Interpretative 

- Discursive 

• Visual material will be used to encourage a response in some topics. 

• Candidates must obey instructions (i.e. supply the number of the topic and supply a 

title if one is not given in the topic). 

• Educators must encourage candidates to plan and edit their compositions thoroughly 

before writing a final draft. The blank left-hand page of the examination booklet 

should be used for this purpose. 

SECTION B: TRANSACTIONAL WRITING 

• Candidates are required to answer TWO questions from this section : 

- Longer piece from Question 1 (20 marks) 

- One shorter piece of Transactional Writing from Question 2 (10 marks). 

• There will be ± 3 choices of topic per section. 

• Letters and longer pieces of transactional writing require a response of approximately 

150 words. 

190

• 

• The response to the shorter piece of transactional writing should be approximately 80 

words in length. 

• Educators must teach candidates the different formats that are required for the 

various topics. 

• The following is a list of the various types of transactional writing that could be 

included in the examination paper: 

• Letters (Formal and Informal for Standard Grade) 

- Letter to the press (formal) 

- Letter of complaint (formal) 

- Letter of thanks / appreciation (formal or informal) 

- Letter of invitation (formal or informal) 

- Letter of application (formal) 

- Letter of apology (formal or informal) 

- Letter of sympathy (formal or informal) 

• Longer pieces of transactional writing 

- Diary entries 

- Role Play 

- Reports 

- Investigations 

- Minutes 

- Obituaries 

- Advertisements 

- Pamphlets / Brochures etc. 

• Shorter pieces of transactional writing 

- Facsimiles 

- Memoranda 

- E-mail messages 

- Posters 

- Classified advertisements 

- Postcards 

- Forms which must be completed 

- Notes with a definite purpose 

TOTAL FOR SECTIONS A + B : 60 MARKS 

191


Section C is the Literature section, as detailed below: 

Candidates are required to answer ONE QUESTION ONLY from this section. 

• HG candidates may choose to answer either an essay or a contextual question. 

• SG will be required to answer contextual questions only. 

Questions are set, in the usual way, on the following genres: 

1. Film: Strictly Ballroom 

2. Short stories: To Kill a Man’s Pride 

3. Short stories: Focus 

General: 

1. Questions will examine issues of content and interpretation/application for HG students 

and mainly content for SG. 

2. HG questions will total 30 marks and SG questions 20. 

Tips to educators: 

1. Film: Knowledge of filmic terminology is essential. Candidates must be able to interpret 

stills; comment on the sound track; discuss issues such as casting, costuming, setting, 

lighting, editing, production, continuity, etc. 

2. Short Stories: The problem here in the past has been that the candidates frequently 

confuse plot lines and characters from one story with those of another. Summaries and 

brief character sketches, linked with each story may help to obviate this. Where 

comparisons between stories are required, candidates must take care to address the 

issues involved, and not merely recount the narrative concerned. Marks will not be given 

where the question has not been answered. 

3. Mark allocation: Once again, it is important to answer with the marks in mind. Teach 

candidates to look for the central issue question and to address that specifically. 

4. Literature essays: Please consult the general guidelines given in the full-time paper. 

SECTION C (STANDARD GRADE) 

LITERATURE 

This section requires a response in the form of a contextual or a literary essay to one of 

the following genres: folklore/short story/film study. Only ONE response on ONE set work 

or set anthology is required. 

(20) 

TOTAL: 80 

192

TIME: 2 hours 

INSTRUCTIONS: 

ENGLISH ADDITIONAL LANGUAGE HG AND SG 

PAPER 2 

SECTION A: POETRY 

QUESTION 1 

POETRY 

SECTION B: NOVEL 

QUESTION 2 

Maru 

SECTION C: DRAMA 

ANSWER QUESTION 3 

Julius Caesar 

OR 

QUESTION 4 

Macbeth 

SECTION D: SHORT STORIES 

ANSWER QUESTION 5 

Focus 

OR 

QUESTION 6 

Stories South Africa 

• Answer questions on any TWO sections. 

• Do not answer on two set works from the same section. 

TIME: 2 hours 

MARKS: 2 x 40 = 80 

193

COMPETENCE TO BE ADDRESSED 

• Knowledge of prescribed texts 

• Interpretation of themes 

• Understanding of characterisation 

• Understanding of facts/information 

• Appreciation of ideas as a whole through in-depth critical reading 

• Demonstration of an understanding of the world through and understanding of, for 

example, the behaviour of characters 

• Dealing with values and morals in prescribed texts 

• Appreciating cultural and aesthetic issues in texts 

• Communicating responses effectively 

TYPES OF QUESTIONS 

• Multiple-choice questions 

• True/false questions with motivation for choice of answer 

• Choose the right answer 

• Fill in the missing word 

• Brief explanations 

• Short paragraphs (HG only) 

KNOWLEDGE/SKILLS REQUIRED 

Poetry 

• Knowledge of content 

• Understanding of content 

• Knowledge of meanings of words 

• Understanding of implied meaning 

• Recognition of figures of speech/sound devices 

• Understanding of the effect of figures of speech/sound devices 

• Understanding of the concept of structure 

• Understanding of the concepts of rhythm and rhyme 

• Understanding of mood and tone 

OTHER SETWORKS 

The Novel 

• Knowledge of plot 

• Knowledge of names of characters and their characteristics 

• Ability to comment on the behaviour of certain characters 

• Understanding of the motives for the behaviour of certain characters 

• Understanding of main theme 

• Ability to show how language is used to create character, mood or theme, e.g. 

through the use of figures of speech 

194

Drama 

In addition to the competencies listed under “The Novel” candidates should show an 

understanding of the intentions of the playwright in the creation of character and the 

staging of the play. Specifically, candidates should be able to give stage directions that 

they would use if they were directing the play. This would involve and understanding of 

the effect of lighting, sound effects and the use of gesture and tone of voice, and any other 

relevant dramatic device. 

The Short Story 

In addition to the competencies listed under “The Novel” candidates should be aware of 

the importance of structure in the short story. 

CANDIDATES SHOULD BE FAMILIAR WITH THE FOLLOWING TERMS AND SHOULD 

BE ABLE TO IDENTIFY EXAMPLES AND COMMENT ON EFFECTIVENESS: 

Figures of speech containing comparisons: 

Simile, metaphor, personification 

The question “Comment on the effectiveness” would require candidates to explain which 

two items/concepts are being compared and to show whether it is an apt comparison 

which enhances the description. 

Figures of speech which are sound devices: 

Alliteration, assonance, onomatopoeia 

Here the question “Comment on the effectiveness” would require an understanding of the 

way in which the use of the sound device mimics, recreates or emphasises a sound, or the 

way in which it creates mood or atmosphere. 

Other terms 

Paradox (HG only), pun (HG only), irony, proverb, idiom 

Synonyms and antonyms 

Mood or atmosphere, tone 

Common verse forms, notably sonnet 

Rhyme and rhythm 

Stanza 

195

TIME: 2 hours 

TOTAL: 75 

STRUCTURE: 

TWO questions 

Draw on both sides of A3 paper 

TIME: 2 hours 

TOTAL: 125 

STRUCTURE: 

SECTION A – Short questions 

SECTION B – Longer questions 

No separate answer sheet, use answer book. 

FARM MECHANICS SG 

PAPER 1 

PAPER 2 

PLEASE NOTE: Drawings in both papers must be of a high standard. 

196

FORMAT 

FITTING AND TURNING SG 

1. ALL questions must be answered. 

2. Question 1 – has a multiple-choice section and a TRUE or FALSE section. These 

are short questions covering the entire Interim Core Syllabus. 

3. Candidates must refrain from writing or drawing on the blank page on the left side of 

the answer book. 

TIME AND MARK ALLOCATION 

1. Sufficient time (3 hours) is allocated to complete the entire question paper for 

200 marks. 

THE SYLLABUS 

1. In order to answer all the questions set in this paper, the entire Interim Core 

Syllabus must be covered. During the marking session, it became clear that many 

candidates DID NOT complete the syllabus. 

2. Educators must teach candidates to manipulate (change the subject of) the 

formulae on the information sheet. 

197

FORMAAT 

PAS- EN DRAAIWERK SG 

1. ALLE vrae moet beantwoord word. 

2. Vraag 1 – Kort vrae wat die hele Tussentydse Kernsillabus dek. Dit het 

meervoudige keuse en ’n WAAR en ONWAAR-afdeling. 

3. Kandidate moenie op die blanko bladsy aan die linkerkant van die antwoordboek 

skryf of teken nie. 

TYD EN PUNTETOEKENNING 

1. Genoeg tyd (3 uur) word toegeken om die hele vraestel van 200 punte te voltooi. 

SILLABUS 

1. Om al die vrae in hierdie vraestel te kan beantwoord, moet die hele tussentydse 

kernsillabus gedek word. Dit het gedurende ’n vorige nasiensessie duidelik geword 

dat baie kandidate nie die sillabus voltooi het nie. 

2. Opvoeders moet kandidate leer om formules op die inligtingsblad te manipuleer 

(onderwerp te verander). 

198

MARKS: 300 

FRENCH HG 

QUESTION 1 

COMPRÉHENSION 

• TWO or THREE small texts on different themes 

• Questions to be answered in French 

• Grammar will not count; only comprehension will be taken into account 

(60) 

QUESTION 2 

GRAMMAIRE IN CONTEXT 

• Grammar based on texts in Question 1 or on other texts 

• No longer multiple-choice answers only 

• Textes à trous, etc. 

QUESTION 3 

VERSION 

199 

(50) 

Based on portion of the texts of Question 1 (60) 

QUESTION 4 

THÈME 

• Based on a text given in English, the learners must retell in French what the 

text is about 

• Not a word-for-word translation 

• (10 marks for 10 important facts, 10 marks for expression) (30) 

QUESTION 5 

EXPRESSION ÉCRITE 

Write an essay of ± 200 – 250 words on 1 of 5 topics. (60) 

QUESTION 6 

DOCUMENT (SITUATION AUTHENTIQUE) 

• Write 80 - 100 words on one topic. 

• A choice will be provided between a fax, a postcard, a dialogue, a newspaper 

announcement, etc. (40)

French language paper will be based on the following themes, which are studied 

from Grade 8 onwards: 

1. Campagne/Nature/Animaux/Saisons 

2. Ville (Transport, logement, directions) 

3. école/Sport/Loisirs (Musique/Cinéma, etc.) 

4. Vacances/Voyage (réservations, communications) 

5. Nourriture (repas, restaurant) 

6. Santé (médicin, pharmacien) 

7. Famille/Amitié/Amour 

8. Projets (argent de poche, avenir) 

9. Courses (magasins, marché) 

10. Civilisation française 

QUESTION 1 

Compréhension A, B, C Repondez en Français 

Quand? 

Qui? 

Expliquez 

Choix Multiple 

Vrai ou Faux? 

Pourquoi? 

Comment? (60) 

QUESTION 2 

Grammaire A.1 – Dialogue (texte à trous) 

Je réponds – Paul 

Grammaire A.2– Texte à trous 

Mettez aux temps convenables (du passé) les verbes. 

Grammaire B – Texte 

Si…( ) 

Trouvez le mot dans le texte qui a le même sens: 

Formulez les questions à ces réposes: 

Mettez au passif: 

En…( ) 

Je veux que…( ) (50) 

QUESTION 3 

Version – basé sur la compréhension A ou B ou C (60) 

QUESTION 4 

Thème 

Dialogue (French and English) (30) 

200

QUESTION 5 

± 200 – 250 mots – Expression écrite (60) 

± 80 - 100 mots sur 1 sujet 

Document /Situation Authentique 

QUESTION 6 

• Carte postale 

• Annonce 

• Conversation téléphonique (dialogue) 

• Journal personnel (40) 

PLEASE NOTE: FRENCH ORAL 

From 2004 onwards the oral section is to be set by the educator in his or her own time and 

marks have to be submitted when the English and Afrikaans oral marks are due. 

Mark allocation: 

HG SG 

1. Listening Component 30 marks 30 marks 

2. Dictation 10 marks 10 marks 

3. Role Play 20 marks 10 marks 

4. General Conversation 20 marks 10 marks 

5. Reading 20 marks 15 marks 

TOTAL: 100 marks 75 marks 

201

Grammar in context (un texte à trous) 

Multiple-choice 

FRENCH SG 

QUESTION 1 

GRAMMAIRE ET STRUCTURES 

QUESTION 2 

COMPRÉHENSION I 

A text and two “documents authentiques” (tickets, posters, adverts) from which the 

relevant information should be derived 

QUESTION 3 

COMPRÉHENSION II 

A French text is given and learners have to retell in English what they understood from the 

passage. A word-for-word translation is not required. (20 facts x 2) 

(40) 

Les Monuments de Paris 

QUESTION 4 

CIVILISATION 

Learners must know the most important monuments in Paris and have some background 

om them: 

• La Seine, Les Champs Elysées, Les Grands boulevards, Montmatre, La Tour Eiffel, 

les Invalides, L'Arc de Triomphe, La Grande Arche de La Détense, La Place de la 

Concorde, l'Obélisque de Louqsor, Le Louvre, (la Pyramide), Le Musée d'Orsay, le 

Centre Pompidou / Beaubourg, Notre Dame de Paris, le Sacré Coeur, l'Opera 

Garnier, l'Opéra Bastille, La Pont Neuf, le Pont Mirabeau 

• Le sport: les vedettes: Alain Proust, Zinedine Zidane, Yannick Noah, etc. 

• Des acteurs: Gérard Dépardieu, Daniel Auteuil, Vincent Perez, Jean Reno, Sophie 

Marceau, Juliette Binoche, Emanuelle Béart, Audrey Tatou, etc. Festival 

International du Film à Cannes: le palme d’or. 

• Des chanteurs / chanteuses français(es) ou francophones: Edith Piaf, Jacques 

Brel, Vanessa Paradis, Patricia Kaas, Céline Dion, Pierre Garand (Garou) etc. 

• Des peintres / sculpteurs: Monet, Cézanne, Gaugin, Renoir, Toulouse- 

Lautrec, etc. 

• Les faits historiques: La Révolution Française, Louis XV, Marie Antoinette, La 

Guerre de Cent Ans, Jeanne d'Arc, La Gaule: Vercingétorix 

• Les Regions: La Bretagne, La Provence, etc. 

Les vins, les fromages français 

• Les Fêtes françaises: Le premier janvier: Je Jour de l'an - les étrennes 

Le 6 janvier: La fête des Rois – la galette 

Le 2 février: La fête de la Chandeleur – les crêpes 

Le Carnaval, Mardi Gras, Pâques 

202 

(40) 

(60)

Le premier mai: La fête du travail – le muguet 

En mai: Le Festival international du Film à Cannes: la Palme d'Or 

Le 14 juillet: La fête international 

Le 24/25 décembre: Noël – le réveillon, la dinde, la bûche de Noël, Les 13 deserts) 

Provence) 

Le 31 décembre: La St Sylvestre 

(25) 

QUESTION 5 

EXPRESSION ÉCRITE 

Write an essay/dialogue/letter of ±150 words on one of 5 topics. 

• Series of pictures are given and the story must be told 

• Reply to a letter 

• Discussion of a topic in dialogue form 

• Outline of a story given – write the story 

• Themes: l’amitié, l’école, l’adolessence, les passé-temps, les vacances, etc. 

QUESTION 6 

DOCUMENT/SITUATION AUTHENTIQUE 

• Dialogues based on the ten themes 

• Write a note of acceptance/refusal of an invitation 

• Complete the missing parts of a conversation 

• Fill in a form 

PLEASE NOTE: FRENCH ORAL 

203 

(40) 

(20) 

TOTAL: 225 

From 2004 onwards the oral section is to be set by the educator in his or her own time and 

marks have to be submitted when the English and Afrikaans oral marks are due. 

Mark allocation: 

HG SG 

1. Listening Component 30 marks 30 marks 

2. Dictation 10 marks 10 marks 

3. Role Play 20 marks 10 marks 

4. General Conversation 20 marks 10 marks 

5. Reading 20 marks 15 marks 

TOTAL: 100 marks 75 marks

1. Time Allocation: 3 hours 

2. Mark Allocation: 150 

FUNCTIONAL MATHEMATICS SG 

PAPER 1 

3. Contents: Sequences and Series ± (42) - 28% 

(2 separate questions) 

Exponents and Logarithms ± (53) - 35% 

Differential Calculus ± (24) - 16% 

Graphs ± (31) - 21% 

The above does not mean that questions will appear in this order. 

4. General Comments: 

• An information sheet and graph paper are provided at the end of the question paper. 

• No interval bisection. 

1. Time Allocation: 3 hours 

2. Mark Allocation: 150 

PAPER 2 

3. Contents: Section A: Co-ordinate Geometry (38) 

Section B: Trigonometry (38) 

Section C: Consumer Mathematics (37) 

Section D: Circular Measurement (37) 

Section E: Ratio, Proportion and Similarity (37) 

Section F: Statistics (37) 

• Section A and B are COMPULSORY. 

• Answer any TWO of sections C, D, E or F. 

4. General Comments: 

• An information sheet and graph paper are provided at the end of the question paper. 

204

FUNCTIONAL PHYSICAL SCIENCE SG 

FUNCTIONAL PHYSICAL SCIENCE SYLLABUS – GRADE 12 

This syllabus is a compilation of the compulsory syllabus and the appropriate optional 

sections (see Study Guide No 19: Examining in Std 10 (Grade 12). 

1. ELECTRICITY 

THE BASIC SYLLABUS: PHYSICS 

Learners must be able to use electron current as well as conventional current. 

1.1 A brief revision of the magnetic effects of an electric current and the 

force on a current-carrying conductor in a magnetic field. 

1.2 The induction of an emf in a conductor (e.g. a coil) which is moved in a 

magnetic field or placed in a changing magnetic field (qualitative discussion 

only). The principle of the alternating-current dynamo and transformer. 

1.3 Alternating current: only the difference between alternating current and direct 

current in terms of emf, the direction of current and the nett flow of charge. 

Simple discussion of energy transfer by an alternating current. 

2. ELECTRONS IN THE ATOM 

2.1 Elementary discussion of the structure of the atom: nucleus; electrons 

around the nucleus; energy of electrons. Explanation of obtaining static 

charge in terms of the transfer of electrons. 

2.2 Electrons can be removed from atoms by the following methods to 

demonstrate their presence: 

2.2.1 Contact and mechanical separation (rubbed with cloth) 

2.2.2 Thermionic emission (conduction by thermionic diode) 

2.2.3 Photo-emission from metals (photo-electric effect) 

2.2.4 Ionisation of a gas (electric conduction by a heated gas) 

2.3 The following model for the energy of electrons is suggested: 

2.3.1 An electron possesses potential energy with respect to the positively 

charged nucleus. 

2.3.2 If energy is added, the distance between the nucleus and the 

electrons increases (and vice versa). 

2.3.3 The electrons which possess the most energy are the first to be 

removed when sufficient energy is added to the atom. 

205

3 WAVE MOTION 

3.1 Brief revision of the following topics: 

• Longitudinal and transverse waves 

• Frequency 

• Wavelength 

• Amplitude 

• Velocity of a wave: v = f λ with simple calculations 

• Reflection and the refraction of waves 

3.2 Superposition, interference and diffraction of waves, polarisation of a 

transverse wave (qualitative treatment) 

3.3 Interference of sound waves: 

• Interference 

• diffraction and polarisation of light 

• The (qualitative) relationship between the frequency of the wave 

and the degree of diffraction 

(This section is only intended as evidence for the wave nature of 

sound and light.) 

3.4 Energy propagation by waves in a material medium. (The energy changes 

from kinetic to potential to kinetic to ......) 

3.5 Electromagnetic waves: originate as a result of energy radiated by charges 

(e.g. electrons which are being accelerated or are oscillating); propagation by 

the continual alternate induction of magnetic and electrical fields, no material 

medium is necessary. 

3.6 Evidence for the electromagnetic nature of light. The production of light by 

electrons (including those in the atom) which are radiating energy. 

4. LIGHT, COLOUR AND SPECTRA 

4.1 Refraction of water waves. The relationship between frequency and the 

degree of refraction (qualitative). Correspondence with the refraction of light. 

4.2 Colour in terms of the frequency of light. Dispersion of light by a prism. The 

continuous spectrum of white light. 

4.3 Dispersion of white light by a diffraction grating. Refer to the relationship 

between the frequency of a wave and the degree of diffraction. 

206

4.4 Discussion of the quantisation of light energy with reference to the photoelectric 

effect. The spectra of light radiated by gases under low pressure. 

This light consists of components of fixed frequencies and thus the 

introduction of line spectra. Each element has its own characteristic line 

spectrum. 

4.5 Explain line spectra in terms of the quantised radiation of energy, i.e. line 

spectra as evidence for the discrete energy levels which electrons occupy in 

the atom. 

“OPTIONAL” TOPICS (now incorporated in the syllabus): PHYSICS 

1. ELECTRICITY 

1.1 The force on a current-bearing conductor in a magnetic field. The 

application of this principle in the construction of the galvanometer. 

1.2 Ohm’s Law. Converting a galvanometer to an ammeter or a voltmeter. The 

measurement of current, potential difference and resistance. The use of the 

multimeter. Calculations with resistors in series as well as resistors in 

parallel. 

1.3 The changing of polarity by means of a commutator. The construction of a 

direct-current motor and dynamo (two pole). 

1.4 The difference in the behaviour of direct current and alternating 

current. Induction of emf in a conductor by a current in a neighbouring 

conductor. The transformer. Turns, emf and current ratios. Energy transfer 

and energy loss in a transformer. Electrical welding appliances. 

Transmission of electrical energy over long distances. 

2 ELECTRONICS 

2.1 Thermionic emission. The diode as rectifier; simple rectifying circuit. The 

function of a capacitor in such a circuit. 

2.2 The function of a resistor in a circuit: current control and potential division. 

2.3 The cathode ray tube: construction and applications, e.g. in an 

oscilloscope, electronic voltmeter and television (very elementary). 

2.4 Solid state diodes. Advantages over thermionic diodes for rectification. 

2.5 Solid state triodes (transistors). The triode as amplifier. 

A simple amplification circuit. 

207

THE BASIC SYLLABUS: CHEMISTRY 

5. ATOMIC STRUCTURE AND BONDING 

5.1 A short historical summary of the development of a model of the atom from 

the particle model of Dalton to the nuclear atom of Rutherford. 

5.2 The nucleus of the atom; the terms nucleus, protons, neutrons. Protons and 

neutrons as particles with equal mass, the former with a positive charge and 

the latter neutral. Atomic number, mass number and relative atomic mass. 

Elements are arranged on the periodic table in order of increasing atomic 

number. 

5.3 The neutral atom: the number of protons in the nucleus equal the number of 

electrons in the atom. The mass of an electron is approximately equal to 

1/1840 of the mass of a proton; the mass of an atom is thus concentrated in 

the nucleus. 

5.4 Ions: ion formation (ionization) when a neutral atom loses or gains an 

electron (electrons) (positive and negative ions, respectively) 

5.5 Electronic structure: electrons in the atom do not have the same energy 

content. Electrons can only have certain definite and discrete values of 

energy. “Orbitals”, as spaces around the nucleus in which a maximum of two 

electrons may reside. Energy levels limited to the principal energy levels 1 to 

4 and s- and p-orbitals. 

5.6 The energy level diagrams (aufbau) as a convenient means of representing 

energy levels and the orbitals which are associated with these energy levels. 

Discuss the electron occupation of consecutive energy levels and orbitals in 

atoms for the elements with atomic numbers 1 to 20. 

5.7 The periodicity of valence electron configuration. Refer to the similarities of 

the properties of elements in the same group and relate this similarity to the 

similarities in their electron configuration. 

5.8 Bonding: emphasise electron pairing. The electron pair between the nuclei of 

two atoms in a molecule is attracted by both the nuclei and is thus the 

binding factor. 

5.8.1 Covalent bonding: equal sharing of the electron pair between the 

nuclei involved, e.g. H2 + : + 

5.8.2 Polar covalent bonding: unequal sharing of the bonding electron pair 

by the two nuclei, 

e.g. HCℓ + : - 

The concept of electronegativity is now introduced to describe the 

degree of polarity of the bond. 

208

5.8.3 Ionic bonding: “transfer” of electrons from the less electronegative to 

the more electronegative atoms to form ions. These are bound by 

electrostatic forces in a crystal lattice. 

6. INTERMOLECULAR FORCES (Van der Waals forces) 

6.1 The forces between polar molecules. The influence of these forces on 

evaporation, boiling point and melting point. These forces are partly 

responsible for the deviations from ideal gas behaviour. The explanation of 

the liquefaction of gases by high pressures. 

6.2 Hydrogen bonding. Its influence on the exceptional properties of water. The 

structure and polarity of the water molecule. 

6.3 The influence of the structure and the polarity of the water molecule on the 

properties of water as a solvent. Hydration and the accompanying loss of 

energy. 

6.4 The forces between temporary dipoles. The influence of molecular size on 

these forces. The reasons why compounds with large molecules have high 

boiling points. 

7. ENERGY AND CHEMICAL BONDING 

7.1 The decrease in energy when bonds are formed and the increase in energy 

when bonds are broken up. 

7.2 Exothermic and endothermic reactions. Activation energy. Many examples of 

reactions should be discussed, chosen from reactions with which the pupils 

are familiar. 

The release of energy during chemical reactions and the industrial 

usefulness of chemical reactions as sources of energy should be stressed. 

8. EQUILIBRIUM IN CHEMICAL REACTIONS 

8.1 Chemical reactions can in certain circumstances be reversed, e.g. 

CaCO3 → CaO + CO2 (high temperature and low pressure) 

CaO + CO2 → CaCO3 (low temperature and aided by high pressure) 

8.2 In a closed container, such as a reactor in an industrial process, very few 

reactions proceed to “completion” in one direction only; the reverse reaction 

usually also occurs (the reaction reaches equilibrium). The factors which 

influence the direction and equilibrium of a reaction (qualitative treatment). 

8.3 The importance of controlling equilibrium in reactions in the laboratory and in 

industrial processes. 

209

9. REDOX REACTIONS 

9.1 Brief revision of oxidation and reduction as dealt with in Grades 10 and 11. 

Emphasise the redox model explained in terms of electron transfer. 

Examples: reactions of oxygen, sulphur and the halogens with metals. 

9.2 The reaction of a metal with a solution of a salt of another metal. 

9.3 Oxidation numbers. The use of oxidation numbers to identify redox reactions 

and to balance redox equations. 

9.4 Half-reactions and electron transfer 

10. ELECTROCHEMISTRY 

10.1 The construction of an electrochemical cell. The terms electrolyte, 

electrode, anode, cathode. 

10.2 Half-cells and half-cell reactions for the Daniell cell. The emf of this cell by 

direct measuring. 

10.3 Electrolysis as the reverse cell reaction. Electrolysis of concentrated 

solutions of salts and of a molten salt. Electrolytic preparation of a few 

elements, e.g. H2, O2, Cℓ2 

11. PROPERTIES AND REACTIONS OF ELEMENTS FROM A FEW GROUPS 

In this section, attention should be paid to similar group properties as a result of 

similar electron grouping in the groups under discussion before the properties of 

specific elements from the groups are discussed. 

11.1 The elements of group I (e.g. Li, Na, K). Redox properties: reactions with 

water, oxygen and the halogens. Solubility of their salts in water. Cannot be 

reduced electrolytically from a solution. Preparation by electrolysis of their 

molten salts. 

11.2 The elements of group VII (e.g. Cℓ, Br, I). Reactions with metals. Oxidising 

properties. Decrease in oxidising ability down the group. Electrolytic 

preparation. 

(Compare Section 10.3.) 

210

12. CARBON AND ORGANIC COMPOUNDS 

12.1 Bonding between carbon atoms; diamond and graphite. 

12.2 Inorganic compounds of carbon: CO, CO2 and the carbonates. 

Reactions of CO2 with metal oxides and hydroxides. 

12.3 Hydrocarbons. The four bonding electrons of carbon and the ways in 

which carbon chains can be formed. The alkanes (methane to octane); 

increase in boiling point; combustion reactions and the release of 

energy. Ethene and ethyne as examples of multiple bonding between 

carbon atoms. (No explanation in terms of hybridisation of orbitals is 

expected.) 

12.4 Halogen derivatives, with special reference to substitution by chlorine and 

fluorine in alkanes and in ethene. 

12.5 Functional groups mentioned briefly, with reference to alcohols (methanol 

and ethanol), carboxylic acids (ethanoic acid); aldehydes and ketones, e.g. 

methanol (formalin) and 

2-propanone (acetone). 

“OPTIONAL” TOPICS (now incorporated in the syllabus): CHEMISTRY 

None 

211

MARK DISTRIBUTION 

SYLLABUS 

TOPIC NO. 

1.1 

1.2 

1.3 

1.4* 

1.5* 

1.6* 

1.7* 

2.1 

2.2 

2.3 

2.4* 

3.1 

3.2 

3.3 

3.4 

3.5 

3.6 

4.1 

4.2 

4.3 

4.4 

4.5 

TOPIC DESCRIPTION 

ELECTRICITY 

Magnetic effect 

Induction 

Alternating current 

Force on conductor 

Ohm’s Law 

Changing of polarity 

Direct and alternating current 

ELECTRONS IN THE ATOM 

Structure of atom 

Removal of electrons 

Model of atom 

Electronics 

WAVE MOTION 

Revision 

Superposition 

Interference 

Energy propagation 

Electromagnetic waves 

Evidence of EM waves 

LIGHT, COLOUR, SPECTRA 

Refraction 

Colour 

Dispersion 

Photo-electric effect 

Line spectra 

MARKS 

MARK ALLOCATION IN TERMS OF BLOOM’S TAXONOMY 

212 

KNOWLEDGE 

COMPREHENSION/ 

INSIGHT 

APPLICATION 

150 (40%) (40%) (20%) 

* Indicates previously optional topics which are now compulsory.

GERMAN HG 

THIRD LANGUAGE 

Richtlinien für 

- die ABSCHLUßPRÜFUNG: Oktober / November 2006 

- das Ergänzungsexamen: Februar / März 2007 

AB OKTOBER / NOVEMBER 2006, SCHREIBEN DIE KANDIDATEN ZWEI (2) 

PRÜFUNGSBOGEN. DIE ZEITDAUER VON JEDEM PRÜFUNGSBOGEN: 

ZWEI (2) STUNDEN. 

PRÜFUNGSBOGEN 1 (ZWEI STUNDEN) 

• Schriftlicher Ausdruck (80) 

• Wortschatz und Strukturen (40) 

[120] 

PRÜFUNGSBOGEN 2 (ZWEI STUNDEN) 

• Leseverstehen (80) 

[80] 

PRÜFUNGSBOGEN 1 + PRÜFUNGSBOGEN 2 = 200 

Halten Sie sich bitte an die folgenden Richtlinien: 

1. Format des Prüfungsbogen. 

Prüfungsbogen 1 (2 Stunden) 

- TEIL A: Schriftlicher Ausdruck (80) 

- TEIL B: Wortschatz und Strukturen (40) 

[120] 

Prüfungsbogen 2 (2 Stunden) 

- TEIL A: Leseverstehen (2 Stunden) (80) 

[80] 

2. Prüfungsbogen 1 besteht aus zwei (2) Teilen: 

213 

200 

TEIL A: SCHRIFTLICHER AUSDRUCK (4 X 20 = 80) 

In Teil A haben Kandidaten eine Wahl. 

- Aufsatz und informeller Brief auf Themen basiert (100 –120 Wörter). Kein Dialog. 

- Gesamtzahl der Punkte: 80. Aus sechs (6) Aufgaben, bearbeiten sie nur vier (4). 

(4 x 20 = 80).

TEIL B: WORTSCHATZ UND STRUKTUREN (40) 

In Teil B haben Kandidaten keine Wahl. 

• Präpositionen. 

• Antonyme. 

• Verben (Präsens, Präteritum und Perfekt). 

• Syntax (Wortfolge). 

• Imperativ. 

• Konjunktiv. 

• Steigerung.Verben mit Präpositionen (z. B. denken an). 

• Verben + Adjektive + Substantive [z.B. Ich (interessant) mich für Bücher = 

interessiere. Der Film ist (die Langeweile) = langweilig]. 

• Wählen Sie das richtige Verb, z. B. (beten, bitten, bieten / wandern, wandeln). 

• Das Bindewort . 

3. Prüfungsbogen 2 besteht nur aus TEIL A mit vier (4) Lesetexten. 

Im 2. Prüfungsbogen haben Kandidaten keine Wahl. 

TEIL A: (Nur Lesetexte) LESEVERSTEHEN (4 X 20 = 80) 

- Frage 1: Richtig / Falsch 

- Frage 2: Die richtige Antwort wählen: A, B, C, D. UND 

Nennen Sie ein Wort aus dem Text, das gleichbedeutend ist mit 

……. 

- Frage 3: Satzanfang und Satzende 

- Frage 4: Fragen, die auf Deutsch beantwortet werden sollen. 

4. BEHANDELN SIE DIE FOLGENDEN THEMEN: 

• Umwelt. 

• Reisen. 

• Familie. 

• Jugendliche (Taschengeld, Freude, Freunde, Probleme, Hobbys). 

• Schule. 

• Sport. 

• Feste (Weihnachten, eine Hochzeit) (Die Schüler brauchen keinen Aufsatz über 

Weihnachten und eine Hochzeit zu schreiben. Der Wortschatz ist aber wichtig. 

Die beiden Themen werden im 2. Prüfungsbogen als Lesetexte geprüft). 

• Der Lehrplan, der geprüft wird, bezieht sich auf OBE/UGO, kommunikatives 

Deutsch und Zertifikat DAF. 

DEUTSCH MACHT SPAß 

214

GRAPHIC ART 

The marks (total 300) will be made up of the following: 

A. CASS MARKS (100 marks) 

1. 3 Final works (prints or drawings) 3 x 20 = (60) 

2. Research Projects (20) 

3. Preparatory work & 1 x Tonal A3 drawing 2 Tonal A4 (20) 

TOTAL: [100] 

B. OPEN EXAMINATION (200 marks) 

1. 2 x Final works 2 x 60 = (120) 

2. Research project (in 3 parts) (40) 

3. Preparatory work & 1 x Tonal A3 drawing 2 x Tonal A4 

drawings (20) 

TOTAL: [200] 

300 

Please note that the Research Project (Year work) consists of the following 3 parts: 

Part 1: Discussion of Artist(s) (5) 

Part 2: Analysis of Artwork(s) (10) 

Part 3: Annotated images, i.e. An interaction between text, visuals and 

small sketches (5) 

The Exam Research Project consists of the following 3 parts: 

Part 1: Discussion of Artist(s) (related to theme) (10) 

Part 2: Analysis of Artwork(s) (related to theme) (20) 

Part 3: Annotated images (related to theme) (10) 

TOTAL: [40] 

215

A. MEANS OF ASSESSMENT 

HEBREW HIGHER GRADE 

Paper 1 3 hours [200] 75% 

Oral [100] 

Cass, Practical and Portfolio [100] 25% 

= [400] 

B. REQUIREMENTS 

PAPER 1 LANGUAGE AND LITERATURE [200] 

SECTION A LANGUAGE 

QUESTION 1 ESSAY [50] 

Five essay topics will be set. Candidates must write one essay of approximately 

250 words. 

Mark allocation for essay: 

• Introduction and conclusion (5) 

• Structure and connection between paragraphs (5) 

• Grammar (10) 

• Content (20) 

• Vocabulary (10) 

QUESTION 2 LETTER [20] 

Three letter topics, personal and business, will be set. Candidates must write one 

letter of 100 words. 

Mark Allocation for Letter: 

• Structure (3) 

• Grammar (5) 

• Content (12) 

QUESTION 3 COMPREHENSION [20] 

An unseen passage or passages will be provided, and questions set which 

assess such aspects as: 

• Interpretation of the text(s) 

• Language knowledge such as vocabulary, tenses, the correct form of the word 

in context 

• Summarising skills 

216

QUESTION 4 (VISUAL LITERACY) RESPONSE TO A PICTURE [5] 

QUESTION 5 CONVERSATIONAL HEBREW [10] 

Questions will be asked around conversational topics such as: 

Ba-misada – in a restaurant 

Ba-teatron – at the theatre 

Ba-supermarket – at the supermarket 

Begadim – clothes 

Telephon mekulkal – the telephone is out of order 

Nessia ba-texi – travelling in a taxi 

Ba-bank – in the bank 

Mezeg – ha-avir – the weather 

Etzel ha-rofé – at the doctor’s 

QUESTION 6 TRANSLATION 

• Hebrew to English [20] 

• English to Hebrew [20] 

• Numbers [5] 

The passages in the comprehension and the translation will be based on the 

newspaper genre. The following topics will be included: 

1. Politics in Israel 

2. Politics in the World 

3. Human interest stories/anecdotes 

4. People in the News 

5. Jewish History and Culture 

SECTION B LITERATURE 

QUESTION 7 [50] 

One of the literature components will be examined in the formal examination each 

year. Schools will be informed of the chosen selection in the preceding year. 

217

GUIDELINES: PORTFOLIO 

These guidelines should be read in conjunction with the examination requirements 

and the syllabus. 

PRESENTATION 

• The folder submitted should be A4 in size, sturdy but flat, light and not bulky. 

• Work should be neat, legible and written in blue or black ink only. It may be typed or 

handwritten, but as a range of work must be submitted, some of the work should 

have been handwritten in class under controlled conditions. 

• The instruction for the task must be clearly indicated on the front of each piece, and, 

where work has been edited, both the original and versions must be submitted. A 

piece should be edited once only by the candidate. Errors on the first draft should be 

underlined by the educator but not corrected. The candidate then edits the piece and 

submits both versions. 

• Each piece must reflect the required standard of work and number of words. 

• The portfolio is intended to support the educator’s assessment of the candidate’s 

ability. The educator must; therefore, ensure that the categories of work required are 

correctly represented, and that a range of work is submitted, not only the candidate’s 

best pieces. Overall, the work in the portfolio should be characteristic of the 

candidate’s general level of competence. 

• The educator must ensure that the same principles are used in selecting work for the 

portfolio of each candidate. While it is not necessary for samples of the same task to 

be included in each portfolio, it is important that the same number of pieces of work, 

with the same weighting, be included for each candidate. 

• Pieces of work in each of the required categories should be filed together, with clear 

dividers between each section. 

• Not more than the stated maximum of pieces of work should be included in the 

portfolio. 

• The candidate’s examination number must be clearly written on the front of the folder. 

• A educator’s folder containing a copy of each task set, questions, mark allocation and 

desired content/assessment criteria should be provided for the guidance of the 

moderator. 

Please note that no credit will be given for decorated files or work 

218

GUIDELINES: CONTINUOUS ASSESSMENT (CASS) 

INTRODUCTION 

Continuous assessment (CASS) is the assessment of the learner’s performance carried out 

on an ongoing basis at the learning site by the educator using various assessment 

techniques. 

The following table gives an overview of the CASS: 

COMPONENTS 

Description 

Number of 

Marks 

Weighting 

FORMAL 

EXAMINATION 

ONE 

examination will 

be set: 

3 hour 

preliminary 

examination. 

The 3 hour 

examination will 

count 20 marks 

out of the total 

100 of the CASS 

mark. 

TESTS 

3 tests are to 

be set. One of 

the following 

sections to be 

covered per 

test: 

* Literature: 

Prose 

* Essay: 

Musayof Uveno 

* Bible: Yonah 

(short 

questions) 

* Mishna: 

Application, 

creative writing 

of Principles of 

Perek A, 

Mishna 18 

Each test will 

count 10 

marks out of 

the total 100 of 

the CASS 

mark. 

219 

PRACTICAL 

2 short 

assignments 

are to be set. 

* Essay on a 

general topic. 

* Dialogue (or 

interview of 

conversational 

Hebrew) 

The essay will 

count 20 marks 

and the 

dialogue will 

count for 10 

marks out of the 

total 100 of the 

CASS mark. 

PORTFOLIO 

3 assignments 

are to be set. 

One of the 

following 

sections is to be 

covered per 

assignment: 

* Bible: on one 

of the chapters 

of the set work. 

* Mishna: 1 

assignment on 

2 Mishnayot. 

* Literature 

Essay: 1 essay 

on one of the 

stories of the 

setwork. 

Each 

assignment will 

count for 10 

marks out of the 

total 100 of the 

CASS mark. 

20 3×10 20+10 3×10 

20% 20% 30% 30%

COMPONENTS OF CASS 

Formal Examination 

• One exam = preliminary examination will be set. 

• The preliminary examination is to serve as practice for the final examination. 

• The duration of this examination is 3 hours. 

• The mark allocation must be 200 marks. It should preferably be written during 

August or September. 

• The standard of the paper must be comparable to the final examination. 

Tests 

• There are 3 main sections in the syllabus: Literature, Bible and Mishna. Each 

of them is tested separately. 

• The tests are O.B.E. / S.O. questions (i.e. essays, questions, mind maps). 

• Each test must be out of 75 marks. 

• An entire section must be tested. 

• A copy of the test and memorandum must be in the educator’s CASS file. 

Practical 

• Creative work - Essay: The educator will choose one of the learner’s essays 

(from different essays which he/she has written during the year). An essay can 

be: a scientific article, a personal account, etc. It should be at least 250 words. 

- Dialogue: On current events presented in conversational 

Hebrew. There is also a possibility to present instead of a 

dialogue an interview or movie review, etc. This must be about 

200 words. 

• An interview may involve one or more learners working together on a project. 

• Dialogue topics, as well as, interview topics will be decided at conference. 

The Master File 

This file should be kept by the educator and should include the following: 

• The question paper and memorandum of the preliminary examination. 

• Question papers and memorandums of the tests. 

• A rubric indicating how the assignments were assessed. If the educator sets 

up the assignment in a different way to that of the above description they 

should include a description of the task. 

• Mark schedules of learners’ performances. 

The Learner’s Portfolio 

Each learner will have a portfolio. The portfolio should include a collection of the 

learner’s work –8 pieces in total (+ preliminary examination). The latter referred to 

as the evidence, should be available for moderation purposes at the end of the third 

term. Portfolios will be called by the GDE for moderation at the end of September 

220

each year. All work in the portfolio must be marked. The consolidation form for 

candidates must appear in the learner’s portfolio. 

Absence from a Portfolio Task 

The pupils should be given the opportunity to make up missed tasks. If necessary 

an equivalent exercise can be done. A genuine reason, in writing i.e. a doctor’s 

note, should be produced if a pupil misses a portfolio task. 

221

CONSOLIDATION FORM FOR A CANDIDATE 

HEBREW HG 

Centre Number Candidate’s Examination Number 

e.g. 

1 

2 

3 

4 

5 

6 

7 

8 

9 

Date of 

Submission 

31-01-02 

SUMMARY OF MARKS 

Description of Task 

Test: Hebrew Literature 

Total Possible 

Preliminary 

Examination 

20 

Controlled Tests (3×10)=20 

Essay (Practical) 20 

Dialogue (Practical) 10 

Portfolio 3×10 

TOTAL 

100 

Preliminary 

Examination 

222 

Mark 

Tests 

X 

Essay 

Dialogue 

Portfolio 

Moderated School 

Mark

ORAL ASSESSMENT 

The oral assessment by educators is an ongoing process throughout the year, and 

will be subject to moderation in October by an external moderator appointed by the 

G.D.E. 

The oral mark for Higher Grade candidates should be based on the components 

weighted as shown in the table below. 

COMPONENT HIGHER GRADE 

1. Unseen reading 10 

2. Comprehension questions based on a reading 

text 

3. Role play (everyday conversation) 10 

4. Listening comprehension (reading of a text – 

story/ newspaper – 3 times + questions) 

5. Newspaper presentation (candidate presents a 

newspaper topic to the class – reading a paragraph 

+ 4 sentences of explanation) 

10 

6. Prepared speech 10 

7. General conversation 20 

8. Conversation on Literature 20 

TOTAL 

The G.D.E. will arrange for moderators to visit schools from mid-September to mid- 

October for the purpose of standardising the school assessments for work. 

Schools will be informed of the dates on which they will be visited. On his/her 

arrival, the moderator should be presented with: 

• The duplicate of the computer print outs with the marks for each candidate 

filled in (This printout will be sent to each school by the G.D.E. in July). The 

original (top copy) should be returned to the G.D.E. by the principal. 

• A list of all candidates and the final mark (out of 100 – Higher Grade, for oral, 

arranged in order of merit, so that the moderator may select candidates from 

the entire range of ability). 

• The mark-sheet for the class showing details of how the oral mark was 

composed. 

223 

10 

10 

100

CENTRE NO 

GAUTENG EDUCATION DEPARTMENT 

HEBREW HIGHER GRADE 

ORAL ASSESSMENT 

CANDIDATES ARE LISTED IN RANK ORDER OF MARKS (HIGHEST TO LOWEST) 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 

24 

25 

EXAMINATION NUMBER MARK HG - 100 

224

HINDI 

POETRY 

Kavaya Kimj Part 3 (Selections RB Prachar Samiti, India) 

DRAMA 

Dhruva Swamini (Jaysankar Prasad, Bombay, India) 

NOVEL 

Gaban (Sankshipta) (Premchand, Vardha Samiti, India) 

ESSAY/STORIES 

Kahani Kimj Part 3 (Hargovind Chaurace et al, Vardha Samiti, India) 

225

HISTORY OF THEATRE, COSTUME AND LITERATURE SG 

PAPER 1 

Comprises the following work: 

THEATRE PRACTITIONERS 

1. • Richard Wagner 

• Adolphe Appia 

• Edward Gordon Craig 

• Max Reinhardt 

• Vsevolod Meyerhold 

• Jerzy Grotowski 

• Richard Schechner 

• Barney Simon 

• Marthinus Basson 

2. Multimedia Productions 

3. Modern Stages 

Learners will need to answer questions on all of the above, although choices will be 

given. Four questions out of a total of five need to be answered. For each of the 

practitioners, educators should concentrate on the most significant contribution that 

a person has made to Theatre. 

HISTORY OF COSTUME 

1. Victorian Costume – an overview of trends 

2. Twentieth Century – a decade-by-decade study 

3. Fashion designers: 

• Coco Chanel 

• Elsa Schiaparelli 

• Christian Dior 

• Mary Quant 

• Own choice 

Three questions will be asked: 

• One on an overview of Victorian costume 

• One on the candidate’s choice of TWO decades from the 20th century 

• One on the designers mentioned. (It may be possible for the candidate to 

answer on a designer of his/her own choice, but those mentioned must be 

studied.) 

226

Consists of: 

HISTORY OF LITERATURE 

PAPER 2 

1. Section A: Twentieth Century Literature: 

• The War poets – Selected Poems 

• Edward Albee – Who’s Afraid of Virginia Wolf? 

• Sylvia Plath – Selected Poems 

2. Section B: South African Literature 

• Douglas Livingstone – Selected Poems 

• Athol Fugard – The Road To Mecca 

• Gcina Mhlope – Have you seen Zandile? 

• Zakes Mda – Ways of Dying 

Candidates will answer their choice of any TWO from Section A as well as 

any TWO from Section B. 

227

GESKIEDENIS VAN TEATER, KOSTUUMS EN LITERATUUR SG 

AFDELING A 

POËSIE 

TWEE VRAE VAN 30 PUNTE ELK WORD UIT HIERDIE AFDELING GEDOEN: 

1. Elizabeth Eybers (1915 – hede) 

Outobiografiese inligting: 

Bespreking van hierdie digteres se agtergrond en ontwikkeling aan die hand van die 

werk wat sy lewer vanaf 1936 tot en met 1998. Fokus op Eybers as die EERSTE 

en VERNAAMSTE DIGTERES van die Dertigerjare, en hoewel haar werk 

gekenmerk word deur die VROU as deurlopende tema, vorm sy ’n integrale deel 

van daardie groep sterk INDIVIDUALISTE, waaronder Van Wyk Louw, WEG Louw, 

Opperman, e.a. val. 

Aandag moet gegee word aan gedigte uit die verskillende stadia van haar 

ontwikkeling/oeuvre wat in wese die verskillende stadia van haar lewe 

verteenwoordig: van jong meisie tot en met die mees onlangse bundel wat gedigte 

bevat wat uitsluitlik oor die ouderdom handel. 

Voorbeelde uit die bundels wat hier gelys word, moet tematies bestudeer word soos 

hieronder van a – d aangedui word. Die doel is nie om voorskriftelik te wees in die 

keuse van gedigte nie, en die opvoeder is welkom om ander soortgelyke 

voorbeelde uit hierdie bundels te behandel. Indien ander gedigte ter illustrasie 

verkies word, moet dit steeds tematies van toepassing wees op die bundels wat 

hier genoem word: 

[10] 

TEMAS: BUNDELS: 

EYBERS AS: 

a. Jong meisie en student BELYDENIS IN DIE SKEMERING 

(1936) 

“Maria” (Spesifiek uitgesonder op grond van 

meriete van die gedig) – Ander voorbeelde 

moet bygevoeg word. 

b. Minnares en moeder STIL AVONTUUR 

(1939) 

“Die Geskenk” 

“Portret van ’n Vrou” 

“Die eerste Nag” 

DIE VROU EN ANDER VERSE 

(1945) 

“Nocturne” 

“Nou het ek jou reeds aarselend lief” 

228

Opmerking: 

c. Digteres NEERSLAG 

(1958) 

“Voorbereiding” 

“Verwyt” 

“Koeplette” 

“Tersine, Betekenis” 

d. Ouderdom RYMDWANG 

(1987) 

(Veral die vier slotgedigte in hierdie bundel) 

“Tydverdryf” 

“Met verloop van tyd” 

“Tagtigste verjaardag” 

Twee gedigte per bundel /tema is genoegsaam vir eksamendoeleindes. 

2. N.P. van Wyk Louw (1906 – 1970) 

Outobiografiese inligting: 

Van belang is hierdie digter se ontwikkeling as die leidende figuur van sy generasie 

en sy rol as een van die heel grootste persoonlikhede wat die Afrikaanse 

letterkunde in die Twintigste Eeu opgelewer het. 

229 

(20) 

[30] 

Leerders moet bekend wees met biografiese inligting, en die bemoeienis van die 

skrywer met die ontwikkeling van die letterkunde. As akademikus, skrywer, digter 

en fenomenale intellek is Van Wyk Louw se bydrae onskatbaar. Vanaf sy vroegste 

werke is die kunstenaarskap duidelik merkbaar. Alhoewel daar nie van leerders 

verwag word om uitgebreide chronologiese inligting oor die lewe van die skrywer 

weer te gee nie, moet die impak en die feit dat hy grootliks verantwoordelik was vir 

die ontwikkeling van Afrikaans tot ’n wêreldletterkunde, beklemtoon word. As 

professor van Afrikaans-Nederlands het hy diep spore getrap, plaaslik en ook by die 

Universiteit van Amsterdam, en die omvang en diepte van sy werk was soos ons dit 

nooit in ons letterkunde geken het nie. 

(10) 

Temas: 

Die omvangrykheid en kompleksiteit van Van Wyk Louw maak die afbakening t.o.v. 

spesifieke tydperke baie moeilik. Dit is egter moontlik om sekere temas of motiewe 

wat deurlopend aanwesig is in sy digkuns te identifiseer. 

Aangesien die bundel TRISTIA (1962) beskou kan word as die kulminasie van ’n 

proses van ontwikkeling, word vir die doeleindes van hierdie kursus op hierdie 

bundel gekonsentreer. 

Die titel speel terug op die gelyknamige werk van Ovidius, waarin hy klaagliedere 

rig aan vriende en bekendes in Rome. Hierdie derde fase van Van Wyk Louw se 

kunstenaarskap bereik ’n hoogtepunt in hierdie bundel wat hy in Nederland skryf,

en bevat die meeste gedigte uit die tydperk van sy Amsterdamse “ballingskap”. 

Alhoewel geen heg gekonstrueerde bundel nie, kom daar op grond van tematiese 

verwantskappe sekere groeperings van verse tot stand. Die bundel bevat 

uiteenlopende gedigte wat wesentlik wyd verskil, maar wat tog in eilande 

‘saamgebondel’ kan word. 

Temas in Tristia 

Lewensvraagstukke soos SOEKE NA WAARHEID, (“Mei-fees in Amsterdam”) die 

wesentlike GEESTELIKE HELDERHEID wat steeds die mens ontwyk, (“Piero della 

Francesca”) is van vroeg reeds teenwoordig in die oeuvre van Van Wyk Louw. 

Die preokkupasie met die DIGTERSKAP en die menslike onvermoë tot 

oorspronklike skepping kom in talle gedigte voor. In “Ex Unguine Leonem” bely hy 

in alle nederigheid dat die digter slegs in stof naskryf. Hierdie preokkupasie bereik 

sy hoogtepunt in “Ars Poetica.” 

Die bekommernis oor die DIGTERLIKE WOORD en ontginning daarvan soos 

voorkom in “Skepper 1”, “Die fles die word so bitter min”, “Kunsklas” en baie ander, 

lei tot die problematiek in verband met die digter se VERHOUDING TOT MENS, 

WÊRELD en GOD. 

Die basiese stemming wat in Tristia voorkom is die van WEEMOED oor die mens 

wat dit nie “mooi met die heelal [tref] nie”, die mens in sy wanhoop, eensaamheid, 

liefde wat “rens” geword het en in haat verander het, en gepaardgaande bitterheid. 

Verse soos “Jy’t weggegaan en jy bewoon” en “Ons moet onsself nie dwing nie, 

kind”, lewer kommentaar oor die MENSLIKE BESTAAN en die LIEFDE – die 

verlange na dit wat reeds aanvaar word as onbereikbaar. (“Wie naand gesê het” – 

p.85) “Soggens sal die lig kom” handel oor die weemoed van die lewe, terwyl “Kom, 

aand. Kom, nag” die verlange oproep wat die aand en veral die nag kan inhou. 

Die “Neuroses” – kwatryne handel veral oor die SINLOOSHEID van gesprekke 

tussen twee mense wat nie meer mekaar hoor of wil hoor nie: “Ons kan nie praat 

nie” (p.106). 

In enkele vrese groei die droewige dinge van die bundeltitel tot ’n verlange na die 

VADERLAND (“Het ek dan toe gesê dat die wit strande”), terwyl die herinnering 

aan die vertroude wêreld lei tot enkele pragtige gedigte van glashelder eenvoud 

soos in “Karoo-dorp: Someraand” (p. 36) en “Die wind in die baai het gaan lê. 

(p.90) Soms voer die herinnering aan Suid-Afrika tot ’n dubbelslagtige haat-liefdeverhouding 

teenoor sy land, soos in “Ek haat en ek het lief” en “Nuusberigte: 1956”. 

230

Opmerking: 

Vir al die temas wat hierbo genoem is, kan ander gedigte uit TRISTIA gebruik word 

ter illustrasie. Die werk bied ’n geweldige verskeidenheid, en in sommige gevalle is 

gedigte uiteraard so kompleks dat temas oorvleuel of dikwels bymekaar aansluit. 

Daar word van die leerder verwag om ten minste VYF temas te kan identifiseer en 

te bespreek aan die hand van gedigte. EEN gedig per tema is genoegsaam. 

(5 x 4 = 20) 

3. Breyten Breytenbach (1939 – hede) 

Agtergrond: 

In die sewentigerjare word skrywers soos Leroux, Brink en Breytenbach hewig deur 

die Sensuurraad aangeval. Hulle boeke en digbundels word verban en in retaliasie 

stig die skrywers in 1975 die Skrywersgilde waarin die skrywers hulle probeer 

beskerm teen die toepassing van die Wet op Publikasies. 

Breyten Breytenbach is veral aangeval deur die Sensuurraad a.g.v. vermeende 

politiese aktiwiteite en uitsprake teen die heersende politieke bestel, en verlaat 

Suid-Afrika om sy studies aan die Sorbonne-universiteit voort te sit. Gedurende 

hierdie jare raak hy verlief en trou met ’n Viëtnamese meisie, Yolande, met wie hy 

ook getroud is. In daardie jare was sy vrou deur die Suid-Afrikaanse regering as 

nie-blank geklassifiseer, en was sy huwelik nie in Suid-Afrika as wettig erken nie. 

Met ’n besoek aan Suid-Afrika is hy gearresteer hoofsaaklik omdat hy ’n vervalste 

paspoort gehad het en dit het gelei tot ’n vonnis waarvan hy 9 jaar uitgedien het in 

Pretoria-Sentraal en Pollsmoore. Hy is op die ou end vrygelaat omdat dit 

onmoontlik was om bewyse te vind van hoogverraad en die saak in die veranderde 

tye ’n verleentheid geraak het vir die regering. In die 9 jaar van aanhouding was hy 

toegelaat om sy vrou een keer ’n jaar oor paasnaweek te sien, waarna sy moes 

terugkeer na Frankryk. Hy verlaat die land direk na sy vrylating en keer terug na 

Frankryk. 

Nuwe stemme in die Poësie 

In die vroeë sestigerjare, onder leiding van Peter Blum en ander belangrike bydraes 

van skrywers soos Ingrid Jonker, Adam Small (in aansluiting by die protespoësie 

van die Amerikaanse Negers) is die belangrikste nuwe talent van die sestigerjare 

Breyten Breytenbach, wat met die sterkste stem nuwe moontlikhede in Afrikaans 

oopskryf. 

Na die oorwegend “geslote vers” van die vyftigerjare, beweeg die Afrikaanse 

digkuns onder die invloed van die Nederlandse Vijftigers en die Franse surrealiste 

sterker in die rigting van die vrye vers. Breytenbach illustreer vanaf sy eerste 

bundel sy oorspronklikheid, verbluffende beeldingsvermoë en sy meesterlike 

beheer oor Afrikaans. 

231

Vir die doel van hierdie kursus, word veral aandag gegee aan die volgende aspekte 

van Breytenbach se werk: 

LIEFDESPOËSIE: (Allerliefste, ek stuur vir jou ’n rooiborsduif; 

Drome is ook wone; Slaap klein beminde; 

My vrou uit Huis van die dowe. 

Die mond is te geheim om pyn nie te voel 

nie; Lotus) 

DOODSBENOUDHEID: (Stukkende gedig; Bedreiging van die 

siekes 

Uit Ysterkoei moet sweet.) 

VERLANGE NA ’N VERLATE (Uitvaart; Septembersee; Woordkasteel) 

VADERLAND: 

VERLANGE NA SY OUERS: (Wat die hard van vol is; ’n Brief van hulle 

Vakansie; ’n hand vol vere) 

PROTES EN POLITIES: (Bruin reisbrief; Tot siens; Kaapstad; 

Luistervink uit Kouevuur – gedig oor 

Die Suid-Afrikaanse rassetoestand) 

Leerders moet kennis dra van in hoe ’n mate en in watter aspekte weg beweeg is in 

terme van TEMAS, TEGNIEK en VORM van die bestaande geslote vers: 

Uitgesproke woordkeuse, vloekwoorde, nie-metriese patrone is die mees 

opvallende verwysing na invloed uit Nederland se Luvebert en ander Vyftiger 

digters: 

• Uitgesproke woordkeuse 

• Vloekwoorde 

• Uitgesproke erotiek 

• Geen punktuasie 

• Nie-meriete patrone 

• Klankspel 

• Surrealisme 

• Verrassende beeldspraak 

AFDELING B 

TWINTIGSTE EN BEGIN EEN-EN-TWINTIGSTE EEU: 

PROSA EN KORT SKRYFKUNS 

EEN VRAAG UIT HIERDIE AFDELING IS VERPLIGTEND (30) 

Die oogpunt in hierdie afdeling is om te kyk na skrywers wat op unieke wyse die sosiale 

en/of menslike bestel parodieer en op ’n sinvolle wyse bevraagteken. In ’n sin is al hierdie 

skrywers verskillend in terme van styl en fokus. In elke geval was/is die outeurs 

waagmoedig en hulle eksperimentering geslaagd. Uit ’n historiese oogpunt op die 

Afrikaanse literatuur het hulle ook o.a. baie bygedra om geykte tradisies van skryfstyl te 

wysig of verander. Dit is dus ook nodig om die skrywer (publikasie) te bespreek met 

232

inagneming van die tydsbegrip. ’n Sekere mate van outobiografiese inligting en agtergrond 

word verwag van die leerder soos in Afdeling A, maar is nie die fokus van die studie nie. 

Hierdie skrywers word geensins as die enigste voorbeelde van vernuwing in die 

letterkunde beskou nie. Die sillabus stel slegs die vereiste dat die leerder die skrywer (wat 

deur die opvoeder geselekteer word) se werk sal leer ken en vrae sal kan beantwoord op 

grond van die feit dat letterkundige grense verskuif is deur die werk van die kunstenaar. 

Die literêre meriete moet aan die leerder oorgedra word, krediet gegee word waar nodig 

en kritiek waar geregverdig. Gemotiveerde deurdagte opinies moet aangemoedig word. 

Indien die opvoeder van die onderstaande voorstelle van publikasies wil afwyk, is dit 

aanvaarbaar, solank in gedagte gehou word dat sekere literêre begrippe teen ’n historiese 

en sosiale/literêre agtergrond aangespreek word. 

Die volgende werke word voorgestel vir die doeleindes van die historiese terugblik (tot en 

met die hede) op die momente van betekenisvolle innovering in die Afrikaanse letterkunde. 

LET WEL: In hierdie afdeling kan leerders oor BEIDE die kortskryfkuns sowel as 

die roman getoets word. 

KORTSKRYFKUNS: 

A. Onderstaande voorbeelde uit bundels kortverhale. Hier kan ’n kombinasie van twee 

OF meer skrywers se werk geëksamineer word. Enige van die kortverhale uit 

hierdie bundels kan deur die opvoeder geselekteer word, indien so verkies. Die 

volgende is geselekteer op grond van die vlak van oorspronklikheid op ’n spesifieke 

stadium (oor vier dekades) van die ontwikkeling van kort skryfkuns in Afrikaans. 

Hierdie skrywers toon ’n duidelike bewustheid van literêre ontwikkelings in die 

Europese en ander literatuur, en dit het ’n stimulerende invloed gehad op die 

kwaliteit van die skryfproses van hierdie individue. 

TITEL SKRYWER BUNDEL 

Drie kaalkoppe eet tesame Jan Rabie Een-en-twintig (1956) 

Die fantastiese, grillerige, groteske en bisarre kombinasies van voortdurende 

veranderende situasies en realiteite. Eksistensiële inslag en surrealistiese beelding 

lewer kommentaar op die vraatsugtigheid en materialisme van die moderne mens. 

Die element van selfvernietiging wat emosieloos deur die kelner toegelaat word. 

Die verskillende interpretasiemoontlikhede wat aan hierdie karakter en die rituele 

van die kortverhaal geheg kan word, moet behandel word. Voorbeelde uit hierdie 

bundel blyk in retrospek voorlopers te kon gewees het vir die latere werke van 

Leroux (Silbersteins) op grond van die sterk filosofiese inslag. Die nagmerrieagtige 

voorstellings word onvergeetlike beelde a.g.v. die kliniese vertelstyl en die 

oorweldigende gevoel van hulpeloosheid teen die verloop van die noodlot. 

Indien die opvoeder dit so verkies, kan hy/sy ’n ander kortverhaal uit die bundel as 

voorbeeld gebruik, bv. Man met die swaar been. 

233


Bos Chris Barnard Duiwel in die Bos (1968) 

Die spanningsituasie wat tot metafisiese en eksistensiële belewing van ’n 

skuldbewyssyn lei. Atmosfeer van feitlik naamlose vrees vir die Kirstfiguur wat vir 

die verteller ’n bedreiging inhou en vir wie hy wag/vlug – kan verstaan word as ego 

en alter-ego. Oomblik van waarheid, volkome selferkenning waarvoor gevrees 

word, maar ook na gehunker word. ’n Metafisiese en eksistensiële belewing van 

die onverbiddelike naderkoms van die dood. Kirst is in ’n groot mate ’n vrye 

simbool wat veral nie gekonkretiseer kan word nie. (Spieël in ’n raaisel.) 

Universeel menslike dilemma van soeke na die self. Voortdurende verstrengeling 

van verlede en hede. Leerders moet ook veral kyk na die funksionele rol van die 

kontinent van Afrika, die mistiek en omvang van die kontinent wat sterk bydra tot 

die atmosfeer in die kortverhaal. Uiteindelik gee die verhaal ’n beeld van die hele 

lewe as ’n vlug sonder oorsaak. (In hierdie bundel kan ook ’n keuse gemaak word 

tussen Die dood van Julika von Schwabe of Dwaal.) 


(Eie keuse) Hennie Aucamp Wolwedans (1973) 

Enige kortverhaal uit hierdie bundel kan geselekteer word; van die bestes is 

Georgie en Die Prys asook Die Sous. 

Die bundel word soms beskryf as lighartig – dit is ook egter ’n bundel wat Aucamp 

as vindingryke meester van die kortverhaal bevestig. Die hele skouspel van 

menswes en selfs Afrikaner wees in al sy menslike geveinsdheid, word blootgelê en 

gesatiriseer. Aucamp is onvergelyklik in sy bemeestering van subtiele hantering 

van die ironiese. 

Die bundel Verlore paradyse word ook voorgestel as ’n uitstekende bron 

van kortverhale van ’n verskeidenheid skrywers. 

OPMERKINGS: Daar moet kennis geneem word dat leerders kan verwag om oor 

’n samestelling van verskeie kortverhale getoets te word, maar daar sal ook van die 

kandidate verwag word om aspekte van ’n roman te kan bespreek. 

234

B. Een van die volgende: 

OF 

Jeanne Goosen: Om ’n mens na te boots en Louoond: Karakterteenstellings en 

verwikkelende verhoudings en hegte konstruksie. Sy gee haar eie besonderhede 

aksent aan die aktualiteitsliteratuur van die tagtigerjare. 

Verteller beleef voortdurende “beheerde histerie” – afwisseling van uitbarsting en 

kalmte, intellek en emosie. Fyn taalbeheer. Bydrae tot die tagtiger/negentiger jare 

se aktualiteitsliteratuur. Individuele stempel en uitgesproke, gebruik van ‘slang’. 

Skreiend realisties, intelligent, sinies en veral pretensieloos. Kommentaar oor ons 

samelewing, die veranderings waarvoor haar karakters of reg is of totaal 

onvoorbereid. Dit bied ’n blik op ’n spesifieke manier van vra waar die Afrikaner en 

sy letterkunde hom op hierdie stadium bevind. 

Griet skryf ’n sprokie (1992) deur Marita van der Vijver was ’n sensasionele treffer 

in Afrikaans. Dit is ’n skerpsinnige, eerlike en hoofs erotiese roman. Interessante 

analogieë word getref tussen die realiteit van die karakter en die sprokies wat 

deurgaans die tema vorm. Soos Grietjie in die sprokie, moet die karakter self ’n 

plan maak om uit die behekste donkerbos te kom. Dit is die eerste ware deurbraak 

op die verbode terrein van seksuele eerlikheid, fisiese frustrasie, huweliksprobleme 

en die reg om al die onderdrukte behoeftes wat tradisioneel onder die mantel van 

Calvinisme en ordentlikheid versmoor is, uit te spreek. Die taalgebruik, ironie en 

humor is hier van belang, die hantering van die anti-klimaks sowel as die 

onderhoudende en natuurlike, loslit vertelstyl. 

OF 

Enige van die nuwe historiese romans deur skrywers soos Dalene Mathee (Kringe 

in die Bos, Fiela se kind), Etienne van Heerden (Toorberg), André Brink (Houdden-bek), 

Etienne Leroux (Magersfontein), is almal geskik vir die vrae wat van 

hulle verwag sal word in die eksamen: 

Vermenging van geskiedenis en fiksie; 

’n Poging om die verlede te aktualiseer; 

’n Ander manier van ‘terugkyk’, eerder ’n manier om om te kyk; 

Die beginsels van die sogenaamde Nuwe Historiese Roman kom daarop neer 

dat skrywers ‘vernuwend’ kyk na die verlede; 

Deur om te kyk na die verlede, bly die fokus op die hede en die toekoms. 

(Daar word ver wegbeweeg van die meer tradisionele historiese roman. Wanneer 

’n mens boonop met jongmense werk, ervaar jy gereeld hoe gestigmatiseerd en 

passé die verlede van bv. CM van den Heever, en selfs FA Venter geraak het. “Die 

literatuur van ouer tydperke bied aan hulle niks, want dit is nie relevant nie. Sosiopolities 

verteenwoordig die verlede in elk geval ’n periode waarmee gebreek moet 

word – al is dit ook radikaal – want dit is ’n era waarvoor skuld aanvaar moet word 

en hulle is nie bereid om die sondebokke vir ’n ouer generasie te wees nie.”) 

• Die rol van tyd en ruimte 

• Karakterbeelding 

235

• Relativerende vertelhouding ens, moet in verband gebring word by die 

behandeling van die nuwe historiese roman. 

LET WEL: Raadpleeg Prof. Johan Johl se artikel wat hierby aangesluit is. Die 

kuns om om te kyk, sowel as die werkstukke oor Toorberg en Houd-den-bek vir 

meer inligting. 

AFDELING C 

DRAMA 

In hierdie afdeling word slegs EEN drama bestudeer. Agtergrondskennis van die 

skrywer, in soverre dit sy/haar bydrae tot die besondere bydrae en meriete van die 

skrywer se werk en die kwalitiete daarvan wat gelei het tot verryking (of nie) van die 

Afrikaanse teatergeskiedenis. 

Die drama moet deur die opvoerder gekies word en, met die oog op die eksamen, moet in 

gedagte gehou word dat sekere generiese beginsels van dramateorie getoets sal word, en 

dat die drama hom daartoe moet leen. ’n Lys van hierdie aspekte word aan die einde van 

hierdie afdeling ingesluit. 

[20] 

NB: (Sommige van die werke wat in hierdie afdeling genoem word is eerder geskik 

vir portefeuljewerk en nie vir die eksamen nie, nl. Die satires van Pieter-Dirk Uys, 

aangesien dit meestal eenman revues is en nie volledige dramas nie.) 

AGTERGROND: 

(Die volgende inligting word ingesluit om die keuse van ’n geskikte drama te vergemaklik.) 

Die vernuwing in die Afrikaanse drama kan teruggevoer word na 1955. Veel meer as 

vroeër toon die Afrikaanse drama die bevrugtende invloed van die kontemporêre teatruur 

van ander lande, soos die moderne moraliteit (Bartho Smit), die absurde (Brink en Chris 

Barnard), die eksistensialistiese teater (Brink), Brecht se epiese teater (Small) en Weiss 

se tonele in ’n gestig (Du Plessis), terwyl die skrywers veelvuldig gebruik maak van 

tegnieke soos die terugflits en vooruitflits, verteller, ensovoorts. Waar die dramaturge by 

ouer tradisies in die Afrikaanse toneelliteratuur aansluit, is die aanbieding dikwels 

verrassend-nuut en die dialoog veel natuurliker as vroeër. Van die belangrikste stukke 

word geskryf deur Smit, Du Plessis, Barnard en Brink, terwyl Small ’n belangrike bydrae 

lewer met Kanna hy kô hystoe (1965) met sy verbinding van epiese, liriese en dramatiese 

elemente. 

Pieter Fourie se geslaagde stuk is, Ek, Anna van Wyk. Fourie vernuwe die tradisionele 

boustof deurdat die hoofkarakter sowel Anna van Wyk is as die aktrise wat dié besondere 

rol speel, terwyl figure soos die Regisseur, Verhoogbestuurder en ’n Stem (wat die gehoor 

verteenwoordig) ook aanwesig is. Naas die geskiedenis van Anna van Wyk is daar dus 

ook ’n bemoeienis met die teks en die teatervoorstelling, sodat die illusie van die drama as 

’n brok lewe telkens verbreek word. 

’n Skrywer wat as teaterman ’n aktiewe bydrae lewer, en dikwels in sy stukke Afrikaans en 

Engels vermeng of afwissel, is Pieter-Dirk Uys. Sy satires word in die sewentiger jare 

meestal opgevoer in Kaapstad se Ruimte-teater. Sy mees beduidende werk in die tagtiger 

236 

[5]

jare is Dieselle ou storie. Afgesien van die dramatiese opeenvolging van tonele, die 

natuurlike wyse waarop die eksposisie gegee word, en die funksionele toespeling van die 

biseksualiteit van die karakters, lê die groot kwaliteit van die stuk in die karakter van Ester 

Viljoen, ’n sort gewese diva van die Afrikaanse toneel. Sy groot bydrae as teaterman 

lewer hy egter met sy revues. Die Van Aardes van Grootoor, Adapt or Dye, Farce about 

Uys, Total Onslaught, Skating on thin Uys en Beyond the Rubicon, eenmansvertonings 

waarin hy die draak steek met die politieke situasie en algemene swakhede van die Suid- 

Afrikaners. 

Naas bogenoemde skrywers, is daar Deon Opperman wat in More is ’n lang dag wat die 

kwelling oor die dood van ’n dienspligtige as onderwerp het. Die problematiek van die 

drama steek nie vas in die hele kwessie van plig en morele verantwoordelikheid nie, maar 

tot ’n bespiegeling oor die sin van die lewe as sodanig. Opperman se aanvoeling vir die 

toneel blyk uit die natuurlike open afgaan van karakters, die opeenvolging van tonele, die 

dramatiese gang van die gebeure en die natuurlike dialoog wat aan die 

spreektaalwerklikheid getoets is. 

Hierdie natuurlike dialoog en fyn toneelaanvoeling is ook ’n kenmerk van Reza de Wet se 

Diepe Grond. Die krampagtige vasklou aan ’n gedroomde paradys ten spyte van die 

werklikheid binne die huidige Suid-Afrikaanse aktualiteit en die politieke implikasies wat dit 

mag inhou. Reza de Wet slaag daarin om die verskillende motiewe natuurlik op mekaar te 

laat volg. Aspekte van die verlede wat dreig om verlore te raak, word ontgin. Die 

noodsaaklikheid van die soms letterlike opgrawe na die ‘diepe grond’ onthul ’n nuwe soort 

lewe. 

Afgesien van die skrywers soos PG du Plessis se werk met sprankelende dialoog, 

(Siener in die Suburbs), belowende talent soos Corlia Fourie en ander, word die 

belangrikste dramas sedert 1955 geskryf deur Bartho Smit wat as teoretikus en 

eksperimenteerder met verskillende tegnieke ’n leidende posisie inneem en ’n 

eksistensiële problematiek in sy werk openbaar: “Putsonderwater”, “Die man met ’n lyk 

om sy nek”, “Christine”, “Bacchus in die Boland”, en sy beste drama, “Die Keiser”. 

In Bacchus in die Boland werk Smit enersyds met die herkenbare wêreld van die 

Afrikaner-‘experience’ wat deur die ironiese en komiese en ’n verskeidenheid tegnieke 

daarop gemik is om die waarheid te ontbloot, en andersyds met groot deernis vir die 

mistasting en tekortkominge van die samelewing. Hierdie komedie handel oor die god 

Bacchus se mislukte pogings om altruïsme te laat seëvier in ’n land wat weens sy 

maatskaplike en politieke klimaat nog nie ryp daarvoor is nie. 

Die Keiser: 

Meer as in enige ander drama van Smit word die struktuur van die spel gebaseer op die 

polariteit van ‘skyn’ en ‘syn’. In die ironiese opset van die spel is die Hofnar van kardinale 

belang, een van die boeiendste karakters in Smit se hele oeuvre en ’n figuur waarmee hy 

aansluit by die eeu-oue tradisie van die “fool” en harlekyn in die drama. Teenoor die 

bedrog, oneerlikheid en kleinmenslike ambisie van die ander karakters staan die Hofnar 

wat hulle aan die kaak stel as bedrieërs, die Keiser met die werklikheid konfronteer en die 

skyn ophef, al deel hy sy waarheid onopvallend, verhul, paradoksaal, grotesk en, getrou 

aan sy rol, altyd geestig mee. Deur die biegtoneel in die vierde bedryf resoneer 

Shakespeare, terwyl die keiser in sy triomftog iets van Koning Lear se komiese of burleske 

en die tragiese of patetiese kry. 

237

OPMERKINGS: 

Leerders moet dus kennis neem van hoe die volgende begrippe in die drama wat hulle 

bestudeer funksioneer, en dit kortliks kan bespreek deur te verwys na die inhoud. 

NB: Dit spreek vanself dat voorgeskrewe boeke, drama, kortverhale en gedigte 

soms sal oorvleuel met voorgeskrewe werk vir Afrikaans Primêre en Addisionele 

Taal en dit sal tot die voordeel van die leerders wees. 

Daar moet egter in ag geneem word dat die letterkunde nie op dieselfde wyse gedoseer of 

getoets word nie, aangesien die fokus in hierdie kursus die geskiedenis, ontwikkeling en 

hoogtepunte van die Afrikaanse literatuur as fokus het. 

• Die polariteit van skyn en syn 

• Tersyde 

• Didaskalia (titel, toneelaanwysings, fisiese voorkoms, rekwisiete, décor, visuele 

ruimte, ouditiewe ruimte) 

• Verteller 

• Dubbel entendre 

• Verbreking van illusie 

• Dialoog – Spreektaalwerklikheid 

• Karakterisering 

• Vierde muur 

• Rol binne ’n rol 

• Deelname van die gehoor 

• Twee wêrelde – die akteurs en die verhoog 

• Die gehoor en die ouditorium 

Daar sal van leerders verwag word om bogenoemde aspekte kortliks te definieer (te kan 

verduidelik wat daaronder verstaan word) en te kan bespreek met verwysing na die 

drama, indien dit van toepassing is. Die didaskalia sal byvoorbeeld in elke drama verskil, 

terwyl meer generiese konsepte soos die ‘Vierde muur’ in elke drama ’n funksie het, of die 

‘muur’ gepenetreer word al dan nie. 

TOTAAL: 120 

238

HOTELKEEPING AND CATERING SG 

1. TEXT BOOKS USED AS RESOURCES FOR THE MEMORANDUM 

• Hotelkeeping and catering for today. Grade 12. H. van Huyssteen. 

• Esna du Plessis 

2. ADVICE TO SCHOOLS TO IMPROVE THE QUALITY OF CANDIDATES' WORK 

2.1 ABSENCE OF SKILLS 

• Reading and interpretation of questions (e.g. Learners sometimes give 

one word as an answer instead of a description) 

• Repetition of rewritten facts in a question answer. (Synonyms are taken 

into account with the marking but examples can not be marked) 

• Learners should look at the mark allocation at the end of a question 

• Answer the facts each on a line and NOT as a paragraph. 

2.2 COMPETENCIES 

• Emphasise the importance of subject terminology from Grade 10. 

2.3 METHODOLOGY 

• Make use of tables in questions in homework, class work, tests and 

internal examination papers. 

• Educators need to integrate practical and theory in ALL aspects of the 

syllabus because integration of practical work is found in the question 

paper. 

• Educators should not accept vague answers at school level, the facts, 

terminology etc. must be worth a mark in tests, examination and 

assignments 

2.4 MISCONCEPTIONS 

• Some learners drew the tables correct and completed the answer but re– 

answered the same question again. 

• Some application questions are answered on knowledge AND NOT on the 

actual application question or sketch. 

3. GENERAL 

Road shows should be attended to make sure educators are on track with the 

changes in the subject. 

STAPLE the answer sheet on the front inside cover of the answer book. 

4. LEARNERS SHOULD KNOW HOW TO: 

4.1 Analyse questions: 

• A question covers a certain section of content 

• The answers link to a specific question and the mark allocation. 

239

4.2 Analyse sketches/diagrams: 

• If a question is linked to a specific sketch/diagram, the answer should be 

applied to the theory. 

• Make use of black on white sketches in the classroom that learners could 

analyse questions easier in examination paper. 

• Analyse a sketch with the learners by dividing it into blocks so that the 

learners can learn to see detail on a sketch. 

• Identify on the sketch e.g. 

Vegetable cuts, carcasses, Cafeteria, Dining rooms in hostels 

5. CONTENT: 

• Cover oysters with the learners. 

• All the chapters are covered in the Question papers 

• Structure of Objective questions change, a line indicates how to complete a 

question. 

EXAMPLE: 

Russian tea may be described as ________. 

A. Chinese tea without milk 

B. tea with a measure of Vodka added 

C. strong, hot tea, served with lemon 

D. tea made with tea leaves from Eastern Europe (1) 

6. THE DISTRIBUTION OF THE SUBJECT CONTENT ACCORDING TO 

BLOOM'S TAXONOMY COGNITIVE LEVELS FOR SG 

20% 

COMPREHENSION 

BLOOM'S TAXONOMY COGNITIVE LEVELS FOR SG 

20% 

EXPLANATION 

15 % 

APPLICATION 

240 

15 % 

HIGHER 

COGNITIVE

7. THE DISTRIBUTION OF THE QUESTION PAPERS: 

SECTION 

QUESTIONS 

CONTENT 

241 

MARKS 

PER 

QUESTION 

MARKS 

PER 

SECTION 

A QUESTION 1 OBJECTIVE QUESTIONS 50 50 

B 

C 

QUESTION 2 

QUESTION 3 

QUESTION 4 

QUESTION 5 

QUESTION 6 

Menu (5) 

Hors d' oeuvres (10) 

Pastry (20) 

Dessert (15) 

Sauces (10) 

Vegetables (5) 

Meat (15) 

Traditional cookery (5) 

Beverages (10) 

Hospitality (10) 

Restaurant organization (10) 

Hotel organization (10) 

Front office 

Housekeeping & linen service 

Food & beverage department 

Hotel maintenance, security and 

safety 

Laws 

30 

30 

30 

30 

30 

90 

60 

TOTAL: 200

QUESTION 1 

SYLLABUS • Objective questions 

HOTELKEEPING AND CATERING SG 

GUIDELINE DOCUMENT FOR SENIOR CERTIFICATE EXAMINATION 

TYPE OF QUESTIONS SYLLABUS PAGES QUESTION 1 QUESTIONS 

2 – 4 

242 

TOTAL 

QUESTION 2 

Beverages • Sketches with relevant 4 193 – 222 5 16 21 

Hors d'oeuvres questions 

3.1 45 – 56 2 08 14 

Menu 

QUESTION 3 

• Structured questions 3.1 39 – 44 3 06 9 

Pastry 3.6 157 – 178 3 12 18 

Dessert 3.5 145 – 156 4 13 19 

Traditional cookery & dishes 

QUESTION 4 

3.7/8 179 – 189 3 05 11 

Meat 3.3 75 – 122 5 15 20 

Sauces 3.2 57 – 71 2 10 12 

Vegetables & Salads 

QUESTION 5 

3.4 123 – 143 8 05 13 

Hospitality industry study • Sketches with relevant 1 1 – 16 3 12 15 

Hotel maintenance, security & safety questions 

7 277 – -282 4 11 15 

Front office & reception 

QUESTION 6 

• Structured questions 5 236 – 256 0 7 07 

Restaurant organisation 

2 17 – 36 4 13 17 

Hotel organization, Laws 

& Food & beverage department 

• 

• 

• 

Case study 

Sketches with relevant 

questions 

Structured questions 

8 

223 – 232 

285 – 291 

263 – 275 

4 10 14 

House keeping 6 257 – 275 0 7 7 

SUB TOTAL 15 60 75 

TOTAL 50 150 200 

• A three hour paper 

• Cover Hors d'oeuvres in the textbook 

• The papers are set according to Bloom's taxonomy

HOME ECONOMICS 

STRUCTURE OF EXAMINATION PAPER FOR 2006 / 2007 

DURATION: 3 hours 

SECTION A 

Question 1 

Objective questions on: 

♦ Food and Nutrition 

♦ Management and 

consumption 

♦ Interior 

♦ Family Study 

SECTION B 

Questions 2, and 3 


SECTION C 

Question 4 



Consumption 

♦ Interior 


SECTION D 

Questions 5 and 6 


Consumption 

♦ Interior 


♦ Multiple choice 

♦ Matching items (Columns) 

♦ Choose the correct combinations 

♦ Recipe analysis with relevant 

questions. 

♦ Structured questions. 

♦ Recipe analysis with relevant 

questions. 

♦ Case studies and interior 

sketches with relevant 

questions. 


♦ Case studies and interior 

sketches with relevant 

questions. 


♦ Recall of factual information (knowledge) 

♦ Comprehension 

♦ Explanation of information 

♦ Application of knowledge to unfamiliar situations 

♦ Higher Cognitive - Analysis 

- Synthesis 

- Evaluation 

243 

MARK ALLOCATION 

HIGHER GRADE STANDARD GRADE 

100 

80 

40 marks per 

question 

40 

One 40 mark 

question 

80 

40 marks per 

question 

50 

60 

30 marks per 

question 

30 

One 30 mark 

question 

60 

30 marks per 

question 

TOTAL 300 200 

STRUCTURE ACCORDING TO BLOOM’S TAXONOMY 

20% 

20% 

20% 

20% 

20% 

40% 

15% 

15% 

30% 

NO Higher 

Cognitive 

questions

1. Iphepheli lineengaba ezintathu (A – C) 

2. Isigaba A 

UMHLAHLANDLELA WEPHEPHA LESINDEBELE 

ISINDEBELE ILIMI LOKUTHOMA 

IZINGA ELIPHEZULU 

IPHEPHA LOKUTHOMA 

Kilesi sigaba kunemibuzo emibili, umbuzo 1 kanye nombuzo 2. Kilemibuzo yomibili 

kuneemfundo zokuzwisisa ezinemitlomelo ema – 30. 

3. Isigaba B 

Esigabenesi kunombuzo 3 lapha abafundi bazokulindeleka khona bona barhunyeze indatjana. 

Imitlomelo yesigabesi lishumi – 10 

4. Isigaba C 

Esigabenesi kunemibuzo emibili, umibuzo 4 kanye nombuzo 5. Abafundi balindeleke bona 

bafunde iimfundo zokuzwisisa bese baphendula imibuzo ephathelene nehlelo. Imitlomelo 

yesigabesi ima – 40. Kukhona nombuzo 6 lapho abafundi balindeleke bona balungise imitjho, 

bafake amatshwayo, amatjhada begodu balungise imitjho izwakale kuhle. Imitlomelo 

yesigabesi ima – 20 

[100] 

244

UMHLAHLANDLELA WEPHEPHA LESINDEBELE (L1 SG P1) 


IZINGA ELIPHASI 



2. ISIGABA A 

Esigabenesi kunemibuzo emibili, umbuzo 1 kanye nombuzo 2. Kiyo yomibili imibuzo 

kuneemfundo zokuzwisisa. Imitlomelo yemibuzo le yomibili ima – 25. 

3. ISIGABA B 

Esigabenesi kunombuzo munye, umbuzo lapha abafundi balindeleke khona bona barhunyeze 

indatjana. Imitlomelo yesigabesi ili – 10. 

4. ISIGABA C 

Esigabenesi kunemibuzo emibili, umbuzo 4 kanye nombuzo 5. Imibuzo le iphathelene 

neemfundo zokuzewisisa kanye nemibuzo ephathelene nehlelo. Imitlomelo yesigabesi ima – 

30. Kukhona nombuzo 6 lapho abafundi balindelwe bona batlole imitjho ngendlela efaneleko 

begodu batjhugulule amagama ngendlela efaneleko. Imitlemelo ilishumi – 10 

[75] 

245

Sineenkondla ezihlanu. 

UMHLAHLANDLELA IBANGA LESUMI (12) 

ILIMI LOKUBELETHWA: IZINGA EUPHEZULU 

IINKONDLO: ITSENGO MS NTULI 

ISIGABA A 

Yokuthomo ikondlo iphuma encwadi abangayenziyo ebangeni lesumi. 

Inemitlomelo elisumi [10] ikatelelekile bona boke abafundi bayiphendule/ 

UMBUZO 2 

Uneenkondlo ezine. 

Ikondlo ngayinye inemitlomelo elisumi nahlanu [15] 

Umfundi ukhetha iinkondlo ezimbili kwaphela. 

Isigabesi sinemitlomelo emasumi amane. 

YELELA: Umfundi kufanele azi ibunjo langaphakathi: 

1. Isihloko sekondlo siyakhambelana nekondlo na? 

2. Umoya wekondlo. / Ibujamo bembongi Imbongi izizwa njani nayitlola 

ikondlo leyo? (Imizwa yembongi injani) 

3. Okutjhiwo yikondlo / Umqondo wekondlo 

Imbongi ikhuluma ngani? 

4. Ummongo wekondlo 

Sifundo / umlayezo imbongi efuna ukuwudlulisela kithi yini? 

5. Iimfenqo / Iinthombengqondo 

zihlathululani. (Zitjho ukuthini). 

6. Ilimi imbongi aliberegisileko ngabe lilimi elinothileko / lilimi lamambala na? 

Izaga, izitjho njalo njalo. 

IBUNJO LANGAPHANDLE 

1. Iingaba - zakhiwe mimida emingaki (ubude beengaba) 

- Umuda ngamunye unamagama amangaki. 

2. Irumelwano - ivumelwanothoma 

- ivumelwanophakathi 

- ivumelwanophetha. 

2. Ivhobelwane - thoma 

- phakathi 

- phetha 

- tjhigama 

3. Ihlelomagama 

4. Ibuyelelangqondo 

5. Ibuyelelabuyelela 

6. Isilungelelamuda 

7. Isithiyeleli 

246

Umdlalo: Kanti Ngewakabani NE SKOSANA 

ISIGABA B 

Sinemibuzo emibili omude nomfitjhani 

Umbuzo unemitlomelo emasumi amathathu [30] 

Umfundi ukhetha munye kwaphela 

YELELA: Umfundi kufanele azi okulandelako: 

1. Isihloko somdllalo sitjho ukuthini? begodu, siyakhambelana nomdlalo na? 

2. Abadlali abathathu abaqakathekileko 

1. Umsusi wendaba 

2. Umbangisi obanga umsusi 

3. Umbangiswa obangiswa umsusi 

3. Isizinda somdlalo - Indawo 

- Isikhathi sokwenzeka 

- Ubude besikhathi somdllalo 

- Ihlalo/ Ipilo yabantu ijame njani? 

4. Isitlhori 

5. Irarano 

6. Itjharagano 

7. Isiphetho 

8. Ilimi Umtloli 

Uyakwazi ukuberegisa izaga, izitjho, amagama ihlelo, amagama atjho okufanako, atjho 

okuphikisanako njalo njalo 

9. Ukuthiywa kwabadlali 

10. Ukuvezwa kwabadlali 

11. Ummongodaba / isifundo / umlayezo. 

Inovela: Amabatha BD Masango 

ISIGABA C 

- Sinemibuzo emibili omude nomfitjhani 

- Umbuzo unemitlomelo emasumi amathathu [30] 

- Umfundi ukhetha munye kwaphela. 

YELELA: Umfundi kufanele azi okulandelako: 

1. Isihloko senovela sitjho ukuthini? begodu siyakhambelana nendaba na? 

2. Umlingisi oqakathekileko nesehlakalo ayamane naso: 

3. Isizinda: - Indawo 

- Isikhathi sokwenzeka 

- Ubude besikhathi senovela 

- Ihlalo / Ipilo yabantu ijame njani 

4. Irarano 


6. Isitlhori 

247

Iphepha liloke [100] 

7. Isiphetho 

8. Ilimi: umtloli uyakwazi ukuberegisa izitjho, izaga amagama ahloniphako, ehlelo 

njalo njalo. 

9. Ukuthiywa lawabalingisi 

10. Ukuvezwa kwabalingisi 

11. Ummongondaba / Isifundo / Umlayezo 

NB. Izinga Eliphakathi liyafana nezinga eliphezulu ngokuhlelwa kweengaba kodwa izinga eliphasi 

alinayo ikondlo engaphumi encwadini abangayenziko. 

Bona banezine kwaphela 

ISIGABA A 

Sinemitlomelo emasumi amabili nahlanu [25] 

Ikondlo ngayinye inemitlomelo elisumi nambili nesiquntu [12½] 

Umfundi ukhetha ezimbili kwaphela. 

ISIGABA B 

Sinemibuzo emibili. Umbuzo ngamunye unemitlomelo emasumi amabili nahlanu [25] 

Umfundi ukhetha umbuzo munye kwaphela Yelela (Refer to Izinga Eliphezulu.) 

ISIGABA C 

Sinemibuzo emibili. Umbuzo ngamunye unemitlomelo emasumi amabili nahlanu [25] 

Umfundi ukhetha umbuzo munye kwaphela 

Yelela (Refer to Izinga Eliphezulu) 

Iphepha Liloke [75] 

248

ISINDBEELE ILIMI LOKUBELETHWA IPHEPHA LESIBILI (2) 

IMITLOMELO [75 ISIKHATHI: AMA- IRI [2½] (L 1 SG P 2) 

ISIGABA A 

Iinkondlo: Itsengo 5 Msntuli 

Iinkondlo ziba zine. Inani lekondlo ngayinye [1 - 12½] 

Umfundi ukhetha mbili kwaphela [75] 

Inani loke [25] 

ISIGABA B 

Kunemi buzo emibili. Umbuzo omude nomfitjhani. 

Umbuzo ngamunye unemitlomelo [25] 

Umfundi ukhetha umbuzo munye kwemibili. 

Umbuzo omude: Umfundi uveza ikghono lakhe lokuzwisisa nokulandelanisa izehlakalo zendaba. 

Umbuzo omfitjhani: Umfundi uveza ukuzwisisa nokuyelela okukhulu. 

INOVELA: AMABATHA: BD MASANGO 

ISIGABA C 

Kunemibuzo emibili. Umbuzo omude nomfitjhani 


Umfundi ukhetha umbuzo munye kwemibili 

Umbuzo omude: Umfundi u veza ikghono lakhe lokuzwisisa nokulandelanisa izehlakalo zendaba. 

Umbuzo omfitjhani. Umfundi uveza ukuzwisisa nokuyelela okukhulu. 

249

UMHLAHLANDLELA WEPHEPHA LESINDEBELE (L1 HG P3) 

ISINDEBELE ILIMI LOKUBELETHWA 


IPHEPHA LESITHATHU 

1. Iphepheli lineengaba ezintathu A, B, C. 

2. ISIGABA A 

Esigabenesi kuneenhloko ezihlanu okulindeleke bona umfundi akhethe isihloko sinye kizo 

Imitlomelo yesigabesi ima – 40. 

3 ISIGABA B 

Esigabenesi umfundi kufanele akhethe incwadi yinye hlangana nemihlobo yeencwadi 

ezintathu ezisembuzweni 2. Imitlomelo yemibuzo emibili – 40 

4. Kube nombuzo wesi – 5 lapha kulindeleke khona bona abafundi bakhethe isihlokwana sinye 

eengcenye ezifitjhani khulu. Imitlomelo yombuzo 101/1–10. 

ISIGABA C 

A. UMTLOLO-NDABUKO: D M YIYANA NABANYE: 

Lesisigaba sinalokhu okulandelako (Linhlokwana ezilandelako) 

(i) Iinganekwana. 

(ii) Iinrarejo. 

(iii) Izitjho. 

(iv) Izaga. 

Kunemibuzo emibili. Umbuzo omude nomfitjhani. 



Umfundi uveza ikghono lakhe mayelana nomtlolo-ndabuko. bonyana yini iinganekwana, linrarejo 

begodu zisukelaphi ziberegani zitjho ukuthini 

- Yini izitjho nezaga, zisu selwaphi, zihlathululani ziberegiswa njani. [30] 

B Indatjana Uzangenzani: DM Jiyana nabanye 

Kunemibuzo emibili. Umbuzo omude nomfitihani 


Umbuzo omude. Umfundi uveza ikghono lakhe lokuzwisisa nokulandelanisa izehlakalo 

zendaba. 

Umbuzo omfitjhani: Umfundi uveza ukwizwisisa nokuyelela okukhulu. 

250

YELELA: 1. Isihloko sendatjana sitjho ukuthini begodu siyakhambelana nendaba na? 

2. Umlingisi oqakathekileko nomraro aqalane nawo. 

3. Isizindu 1. Indawo 

2. Isikhathi sokwenzeke 

3. Ubude besikhathi 

4. Ihlalo / Ipilo yabantu 

4. Irarano 


6. Isitlhori 

7. Isiphetho 

8. Ukuthiywa kwabalingisi 

9. Ukuvezwa kwabalingisi 

10. Ilimi 

11. Ummongondaba / Tsifundo / umlayezo 

251 

[30] 

[120]


UMHLAHLANDLELA WEPHEPHA LESINDEBELE 


IZINGA ELIPKATHI 


2. Isagaba A. Esigabenesi kunombuzo 1 lapha kuneenhloko ezisithandathu okulindeleke bona 

umfundi akhethe sinye kizo. Imitlomelo yesigabesi ima – 30. 

3. Isigaba B. Esigabenesi umfundi kufanele akhethe incwadi yinye hiwangana nemihlobo 

yeencwadi ezintathu ezisembuzweni 2. 

4. Umfundi ulindeleke bona akhethe umbuzo owodwa kumbuzo 3 nanyana kumbuzo 4. 

Kumbuzo 3 kuneengcenyana ezifitjhani abafundi abangakhetha kiza imitlomelo yemibuzo 

le 1/1-15 

UMTLOLO-NDABUKO: D M JIYANA NABANYE: 

ISIGABA C 

Lesisigaba sinalokhu okulandelako (Iinhlokwana Ezilandelako) 

(i) Iinganekwana 

(ii) Iinrarejo 

(iii) Izitiho 

(iv) Izaga 

Kunemibuzo emibili. Umbuzo omude nomfitjhani. 



Umfundi uveza ikghono lakhe mayelana nomtlolo-ndabuko. 

ISIGABA C 

Indatjana Uzangenzani: DM Jiyana nabanye 

Kunemibuzo emibili. Umbuzo omude nomfitihani 


Umbuzo omude. Umfundi uveza ikghono lakhe lokuzwisisa nokulandelanisa izehlakalo zendaba. 

Umbuzo omfitjhani Umfundi uveza ukwizwisisa nokuyelela okukhulu. 

252

ISINDEBELE ILIMI LESIBILI (L2 HG P1) 



UMHLAHLANDLELA 

ISIGABA A 

Lesisigaba singaba nesifundo sokuzwisisa esisodwa nanyana ezimbili. Kulindeleke bona abatlolako 

baphendule imibuzo eqaliswe kilesisindo nanyana iimfundo. Ihloso yalesisigaba kuhlola ukufunda 

ngokuzwisisa nokuhlola ilwazi lelimi labahlolwako. Lesisigaba sinemitlomelo ema – 35. 

ISIGABA B 

Kilesisigaba abatlolako banikelwe indatjana okudingeka bona bayirhunyeze ngemida engaba litjhumi. 

Abatlolako balindeleke bona bafunde ngokuzwisisa bese batlola amaphuzu aqakathekileko 

wendatjana. Isirhunyezo sendatjana silindeleke bona siveze koke okutjhiwo yindatjana. Imitlomelo 

yalesisigaba mamaraga ali – 10. 

ISIGABA C 

Lesisigaba sineendatjana ezifitjhani ezinothiswe ngokusetjenziswa kwewelo. Abahlolwako 

balindeleke bona bafundisise leziindinyana ngaphambi kobana bapheudule imibuzo. Lesisigaba 

simemitlomelo ema – 35 

253 

[80]

ISINDEBELE ILIMI LESIBILI 

IZINGA ELIPHAKATU 


(L2 SG P1) 

UMHLAHLANDLELA WEPHEPHA LESINDEBELE IZINGA ELIPHASI 

ISIGABA A 

Lesisigaba sinesifundo sokuzwisisa, esisodwa nofana ngaphezulu kulindeleke bona abatlolako 

baphendule imbuzo ngokuqalisa kilezimfundo zokuzwisisa ihloso yalesisigaba kuhlola ukufunda 

nokuzwisisa kwabatlolako nokuthola ilwazi lelimi. Lesisigaba sinemitlomelo ema – 35 

ISIGABA B 

Kilesisigaba abatlolako balindeleke bona barhunyeze indatjana. Abatlolako balindeleke bona 

bafunde ngokuzwisisa indatjana bese bayitlola ngobufitjhani ngokuyelela amaphuzu aqakathe kileko. 

Kuqakathekile bona abahlolwako barhunyeze ngamagama athileko kodwana kuvele koke 

okuqakathekileko okutjhiwo yidatjana. 

ISIGABA C 

Lesisigaba sineendatjana okuthlogeka bona ohlolwako azifunde ngaphambi kobana aphendule 

imibuzo. limpendulo zemibuzo ngobunengi zitholakala kileziindatjana / lapha kuhlolwa ilwazi lehlelo 

labahlolwako. 

254

ISINDEBELE UMHLAHLANDLELA (GUIDELINES) 

(L 2 HG & SG PAPER 2) 

IsiNdebele 2 nd language HG & SG. 

IsiNdebele ilimi lesibili izinga eliphezulu neliphakathi 

Iphepha lesibili 

Imitlomelo [80] 

Isikhathi Ama-iri amabili (2 hours) 

Zemitlolo (Literature] 

1. Iphepheli lineengaba ezihlanu. Isigaba A kufika kusigaba E. 

2. Umfundi ulindelwe bonyana akhethe iingaba ezimbili kwaphela bese uphendula yoke imibuzo 

engaphasi kwazo. 

3. Iingaba zihleleke ngendlela elandelako: 

* Isigaba A: Itsengo 5: Ntuli MS 

- Umbuzo 1 

- Ngaphasi kwesigaba A, Umbuzo 1. Uphendula 

Umbuzo 1.1 nombuzo 1.2. 

- Imitlomelo yesigaba A, ma – 40 

* Isigaba B: Amabatha: Masango BD 

- Ngaphasi kwesigabesi kunemibuzo 2.1 no 2.2 ekulindelwe bonyana umfundi 

ayiphendule yomibili 

- Imitlomelo ma – 40 

* Isigaba C: Kanti Ngewakabani? Skosana NE 

- Ngaphasi kwesigabesi kunombuzo 3. 

- Umfundi ulindelwe ukuphendula umbuzo 3.1 nombuzo 3.2 


* Isigaba D: Ayikhulunyelwa Eziko: Jiyana Mahlangu 

- Ngaphasi kwesigabesi uphendula yoke imibuzo. 


* Isigaba E: Uzangenzani: Jiyana, Masango, Skhosana. 

- Ngaphasi kwesigabesi kunombuzo 5.1 no 5.2 ekumele iphendulwe. 


4. Inani loke lemitlomelo ma – 80 

255

ISIGABA A 

Imibuzo engalindelwa lapha ngethinta: 

- Isakhiwo sangaphandle 

ANNEXURE 

- Ivumelwano 

- Ivumelwano - thoma, ivumelwano - phetho. njll 

Ukurhobela 

Ukurhobelathoma, ukurhobela tjhigama, ukurhobela-phakathi 

- Ibuyelelo 

- Isakhiwo sangaphakathi: Sivela kuhle ngokusetjenziswa kweenthombengqondo 

* Isifaniso 

* Ukwenzasamuntu 

* Ukungathekisa 

* Itshimo 

- Okutjhiwo yikondlo 

Lo mqondo umfundi azitholela wona ngemva kobana afunde ikondlo 

- Umoya wekondlo 

ISIGABA B 

Kutjhiwo iibujamo imbongi eyikade ikibo nabe yitlola ikondlo leyo. 

Lapha kuqalwa isimo sehlalo, Isihloko senovela, ukuvezwa kwabalingisi, isakhiwo, ukuvezwa 

kwabalingisi. 

ISIGABA C 

Ilwazi lomdlalo liqakathekile. Ukwethulwa kwabadlali, Isakhiwo somdlalo, isihloko somdlalo, 

umlayezo esethulelwa wona 

ISIGABA D 

Umfundi uzokuphendula imibuzo ngezaga, izitjho, iinrarejo neenganekwana Imihlobo 

yeenganekwana kanye neyeenrarejo kufuze yaziwe. Azitjhejwe iinganekwana eziqintelwe 

ukufundwa abafundi bebazazi. 

ISIGABA E 

Iindatjana ezifitjhani ezibekelwe ukufundwa kufanele zaziwe bafundi. Ukwethulwa / ukuvezwa 

kwabalingisi, isakhiwo, umlayezo, isihloko nokunemba kwaso kufanele kwaziwe bafundi. 

256


ISINDEBELE ILIMI LESIBILI (L2 HG P 3) 



ISIGABA A 

Lesisigaba sineenhlokwana ezihlanu. Abatlolako balindeleke bona bakhethe isihloko esisodwa 

batlole ngazo indatjana izale amakhasi amabili. Ihloso yalesisigaba kuhlola ikghono nobuthakgha 

botlolako. Lesisigaba sinemitlomelo ema – 40. 

ISIGABA B 

Kilesisigaba otlolako ulindeleke ukutlola umtlolo owodwa kanikelwe yona. Otlolako akatlole kuzale 

ikhasi elilodwa. Ihloso yalesisigaba kuhlola ubuthakgha nekghono lohlolwako. Lesisigaba 

sinemitlomelo ema – 20. 

ISIGABA C 

Kilesisigaba kunemitlolo emifitjhani engaba ngaphezu kowodwa. Otlolako ulindeleke bona akhethe 

isihlokwana esisodwa atlole ngaso kuzale ikhasi nanyana isiquntu sekhasi. Lesisigaba sinemitlomelo 

ema – 20 

257 

[80]


ISINDEBELE ILIMI LESIBILI 


IZINGA ELIPHASI 

(L 2 SG P 3) 

ISIGABA A 

Isigaba lesi sineenhlokwana ezihlanu. Ohlolwako ulindeleke bona akhethe isihlokwana sibesinye 

atlole ngaso kuzale ikhasi nesiquntu ihloso yalesisigaba kuhlola ubuthakgha nekghono okutlola 

indaba ezwakalako. / Lesisigaba sinemitlomelo ema – 40. 

ISIGABA B 

Kilesisigaba abahlolwako banikelwe imitlolo eyahlukahlukeneko. Otlolako ukhetha umtlolo owodwa 

atlole ngawo kuzale ikhasi elilodwa. Ihloso yalesisigaba kuhlola ubuthakgha nekghono lokutlolwako. 

Imitlomelo ama – 20. 

ISIGABA C 

Kilesisigaba kunemitlolo emfitjhani engaba ngaphezu kowodwa. Abatlolako balindeleke bona 

bakhethe owodwa batlole ngawo kuzale ikhasi elilodwa nanyana isiquntu sekhasi lesisigaba 

sinemitlomelo ema – 20 

258 

[80]

IMIYALELO:- 

ISIKHOKELO SEPHEPHA LOKUQALA 

ISIXHOSA ULWIMI LWENKOBE 

IPHEPHA LOKUQALA 

Mayifundwe ngononelelo olukhulu ukuze umfundi angabhideki, ajongisise namanqaku. (30) 

Isicatshulwa esiphendulwayo:- 

ICANDELO A 

UMBUZO 1 

Kulo mbuzo kufundwa isicatshulwa kuze kuphendulwe imibuzo elandelayo. 

Mifutshane phantse yonke le mibuzo. 

Isishwankathelo:- 

ICANDELO B 

UMBUZO 2 

Apha sifunda isicatshulwa size sisishwankathele. (10) 

Imigaqo-ntetho:- 

ICANDELO C 

UMBUZO 3-7 

1. Kubuzwe imibuzo eyahlukeneyo kwigrama. 

2. Umbuzo wokugqibela weli candelo kulungiswa “Iziphene”, ezolwimi mhlawumbi 

nakwizivakalisi – neempawu ezahlukeneyo umz. onobumba, iziphumlisi njl.njl. 

259 

(40) 

(20) 

AMANQAKU EWONKE: 100

IMIYALELO:- 




Ifanelwe ifundisiswe ilandelwe le miyalelo kuba yiyo ekhokela umfundi ukuba 

awucwangcise njani umsebenzi wakhe. 

Isicatshulwa esiphendulwayo:- 

ICANDELO A 

UMBUZO 1 

Umbuzo wokuqala sisicatshulwa esiphendulwayo. Imibuzwana emifutshane - amanqaku (30) 

Isishwankathelo:- 

ICANDELO B 

UMBUZO 2 

Apha sisicatshulwa esisishwankathelwayo. Amanqaku (10) 

Imigaqo-ntetho:- 

ICANDELO C 

UMBUZO 3-7 

1. Kweli candelo kukho imibuzo eyahlukeneyo yegrama. 

2. Owokugqibela umbuzo kulungiswa “Iziphene” zezinto ezahlukeneyo umz. ezolwimi 

- Izivakalisi njl.njl. 

260 

(40) 

(20) 

AMANQAKU EWONKE: 100

INGXELO YEPHEPHA LESIXHOSA: ULWIMI LOKUQALA 

UHLELO OLUPHAKAMILEYO NOLUPHANTSI: IPHEPHA LESIBINI 

INTSHAYELELO 

Kubalulekile ukudibana kwepaneli xa kuyilwa amaphepha okuphela konyaka ebanga 

le-12 kuba nizivelela zonke iinkalo ezidingeka okokuba nifikelele kuzo. 

IINTLANGANISO EZITHE ZABANJWA 

-Umhla wokuqala wokudibana kweModereyitha kunye nomvavanyi kube kukubonisana 

ngoYilo lokuqala lwemibuzo. Ingxoxo ke ihambe kakuhle kwaze kwagqitywa ekubeni 

umvavanyi makaye kuyitshintsha imibuzo ekuthe kanti ibe nokuphinda-phindeka, 

ukwenzela ukuba yonke into equlethwe yisilabhasi ibe nokuvela ephepheni. 

-Owesibini ke umhla, iModereyitha iwathathile amaphepha yaya kuwafunda kwakhona 

yaza yawahlaziya ekhaya, kwaze ke kwaba yindibano yezinto ezincinci emazilungiswe 

nje ngokulungelelanisa amanqaku, ukujonga nje iziphene ezenzeke xa umntu 

echwetheza, kwaze ke kwavunyelwana ngelithi amaphepha sele elungele 

ukungeniswa e AMU. 

Izihloko ezibuziweyo kwiCandelo A no B kwimihobe yile ilandelayo; 

Apha ke kubuzwe imibuzo efuna ukuba umfundi abonakalise ulwazi, ubuchule, 

okuxabisekileyo kunye nendlela azithatha ngayo izinto. 

Kufuneke ukuba abonise ukuba umbhali uzisebenzise njani na izixhobo ezifana nezi 

zilandelayo; 

- indlela eyakhiwe ngayo imiqolo kunye nemihlathi 

- imvano siphelo 

- isingqisho 

- ukuphuhlisa intsingiselo apho kufaneleke khona 

- izikweko 

- izifanekisozwi 

Icandelo B Umdlalo weqonga Inzonzobila 

- Umfundi ubuzwe imibuzo malunga nendlela ingxoxo kunye nentshukumo ezalana 

ngayo nomlinganiswa kwanomxholo; 

- Kubuzwe imibuzo efuna umfundi avavanye, enika nezakhe izimvo malunga nalemiba 

ilandelayo 

- ukubunjwa kwabalinganiswa 

- lmpixano 

- injongo yomdlalo 

261

Icandelo C INoveli Etshatile engatshatanga 

Umfundi ubuzwe ngokwesakhiwo sebali nesakhiwo esisekelayo, impixano kunye 

nezinto abathe abalinganiswa bazenza ukuveza izimo ezo zabo. 

Umfundi kufuneke ukuba achonge aze achaze ezi zinto zilandelayo 

- imiyalezo nemixholo 

- indlela, imvelaphi kunye nemo-ntlalo ezithe zaveza ngayo abalinganiswa abathile 

- Kufuneke ukuba anike intsingiselo yombhali, amaxesha aqingqiweyo okwenza izinto, 

izimvo zabo, nendlela yokufikelela esigqibeni 

- Kufuneke ukuba acazulule ilizwi likanobalisa okanye umbalisi. 

262

IZINCOKO: 

ISIKHOKELO SEPHEPHA LESITHATHU 



ICANDELO A 

UMBUZO 1 

Kulo mbuzo kubuzwe izincoko ezihlanu ezixutyiweyo. Umfundi ukhetha aphendule 

sibe si-NYE kuphela. (40) 

Iileta: 

ICANDELO B 

UMBUZO 2 

Zintathu iileta ezibuziweyo, azifani. Umfundi ukhetha abhale ibeNYE ayithandayo. (20) 

Imihlathi ebhalwayo: 

UMBUZO 3 

Kubuzwe imihlathi emithathu. Uya kukhetha ubemNYE ova umxhelo wakho umfundi, 

abhale ngawo. (20) 

Imihlathana: 

UMBUZO 4 

Imihlathana ebuziweyo mithathu. Umvavanywa ukhetha abhale ngawo ubemNYE. (10) 

263

IZINCOKO: 




ICANDELO A 

UMBUZO 1 

Kulo mbuzo kubuzwe izincoko ezihlanu ezixutyiweyo. Umfundi uphendula abhale 

esi-NYE kuphela. (40) 

Iileta: 

ICANDELO B 

UMBUZO 2 

Zintathu iileta ezibuziweyo. Umfundi ukhetha abhale ibeNYE. (20) 

Imihlathi ebhalwayo: 

UMBUZO 3 

Mithathu imihlathi ebuziweyo. Umfundi ukhetha abhale ngomhlathi omNYE. (20) 

Imihlathana: 

UMBUZO 4 

Imihlathana ebuziweyo mithathu. Umvavanywa ubhala ngomhlathi omNYE. (10) 

264




ICANDELO A 

UMBUZO 1 

Unikwe isicatshulwa esinye eside ekubuzwe kuso imiuzo (25) 

ICANDELO B 

UMBUZO 2 

Apha unikwe isicatshulwa esifutshane. Esi uza kusishwankathela ngamagama 

angama40, angagqithi okanye abe ngaphantsi. (10) 

Ukusetyenziswa kolwimi 

ICANDELO C 

Inikwe isicatshulwa ekubuzwe imibuzo ngezigaba zentetho nokwakhiwa kwezivakalisi: 

A. zizenzi nezixando zazo. 

B. ngamagama abonisa inguqulelo-zandi nokuwasebenzisa kwizivakalisi. 

C. izimelabizo uyazichonga, uzisebenzise kwizivakalisi 

D. amahlobo ezenzi 

E. amaxesha ezenzi 

F. ukusetyenziswa kwezimaphambili zamahlelo kwiziqu zamagama, ukwakhiwa 

nezivakalisi 

G. ukushiywa kweceba 

H. chonga izihlomelo, udidi uze uzisebenzise kwizivakalisi 

I. ukwakhiwa kweqhalo / isaci usebenzisa izibizo – wakhe nezivakalisi 

J. chonga izichazi ubonise nezivumelanisi. 

K. izithethantonye nokwakhiwa kwezivakalisi. 

L. ukuchongwa kwesibanjalo, uxele nodidi. 

M. khetha izilabalabi nezifezekisi 

N. lungisa iziphene, ufakela oonobumba abakhulu, iziphumlisi njl, unike 

namagama aqhelekileyo endaweni yezihlonipho. (10) 

[40] 

265

IZINCOKO: 



UHLELO OLUPHANTSI 

ICANDELO A 

UMBUZO 1 

Kulo mbuzo kubuzwe izincoko ezizindidi/ntlobo ezi-NE. Khetha uphendule isincoko 

esiNYE kuphela. (30) 

Iileta: 

ICANDELO B 

UMBUZO 2 

Zimbini kuphela iileta ezibuziweyo. Khetha ibeNYE wena uyibhale. (20) 

Imihlathi 

UMBUZO 3 

Apha kubuzwe imihlathi emiNE. Khetha umhlathi ubemNYE ubhale ngawo kulo 

Mbuzo-3 OKANYE ukhethe kuMbuzo-4 ube mNYE (15) 

Imihlathana: 

UMBUZO 4 

KuMbuzo-4 kubuzwe imihlathana emiTHATHU. Khetha ubemNYE xa ungakhethanga 

kuMbuzo-3. 

266 

(15) 

[60]

INDLELA AMAPHEPHA AHLELWE NGAYO 

ISIXHOSA ULWIMI OLONGEZELELWEYO 

UHLELO OLUPHAKAMILEYO NOLUPHANTSI (HG AND SG) 

ICANDELO A 

UMBUZO 1 

Uvavanyo lokuqonda: Iziqendu zibini zingumbuzo oqhubekayo. Imibuzo izivelela 

zonke iinkalo ezinjengezi: ulwazi, izakhono ezahlukeneyo (ukucinga, ukusombulula 

iingxaki njl-njl) iindlela esisabela ngayo kwizimo esihlangabezana nazo. 

Ushwankathelo: 

Amanqaku ahlelwe ngolu hlobo: 

ICANDELO B 

UMBUZO 2 

1. inani lamagama = 2 (kulindeleke amagama angama-30) 

2. izivakalisi ezi-5 zinamanqaku ama-5 

3. ulwimi ngokwamagama angawakhe umfundi = 3 

Ukusetyenziswa kolwimi: 

ICANDELO C 

UMBUZO 3 

Abafundi mabakwazi ukuchonga izigaba zentetho kumhlathi onikiweyo bakwazi 

nokuzisebenzisa kwizivakalisi 

1. Izibizo – izinciphiso, izandiso izibizo-mbaxa, izivakalisi ezikwisinye okanye 

kwisininzi, ingqokelela yamagama kwakhiwe izivakalisi 

2. Izimelabizo – bazosebenzisa kwizivakalisi 

3. Izichazi – iziphawuli, izibaluli nezimnini 

4. Izikhuzo! umsebenzi wazo 

5. Izihlanganisi 

6. Izihlomelo – izalathandawo, nezinye 

7. Izenzi – izixando, amaxesha 

8. Izifanekisozwi 

9. Amaqhalo / izaci 

10. Izichasi, amagama antsingiselo ninzi, igama elinye endaweni yenkcazelo 

11. Izihlanganisi 

12. Intetho ngqo nententetho ngxelo [35] 

267 

EWONKE AMANQAKU: 80

INGXELO YEPHEPHA LESIXHOSA: ULWIMI LWESIBINI 

UHLELO OLUPHAKAMILEYO NOLUPHANTSI: IPHEPHA LESIBINI 

INTSHAYELELO 

Ukudibana kwepaneli kubalulekile xa kuyilwa amaphepha okuphela konyaka ebanga 

le-12 kuba nizivelela zonke iinkalo ezidingekayo ukuze iphepha kunye nemibuzo 

ifikelele enqanabeni elifanelekileyo. 

IINTLANGANISO EZITHE ZABANJWA 

-Umhla wokuqala wokudibana kweModereyitha kunye nomvavanyi kube kukubonisana 

ngoYilo lokuqala lwemibuzo. Ingxoxo ke ihambe kakuhle kwaze kwagqitywa ekubeni 

umvavanyi makaye kulungisa imibuzo ekuthe kanti ibe nokuphinda-phindeka, kunye 

nentsokothileyo ukwenzela ukuba yonke into ebuziweyo ibe semgangathweni wolwimi 

lwesibini. 

-Owesibini ke umhla iModereyitha iwathathile amaphepha yaya kuwafunda kwakhona 

yaza yawahlaziya ekhaya, kwaze ke kwaba yindibano yezinto ezincinci emazilungiswe 

nje ngokulungelelanisa amanqaku, ukujonga nje iziphene ezenzeke xa umntu 

echwetheza, kwaze ke kwavunyelwana ngelithi amaphepha sele elungele 

ukungeniswa e AMU. 

Izihloko ezibuziweyo kwiCandelo A kwimihobe yile ilandelayo; 

Apha ke kubuzwe imibuzo efuna ukuba umfundi abonakalise ulwazi, ubuchule, 

okuxabisekileyo kunye nendlela azithatha ngayo izinto. 

Kufuneka ukuba umfundi akwazi ukunakana indlela ezithi izixhobo zichukumise ngayo 

intsingiselo, umoya wombhali kunye nomxholo xa umbhali ethe wasebenzisa izixhobo 

ezifana nezi zilandelayo; 

- Amagama akhethiweyo aze asetyenziswa, izikweko, immifanekiso-ngqondweni 

- Anakane izakhiwo zemihlathi, imvano siphelo isingqisho nobunye ubuchule 

bokusebenzisa uphindaphindo 

Icandelo B Umdlalo weqonga 

- Umfundi ubuzwe imibuzo efuna ukuba akwazi ukunakana indlela ingxoxo nezenzo 

ezizalana ngazo nomlinganiswa kunye nomxholo. 

Icandelo C, D no E, INoveli, AMabali amafutshane kunye neentsomi 

- Kubuzwe imibuzo efuna umfundi avavanye achaze, aphinde afumane intsingiselo 

yezi zihloko zilandelayo: 

- ukukhula kwebali 

- impixano 

- abalinganiswa kunye nendima yombalisi apho kufaneleke khona 

- imiyalezo nemixholo nemiqondiso yayi kwitekisi iphelele 

- indlela imvelaphi ezalana ngayo nomlinganiswa, imo yombhali, ixesha, isigqibelo 

kunye nesiphelo. 

268

ISIXHOSA ULWIMI OLONGEZELELWEYO 


UHLELO OLUPHAKAMILEYO NOLUPHANTSI (HG AND SG) 

AMACANDELO MATHATHU 

ICANDELO A 

UMBUZO 1 

Kunikwe izincoko ezi-5, umfundi ulindeleke ukuba abhale isincoko sibe sinye. 

Kukorekishwa ngokwendlela evunyiweyo (Standardisation Policy: grid) 

ICANDELO B 

UMBUZO 2 

269 

Amanqaku: [40] 

Kweli candelo kuphendulwa umbuzo ube mnye. Nalapha kusetyenziswa uhlelo 

lokukorekisha oluvunyiweyo (grid). Apha kungabhalwa incwadi, ingxelo, intetho nezinye 

ICANDELO C 

UMBUZO 3 

Kweli candelo kuphendulwa umbuzo ube mnye. Nalapha kusetyenziswa uhlelo 

lokukorekisha oluvunyiweyo (grid). Apha kungabhalwa isincomo-sigxeko sencwadi, 

somzi wokutyela nezinye, ubomi bongasekhoyo, izibhengezo, isivi nezinye 



EWONKE AMANQAKU: 80

ISIZULU PRIMARY LANGUAGE SG PAPER 1 

ISIGABA A 

COMPREHENSION 

(i) Abafundi kufanele baphendule yonke imibuzo 

(ii) Yonke imibuzo iqondene nalokhu okusenda beni 

(iii) Kuhlolwa ukuthi abafundi bakuqondisisile abakufundile 

ISIGABA B 

Nalapha abafundi abasenakuqoqa ibinzana elidwetshelwe, kodwa bazoqoqa yonke 

indaba ngamagama abo. Okubalulekile wukuthi abafundi kufanele bangagudluki 

emmongweni wendaba futhi bangeqi emagameni angu-20. 

Abafundi kumele baqikelele lokhu. 

ISIGABA C 

UHLELO 

(a) Ukuguquka komsindo 

(b) Amabizo avela kwamanye amabizo 

(c) Ukwazi ukuhlukanisa umenzi nomenziwa. 

Amagama amqondo mningi 

(d) Ukwakha umusho uveze ukuthi igama elilodwa lingasho okubili / thathu 

lilodwa 

(e) Izimpambosi / izijobelelo = zingaguqula umqondo wegama 

Isb: kazi = ubulili 

kazi = ukukhulisa 

EDITING 

Lapha abafundi bazophiwa isiqeshana kuzofanele bakwazi ukulungisa amaphutha 

lapho kuleso siqeshana. 

270

ISIZULU ULIMI LOKQALA 

IZINGA ILIPHEZULU 

IPHEPHA LESIBILI 

UMUMO WEPHEPHA 

ISIQEPHU: A 

IZINKONDLO 

UMBUZO 1 

• Lona ngumbuzo ophoqelekile 

• Abafundi baphendula imibuzo ngenkondlo engekho ohleni lwezinkondlo 

ezifundwayo 

Izinhlobo zemibuzo ebuzwayo 

1. Ukuchazwa kwamagama / ibinzana lamagama ezinkondweni, izisho nezaga. 

2. Izifenqo: nhloboni yesifenqo esiqukethwe yilo mugqa. 

3. Umoya wenkondlo 

4. Okushiwo yinkondlo [10] 

IMVUBELO – A.M. MAPHUMULO 

Uhla lwezinkondlo ezifundwayo 

UMBUZO 2 

1. Imvubelo – L.F. Mathenjwa 

2. Ntandokazi Yami – V.S. Khumalo 

3. Nqaba Yami – J.J. Thwala 

4. Phezu kwakho Konke – S.B. Mvuyana 

5. Muhlekazi Wemvelo – V.S. Khumalo 

6. Kwelakithi – B.F. Ngema 

7. Zinkunzi Zelakithi – K.E. Hlongwane 

8. Lafa Silibhekile – K.E. Hlongwane 

9. Yisinqibi – A.M. Maphumulo 

Lo mbuzo uqukethe imibuzo emine. 

Kulindeleke ukuba abafundi baphendule imibuzo emibili kuphela. 


1. Ukuchazwa kwamagama, izisho, nezaga enkondlweni. 

2. Izifenqo: Izinhlobo zezifenqo nokuchazwa kwazo. 

3. Umoya wenkondlo 

4. Okushiwo yinkondlo 

5. Isakhiwo sangaphandile: Imvumelwano, ukuxhumana, ifanamsindo, 

impindwa. 

6. Izinhlobo zezinkondlo: i-eleji, isonethi njll. 15x2=[30] 

271

NGIWAFUNGE AMABOMVU – L. Molete 

ISIQEPHU B 

UMBUZO 3 

Lesi siqephu sinemibuzo emibili. Umbuzo oyingxoxo nombuzo onezimpendulo 

ezimfishane. Kulindeleke ukuba abafundi baphendule owodwa vo. Uma bekhethe 

baphendula umbuzo oyingxoxo, kufanele baphendule umbuzo onezimpendulo 

ezimfishane esiqeshini esilandelayo u.C. 

Uma bekhethe baphendula umbuzo onezimpendulo ezimfushane kulesi siqephu, 

kumele baphendule oyingxoxo kuSiqephu C. 


(1) Umbuzo oyingxoxo. 

Abafundi bazobuzwa ngalokhu: Ukuvezwa kwabalinganiswa, indikimba noma 

isifundo, isizinda, amagama abalinganiswa (naming technique) 

Umbuzo onezimpendulo ezimfishane 

• Kuzokhishwa iziqeshana ezimbili u A no B. 

• Kuphoqelekile ukuthi abafundi baphendule ngazo zombili iziqeshana. 

• Abafundi mabazi ukuthi izimpendulo zemibuzo azitholakali zonke kulezi 

ziqeshana. Iziqeshana zikhishelwa ukubakhumbuza nje abafundi. [30] 

Isigcawu senkantolo – M.M. Masondo 

ISIQEPHU C 

UMBUZO 4 

Lesi siqephu sinemibuzo emibili. Umbuzo oyingxoxo nombuzo onezimpendulo 

ezimfishane. Kulindeleke ukuthi abafundi bakhethe umbuzo owodwa vo. Uma 

bekhetha baphendula umbuzo oyingxoxo, esiqeshini esingenhla u B baphoqelekile 

ukuthi bakhethe onezimpendulo ezimfishane kulesi siqephu. Uma bakhetha 

baphendula umbuzo onezimpendulo ezimfishane ku B baphoqelekile ukuphendula 

oyingxoxo kulesi siqephu 

Umbuzo onezimpendulo ezimfishane 

• Kuzokhishwa iziqeshana ezimbili ku A no B 

• Kuphoqelekile ukuthi abafundi baphendule ngazo zozimbili iziqeshana. 

Abafundi bakhumbule ukuthi izimpendulo zemibuzo azitholakali zonke kulezi 

ziqeshana. 

Iziqeshana zikhishelwa ukubakhumbuza nje abafundi. [30] 

272 

ESEWONKE: 100

ISIZULU ULIMI LWEBELE IZINGA 

ELIPHANSI IPHEPHA LESIBILI 

UMHLAHLANDLELA WOKUHLOLA 

ISIQEPHU A 

IZINKONDLO 

IMVUBELO – MAPHUMULO AM 

Abahlolwayo bazonikwa imibuzo emine, baphendule emibili kuphela. 

ISAMBA SAMAMAKI: 25] 

Izinkondlo eziqoshelwe ukufundwa zitholakala kuyi-Circular 52/2002. Ilezi 

ezilandelayo: 

• Imvubelo 

• Ntandokazi 

• Nqaba Yami 

• Phezu Kwakho Konke 

• Muhlekazi Wemvelo 

• Kwelakithi 

• Zinkunzi Zelakithi 

• Lafa Silibhekile 

• Yisinqibi 

Ohlolwayo kumele akwazi ukuhluza inkondlo elandela imigomo elandelayo: 

(i) Okushiwo yinkondlo / umqondo osobala 

(ii) Umoya wenkondlo 

(iii) Isakhiwo sangaphandle / imigqa / ukuphindaphinda nezigaba 

(iv) Isakhiwo sangaphakathi / ulimi: izifengqo, incazelo yamagama, izaga izisho / 

ukweqa 

Isibonelo: Nikeza izinandisi ezilandelayo ezisetshenziswe imbongi kule nkondlo: 

(i) Imvumelwano siqalo 

(ii) Ukuxhumana sigcino njll 

ISIQEPHU B 

UMDLALO NGIWAFUNGE AMABOMVU – Molefe M. 

Abahlolwayo bazokhetha phakathi kwemibuzo emibili: 

EMIFISHANE [Contextual questions] – iziqeshana ezimbili kanye ne-eseyi. 

Isamba samamaki ngu – 25 

Abafundi mabakwazi ukuhluza belandela imigomo, indikimba / umlayezo; 

babenobuciko bokucwaninga ukuthi abalingiswa bavezwe kanjani; bakwazi 

ukuphendula imibuzo emifishane ngomdlalo. Ubude bempendulo mabulingane 

namamaki abekelwe lowo mbuzo. 

273

ISIQEPHU C 

INOVELI – ISIGCAWU SENKANTOLO – Masondo M M 

Abafundi mabacijwe ukuhluza iNoveli belandela imigomo elandelayo: 

Abalingiswa, isakhiwo, isizinda, indikimba. Konke obuzobuzwa ikakhulukazi 

embuzweni oyi-eseyi kuncike kulezi zinto ezine. Abahlolwayo bazokhetha phakathi 

kwemibuzo emibili EMIFISHANE [Contextual questions’ iziqeshana ezimbili kanye 

ne-eseyi. 

Isamba samamaki ngu-25 

QAPHELA: Uma umfundi ephendule umbuzo omfishane ku-siqephu B, 

uphoqelekile ukuba aphendule umbuzo omude [essay] ku-siqephu C. Uma 

ohlolwayo ephendule umbuzo omude [essay] ku-siqephu B, uphoqelekile ukuba 

aphendule umbuzo omfishane [contextual] ku-siqephu C. 

OKUMHLOPHE! OKUMHLOPHE! OKUMHLOPHE! 

274

ISIZULU ULIMI LWEBELE 



ISIGABA A 

UMBUZO 1 

Umfundi ulindeleke ukuthi abhale indaba egcwele ikhasi nengxenye ukuya kwamabili 

ngesihloko azikhethele sona kwezinhlanu noma eziyisithupha azinikiwe. Imiklomelo 

yalo mbuzo wu-40. [40] 

ISIGABA B 

Kulesi sigaba kunemibuzo emithathu: Umbuzo 2, Umbuzo 3 kanye nombuzo 4. 

UMBUZO 2 

Umfundi uzokhetha incwadi eyodwa kwezimbili eyomthetho noma eyobungane. 

Abhale agcwalise ikhasi elilodwa sekuhlangene nekheli / namakheli isingeniso kanye 

nesiphetho. Imiklomelo – [20] [20] 

UMBUZO 3 

Lapha kuneziqephu ezintathu: i-Memorandamu, amaminithi omhlangano, i-ajenda, 

inkulumo-mpendulwano, inkulumo njll. Umfundi uzokhetha okukodwa abhale 

agcwalise ikhasi elilodwa. Imiklomelo [20] [20] 

275

ISIZULU ULIMI LWEBELE 

IZINGA ELIPHANSI 


ISIGABA A 

UMBUZO 1 

Kulesi sigaba kunombuzo owodwa. Abafundi bazonikezwa izihloko eziyisihlanu 

noma eziyisithupha bakhethe esisodwa babhale indaba egcwele ikhasi nengxenye 

ukuya kwamabili. Imiklomelo yalesi sigaba ingamashumi amathathu. [30] 

ISIGABA B 

Kulesi sigaba kunemibuzo emithathu umbuzo 2, 3 no 4. umfundi uzokhetha 

phakathi kombuzo 2 nombuzo 3 abhale ngesihloko esisodwa esimnikeza imiklomelo 

eyishumi nanhlanu (15). Kumbuzo 4 kusalindeleke ukuthi umfundi akhethe futhi 

isihloko abhale ngaso, imiklomelo iseyishumi nanhlanu (15). 

UMBUZO 2 

Kulombuzo ongenhla umfundi uzothola izincwadi ezimbili. Eyomthetho noma 

eyobungane. [15] 

UMBUZO 3 

Iziqephu ezitholakala kulo mbuzo zifaka: amaminithi omhlangano, umbiko, i-ajenda, 

umlando kamufi, inkulumo njll. [15] 

UMBUZO 4 

Kukhona iziqeshana ezimbalwa lapha: i-CV, i-feksi, i-imeyili, isikhangisi njll. [15] 

Imiklomelo yalesi sigaba isiyonke ingamashumi amathathu [30] [30] 

276

ISIGABA C 

UMBUZO 5.1 

UMLABALABA – NXUMALO OEHM 

IZINDABA EZIMFISHANE / AMA ESEYI 

Abahlolwayo mabakwazi lukuxoxa ngemigomo yezindaba ezimfishane nokuhluza 

belandela imigomo kuma-eseyi Mabakwazi ukuphendula imibuzo emifishane. 

Ngakho-ke ulwazi ngohla lwezindaba ezimfishane nama-eseyi lubalulekile. 

Nalu uhla lwezindaba ezimfishane nama-eseyi. 

• Isikhala sokufundela ubuthishela 

• Buyela ekhaya 

• Impimpi 

• Izinyembezi 

• unembeza 

• Ukusika ukhasi 

• Ukulungiswa kwezinwele 

• Ubuhle nobubi 

• Itiye netiyana 

• Ubungani 

Abahlolwayo bazokhetha phakati kwemibuzo 

EMIFISHANE [CONTEXTUAL QUESTIONS] – iziqeshana ezimbili – NEMIDE 

[ESSAY QUESTION] Isamba samamaki ngu-20 

NOMA 

UMBUZO 5.2 

UBUCIKO BOMLOMO 

INKOSI YINKOSI NGABANTU – Msimang C T 

Abahlolwayo kumele bazi incazelo nendlela yokuhluza ubuciko bomlomo. 

[IMIBHALO YOMDABU] 

Ubuciko bomlomo obulandelayo bufanele bufundwe: 

1. IZINKONDLO ZOMDABU 

1.1 Imilolozelo 

1.2 Izilandelo 

1.3 Izibongo 

2. Izithakazelo nobunkondlo 

3. IZINGANEKWANE 

3.1 Inganeko 

3.2 Umzekeliso 

3.3 Izinsumansumane 

3.3.1 Inja Nekati 

3.3.2 Uheshane nezinkukhu 

3.3.3 Impisi Nethambo 

277

4. Izaga 

5. Izisho 

6. Iziphicaphicwano 

Abahlolwayo bayoqoka phakathi kwembizo emifishane nemide. 

ISAMBA SAMAMAKI ngu-20 

Qaphela ohlolwayo uyokhetha umbuzo owodwa kuphela: Izindaba ezimfishane 

nama-eseyi NOMA ubuciko bomlomo. 

OKUMHLOPHE! OKUMHLOPHE! OKUMHLOPHE! 

278 

[80]

Isifundo sokuqondisisa 

ISIZULU ULIMI LWESIBILI 

IZINGA ELIPHEZULU NELIPHANSI 

IPHEPHA LOKUQALAI 

ISIGABA A 

UMBUZO 1 

Abafundi bazofunda bafundisise lesi siqephu bese bephendula imibuzo. 

Makugcizelelwe ukuthi imibuzo mayisuselwe esiqeshini kuhlolwe ukuthi umfundi 

uyezwisisa yini. Imibuzo yohlelo mayigcinelwe ISIGABA C. Izinga eliphezulu 

linemiklomelo engu-35 kanti neliphansi ingu-35. [35] 

ISIGABA B 

UMBUZO 2 

UKUFINGQA 

Lapha abafundi bazofunda isiqeshana bese bayasifingqa kodwa singalahli umqondo 

wendaba iyonkana. Kumele basebenzise amagama noma imisho yabo ukuze 

kucace ukuthi bayayiqonda le nto ebhaliwe. Lombuzo uqukethe imiklomelo 

eyishumi. [10] 

ISIGABA C 

UMBUZO 3 

Ukuguquka kwemisindo: ukungwaqazisa > uku + enza u>w 

ukunkankazisa > in + phila N + p > mp 

ukulumbana konkamisa > za + iziya ati > e 

Izimpambosi zesenzo Yokwenzela 

Yokwenzana 

Yokwenziwa 

Yokwenzeka 

Yokwenzisa 

279

UMBUZO 4 

Izingcezu zenkulumo – e.g. izabizwana etc. izivumelwano 

Izinciphiso 

UMBUZO 5 

UMBUZO 6 

Amagama amqondophika akhe ngawo imisho. 

Izinkathi zesenzo 

Amagama esiNgisi abhalwe ngesiZulu. 

Izenzukuthi 

UMBUZO 7 

UMBUZO 8 

280 

IMIKLOMELO [35] 

ISIYONKE [80]

ISIZULU SECOND LANGUAGE PAPER 2 HG 

IMIGOMO 

ENGALANDELWA OTHISHA 

UKUHLOLWA KUKAMATIKULETSHENI 

Izincwadi ziyisihlanu. Ngakho-ke kuneziqephu Ezinhlanu. 

UMFUNDI Kuyofanele APHENDULE IZINCWADI EZIMBILI Kuphela KWEZIHLANU 

INCWADI NGAYINYE inamamaki angama-40 

AMAMAKI ESEWONKE ANGAMASHUMI Ayisi-80 

We-Abafundi mabafundisise imiyalo 

(a) ISIGCAWU SENKANTOLO M.M. MASONDO (Novel) 

Abafundi abafundiswe imigomo yokuhlaziywa kwezincwadi. Lapha abafundi 

bangachazelwa ngokuvezwa kwabalingiswa. Umlingiswa nomlingiswa 

angachazwa wumlobi noma indlela enza ngayo isinikeza isithombe esigqamile 

ngomlingiswa ngamunye. uMagwegwe Buthelezi uyiqili eliyisikhohlakali ngoba 

wabulala uMhlobo Mvubu embulalela imali wakufihla lokho. Simthola 

esengufakazi ecaleni lokubulala umngane wakhe. Kubalulekile ukuthi uma 

umfundi abeke iphuzu lakhe, bese elisekela futhi. 

ISIZINDA – Mabafundiswe nezinhlobo zesinzinda bakwazi nokwesekela 

ngabakukhiphe endabeni. 

Udweshu / Isixakaxaka – lapha sithola umlingiswa oqavile efuna ukufeza 

injongo yakhe. Bese kuba khona omunye umlingiswa noma abalingiswa 

abalwisana nenjongo yomlingiswa oqavile kudaleke isixakaxaka. 

Kungaphawulwa ngo Sifiso Ngubane nabamxhasa ekutholeni izigebengu 

Ulimi – olusetshenziswe umbhali 

Indikimba – umongo wonke wendaba 

Isifundo – esitholakala ekugcineni kwendaba yonkana. Abafundi bangasekela 

lesi sihloko ngezenzo zabalingiswa abanjengoMagwegwe Buthelezi kanye 

Nomhlobo Mvubu. 

(b) NGIWAFUNGE AMABOMVU L. MOLEFE (drama) 

Abalingiswa abaqavile kuba khona ophuma phambili ngoba efuna 

ukuphumelisisa, inhloso yakhe (ummeleLi) bese kuba khona imbangi lo 

mlingiswa ulwisana nomlingiswa oqavile ekufezeni ezinhloso zakhe. 

Kungabhekwa abalingiswa abanjengo Zaba kanye noMgidi. 

UMLAMULI – Uzama ukubuyisana kulaba balingiswa ababili. Singabheka 

oMagubeshe oMsanka njll. Umfundi makachaze ukuthi kungani Laba 

balingiswa bethathwa njengabalamuli. 

ISIZINDA – Sendawo sesimo kanye nesikhathi makusekelwe ngamaphuzu 

avela Encwadini 

281

INGWIJIKHWEBU – etholakala kulo mdlalo 

UKULANDELWA KWAMASIKO – njengesiko lokunqanyulwa kukacikicane 

(c) IMVUBELO M MaPHUMULO (POETRY) 

Imigomo yokuhluzwa kwenkondlo. Indikimba yenkondlo kanye nombhali wayo 

Izinkondlo ezifundwayo zitholakala ku LANGUAGE STANDARDISATION 

POLICY DOCUMENT Kanye ne Circular 52 of 2002 

Umoya wenkondlo / okushiwo yinkondlo. 

Ingaphandle lenkondlo 

Kungabhekwa izigaba, imigqa, amagama akhe imisho, imigqa evalekile 

nevulekile (Ejambament) 

ISIZURA, 

IFANAMSINDO 

Ifuzamsindo, ifanangwaqa nefanaNkamisa 

Izinhlobo Zokuxhumanisa 

Izimvumelwano 

Impindwa nempikisamqondo. 

Ingaphakathi lenkondlo 

Izifengqo 

Izisho nezaga 

(d) UMLABALABA OEH NXUMALO (SHORT STORIES AND ESSAYS) 

CIRCULAR 52/2002 

Imigomo yokuhluza 

– inani labalingiswa 

– ukuqoqekwa kwesikhathi nendawo 

– Isiphetho 

(e) INKOSI YINKOSI NGABANTU C.T. MSIMANG 

(UBUCIKO BOMLOMO) 

CIRCULAR 52/2002 

Isakhiwo senganekwane 

Izibonelo zenganeko nomzekeliso 

Izinsumansumane 

Imilolozelo 

Izilandelo 

Izibongo 

Kanye nezithakazelo 

282

ISIZULU ULIMI LWESIBILI 


IZINGA ELIPHEZULU / NELIPHANSI 

ISIGABA A 

UMBUZO 1 

Umfundi uzokhetha isihloko esisodwa kwezinhlanU noma eziyisithupha azinikiwe 

abhale indaba eNGubude obuyikhasi nengxenye ukuya kwamabili. Imiklomelo yalo 

mbuzo wu-40. 

[40] 

ISIGABA B 

UMBUZO 2 

Kunemibuzo emithathu efaka izincwadi zombili eyomthetho neyobungane, 

imemorandum, amaminithi omhlangano, inkulumo-mpendulwano njll. Umfundi 

uzokhetha isihloko esisodwa abhale ngaso kugcwale ikhasi elilodwa. Imiklomelo-20 

[20] 

ISIGABA C 

UMBUZO 3 

Kulo mbuzo kuneziqeshana ezintathu lapho umfundi azokhetha khona esisodwa 

abhale kugcwale ikhasi elilodwa. Iziqeshana ezikhona yi-imeyili, i-CV, i-feksi, 

isikhangiso, isimemo njll. Imiklomelo lapha ingu-20. [20] 

283 

ISIYONKE [80]

There are 2 papers. 

LATIN HG 

Paper I: Setwork (2½ hours) 200 marks 

Paper II: Unseen Translation (1½hours) 100 marks 

A further 100 marks is provided by the Research Essays (2) undertaken by the 

candidates in Grades 11 and 12. (ONE on general background and ONE on the 

literature. See the reading lists for topics. 

Paper I: 4 sections corresponding to the 4 authors studied 

(Catullus, Vergil, Cicero and Pliny) 

Each section consists of 3 parts: 

1. language study (grammar) questions (one quarter of the marks) 

2. translation of parts of the text (one half of the marks) 

3. background, comprehension, literary appreciation questions. 

(one quarter of the marks) 

The sections on Vergil and Cicero are usually more heavily weighted, as these are 

considered the major authors, so their sections will add up to approx. 60 to 70 marks 

each, while Catullus and Pliny will only be worth 20 to 30 marks each. 

Paper II: 3 translations, each of about 100 words. 

One from Caesar, one from Pliny and one from Cicero. 

The candidates may choose TWO of the three to translate, 

each for 50 marks. 

Bonus marks, up to 5 per translation, are awarded for natural English. 

Caesar is generally taken from the "De Bello Gallico" as being more 

familiar to the candidates than the civil war. 

The Cicero an extract from the speeches studied for Prescribed work. 

(The next few years – the Phillipics) and the Pliny could be any of the 

letters. Unfamiliar vocabulary (not in Lexis Latina) is provided. 

The year mark (CASS) is calculated as follows: 

Setwork: June and September Paper I reduced to 50 

Unseen: June and Spetember Paper II educed to 25 

Research Essays reduced to 25 

TOTAL 100 

This mark out of 100 is added to the final examination marks, which are similarly 

reduced and to the moderated essay marks, also reduced. 

284

LIST OF PRESCRIBED WORKS (LITERATURE, RESEARCH PROJECTS AND 

UNSEEN TRANSLATION) FOR LATIN HIGHER GRADE FOR GRADE 12 (2006) 

As finally edited during November 2003 

N.B. These prescriptions are virtually the same as the prescriptions for 2004 and 

2005, but with change of all the Pliny passages and two of the Vergil passages 

prescribed for Grade 12, the reduction of the number of research topics from three to 

two, and the addition of one topic to Theme 5 of the Classical Culture prescription. 

A description of the composition of a cumulative assessment portfolio complying with 

Departmental prescriptions is added. 

1. LATIN PRESCRIBED WORK FOR READING, CONTEXTUAL STUDY AND 

TRANSLATION (Preparation for Latin HG Paper I - External assessment) 

Recommended textbook: Tria Saecula (and see appropriate paragraphs of 

syllabus). 

NOTE: Sections of the Tria Saecula series, Musa Latina and Prosa Latina, 

are also in use and Vita Hannibalis is an alternative in Grade 11. As part of 

the series, Vademecum Latinum is recommended for language study use. All 

may be ordered from the Dept. of Ancient Studies, University of Stellenbosch, 

Private Bag X01, Matieland 7602. 

1.1 GRADE 11 (2005) 

1.1.1 Prose 

EITHER: Pliny only 

3. 

Pliny (from Tria Saecula) 

(IV.16) A marathon speech 9 lines 

4. (IX.6) Races in the Circus Maximus 16 lines 

16. (X.17a) Pliny’s arrival in Bithynia 11 lines 

17. (X.31) Pliny consults Trajan on treatment of convicts 18 lines 

18. (X.32) Trajan’s reply 

PLUS 

Pliny (from Prosa Latina) 

9 lines 

9(a) (VI.7) Pliny is glad that Calpurnia misses him 7 lines 

9(b) (VII.5) Pliny describes his longing for her 7 lines 

11 (I. 14) Pliny’s friend Mauricus is looking for a suitable husband for his 

brother’s 

daughter 17 Lines 

12 (VI.32) Pliny gladdens a young bride’s heart 9 lines 

Total for Pliny 103 lines 

OR: Caesar only 

285

Caesar (Text from Tria Saecula and commentary from Prosa Latina) 

Attack on a Roman camp in Belgium – 54 v.C. (v.42-51) (lines 49-149) 

5. The camp is besieged (42) 9 lines 

6. The enemy tries to set the camp on fire (43) 19 lines 

7. Exceptional bravery of two Roman soldiers (44) 24 lines 

8. News of the siege reaches Caesar (45) 10 lines 

9. The enemy advances towards Caesar (49) 17 lines 

10. Caesar entices the enemy to attack him (50) 10 lines 

11. The enemy is routed (51) 11 lines 

Total for Caesar 100 lines 

OR: Nepos plus Pliny 

FROM: TRIA SAECULA: Nepos: Vita Hannibalis Latin texts with commentary 

1 Hannibal’s unrivalled position as a military commander 11 lines 

3 He explains his hatred by the story of his boyish oath 13 lines 

4 Hannibal, commander-in-chief, takes Saguntum, B.C. 221-219 9 lines 

6 Hannibal’s victories on the rivers Ticinus and Trebia, B.C. 218; at the 

Trasimene Lake, B.C. 217; at Cannae, B.C. 216. 14 lines 

7 Hannibal escapes from Fabius by a ruse, B.C. 216 9 lines 

14 The death of Hannibal 12 lines 

Total for Nepos 68 lines 

PLUS: 

Selection from Pliny: any 35 lines from the Pliny option above 

1.1.2 Poetry 

Total number of lines of prose to be read in Grade 11: 100-103 

N.B.: Candidates read both Martial and Ovid (note the alternatives for the latter) 

(a) Martial (from Tria Saecula) 

1. A modest introduction (1.1) 6 lines 

7. An insulted guest (III.60) 10 lines 

10. Teeth (I.19) 4 lines 

12 From doctor to undertaker (I.47) 2 lines 

14. The legacy hunter (IV.56) 8 lines 

15 A great help you have been! (V.9) 4 lines 

17. May she go on playing (V.34) 10 lines 

18. Erotion’s grave (X.61) 6 lines 

25. The rhinoceros (De Spec. 22) 12 lines 

27. The cruel lion (II.75) 10 lines 

28. My old guardian (XI.39) 15 lines 

Total for Martial 

PLUS 

87 lines 

286

(b) Ovid 

Note: Candidates read either (b1) or (b2) 

EITHER: 

(b1) From Tria Saecula: the story of Atalanta (in toto) 

(Metamorphoses X.560 - 680) 120 lines 

OR: 

(b2) From Tria Saecula the story of Pyramus and Thisbe (in toto) 

(Metamorphoses IV.93-166) 74 lines 

Ars Amatoria I.135-162 Flirting at the races 28 lines 

Ars Amatoria I.569-582 Words in wine 14 lines 

Total for (b2): 116 lines 

Total number of lines of poetry to be read in Grade 11: between 204 and 207 lines 

Grand total to be read in Grade 11: between 304 and 310 lines 

1.2 GRADE 12 (2006) 

N.B. Candidates read ALL passages set 

1.2.1 Prose 

(a) Cicero (from Tria Saecula 

Cicero’s involvement with the murder of Caesar; his final years) 

(Ad familiares VII.30) Letter to a friend in exile 18 lines 

(Pro Marcello 8;9) Flattering Caesar 17 lines 

(Pro Marcello 21) Caesar, these rumours… 13 lines 

(Philippicca II.28-29) On the other hand, … 14 lines 

(Philippicca II.84-85) You tried to incite the people… 13 lines 

(Philippicca II.116-118) Beware, Mark Antony, … 20 lines 

(Philippicca II.118-119) I’d willingly give my life… 11 lines 

(Livy, fragment) Cicero’s death 18 lines 

Total for Cicero 

PLUS 

(b1) Pliny (from Tria Saecula) 

124 lines 

1 (I.1) Pliny prepares an edition 6 lines 

11 (VI.16) The eruption of Vesuvius 50 lines 

12 (VI.20) The eruption of Vesuvius (2) 41 lines 


Total number of lines of prose to be read in Grade 12: 221 lines 

287

1.2.2 Poetry 

(a) Vergil: (from Tria Saecula) 

Excerpts from the Aeneid 

Aeneid I 

Vergil announces the theme of his epic (1-7) 7 lines 

Aeolus unleashes the winds (81-96) 15 lines 

Aeneid II 

The wooden horse enters the city (234-249 16 lines 

Aeneid IV 

Fama (173-195) 23 lines 

Suicide (642-666) 25 lines 

Aeneid VI 

Journey through the underworld (268-272) 5 lines 

Crossing the Styx (298-316) 19 lines 

Aeneid XII 

Turnus prepares for combat (81-106) 26 lines 

Amata commits suicide (593-611) 19 lines 

Total for Vergil 156 lines 

PLUS 

(b) Catullus: Carmina (from Tria Saecula) 

1 (I) Dedication to a friend 10 lines 

2 (V) Life is short, my love 14 lines 

4 (XIII) Invitation to dinner 14 lines 

9 (LXXXIV) Arrius or Harrius? 12 lines 

10 (CI) At the grave of his brother 10 lines 

17 (L) Poets at play 17 lines 

20 (LXX) Promises made to a lover do not last 4 lines 

67 lines 

Total number of lines of poetry to be read in Grade 12: 236 lines 

Grand total to be read in Grade 12: 457 lines 

2. UNPREPARED TRANSLATION (Preparation for Latin HG Paper II – 

External assessment) 

Passages set for unprepared translation will be selected from the works of Caesar, 

the epistles of Pliny and an oration of Cicero. As preparation for this section (to be 

examined in Paper Two) during the two year cycle candidates should read at least 

530 lines of prose taken from these three authors, in addition to the above set 

passages. 

Candidates will be required to answer any TWO of the three questions. 

Fifteen minutes' reading time (during which time no writing may commence) will be 

allowed to facilitate candidates' choice. 

288

Total number of lines to be read in two years: between 761 and 768 lines (set 

passages) plus about 530 lines chosen at the educator’s own discretion as 

preparation for unseen translation 

3. CLASSICAL CULTURE: GRADE 11 (2005) AND GRADE 12 (2006) 

• The course covers both years and is to be examined both internally and 

externally at the end of the Grade 12 year by means of research 

assignments, to be submitted to the Department on the day that Paper II is 

written, together with the papers, for moderation by both examiner and 

moderator. 

• Two assignments are to be done, at least one on the prescribed literature 

section and at least one on the general Classical Culture section. These 

assignments carry equal weight. 

• An assignment need not cover the entire topic as formulated, but may be 

redefined to focus on a subsection of that field, provided that there is no 

dilution of the quality of the content. 

• Only one assignment may be done on a particular theme. 

• It is the responsibility of the teacher to see that topics are chosen only 

from the range of topics below. Note that topics may change from year to 

year. 

N.B.: Please consult the annual Bibliography supplied by the Education Libraries for 

research on the set topics. 

3.1 Section 1: Relating to Prescribed Literature 

3.1.1 Theme 1 

A study of Vergil's poetry within the context of the time in which he lived, with 

special reference to one of the following: 

(i) The contribution of the Aeneid to the epic tradition, showing the extent to 

which it displays the characteristic features of the genre. 

(ii) The role of women/a woman (e.g. Creusa, Dido, Amata or Lavinia) in the 

Aeneid and whether or not Aeneas in his relationship with this 

woman/these woman exemplifies Roman virtues such as pietas, 

constantia, consilium and virtus. 

(iii) Do great achievements always come at the cost of great suffering? 

Discuss with reference to death and suffering in the Aeneid. 

N.B. Beside translations of Vergil's Aeneid, consult the appropriate Education 

Library Bibliography. 

3.1.2 Theme 2 

Love and marriage in ancient Rome with particular reference to one or more 

of the following: 

(i) Marriage arrangements and conjugal love; 

(ii) Poets’ attitude to casual love affairs (which did not lead to marriage); 

(iii) Comparison with the customs within a modern culture with which you 

are familiar. 

289

(a) Texts to be consulted: 

Tria Saecula (with Musa Latina) 

Catullus Carmina 

Ovid Metamorphoses, Ars Amatoria & Amores 

Pliny Epistulae 

and/or Penguin Translations of the above. 

(b) See separate Bibliography from Education Library. 

3.2 Section 2: General topics relating to Classical Culture 

3.2.1 Theme 3 

Political life in Rome, with particular reference to one of the following: 

(i) The struggle against tyranny during the late Republic and/or early 

Empire 

(ii) Democratic processes in the Roman republic. 

(iii) The role of women in the lives of prominent Romans. 

(a) Beside translations of primary historical works and Cicero's orations, 

the following sources will serve as a useful contribution towards the 

study of the above theme: 

* Akroterion: June 1978 

* Tria Saecula: Introductions to Cicero and Pliny in textbooks 

* Tria Saecula: Introductions 1982 (Separate volume) 

(b) For modern critical and historical works, consult the Education Library 

Bibliography. 

3.2.2 Theme 4 

Rome and its provinces, with particular reference to one of the following: 

(i) Roman imperialism and the attitudes of the Roman authorities to the 

conquered (and/or the attitude of the conquered to the Roman 

authorities) with particular reference to Caesar's conquests. 

(ii) Pliny in Bithynia: problems facing a good governor 

(iii) Resistance to Roman rule in North Africa or any other part of the world 

under threat of Roman rule 

(iv) Religious freedom versus religious persecution in Roman 

administration. 

(a) Penguin or other modern translations of the following authors will serve 

as useful contributions towards the study of the above themes: 

Caesar, Cicero, Flavius Josephus, Livy, Pliny, Plutarch, Suetonius, 

Sallust, Tacitus. 

(b) See the Education Library Bibliography for secondary works. 

290

3.2.3 Theme 5 

Roman archaeological remains, with reference to one or more of the 

following: 

(i) The Etruscans 

(ii) Roman portraiture 

(iii) Engineering and public works in Rome and the provinces 

(iv) Roman roads and travel 

(v) City layout 

(vi) Mosaics and temples in the provinces. 

(vii) Archaeological excavations at Pompeii and Herculaneum 

(a) Search through the set authors for references to building and 

construction work, engineering, famous buildings, and the eruption of 

Vesuvius. 

(b) See the Education Library Bibliography for works on archaeological 

topics. 

291

SCHEDULE OF ASSESSMENT 

Paper I 200 marks 

Grammatical explication of prepared passages 40 marks 

Translation of set passages 100 marks 

Scansion of poetry (hexameter and pentameter) 10 marks 

Comprehension and contextual questions 50 marks 

Paper II 100 marks 

Unseen translation (2 X 100 words) (2 X 50) 100 marks 

Research Projects 

(Continuous Assessment), externally moderated 1 100 marks 

Two essays, carrying equal weight (2 X 50) 100 marks 

TOTAL: 400 MARKS 

ADDENDUM 

A proposal is at present under consideration: that cumulative assessment be graded 

in a different manner, according to Departmental prescription. In that case the 

cumulative assessment mark for Classical Culture will still stand, but the total of 400 

will be reduced pro rata to 300 and a separate cumulative assessment grading out of 

100, based on the whole syllabus, according to Departmental prescription, will be 

added, as follows: 

A 100 mark CASS portfolio to be submitted to the Department on the required 

date, which will be weighted in the proportions 50-25-25: 

Grammar, translation, comprehension, scansion 50 

Unseen translation 25 

A selection of Classical Culture exercises and tests 25 

Total for internally assessed work 100 marks 

External Assessment reduced to 300 300 marks 

GRAND TOTAL 400 MARKS 

292

LIST OF PRESCRIBED WORKS (LITERATURE, RESEARCH PROJECTS AND 

UNSEEN TRANSLATION) FOR LATIN HIGHER GRADE 

FOR GRADE 11 (2006) AND GRADE 12 (2007) 

As edited during July 2004 

N.B. These prescriptions are not all the same as the prescriptions for 2005 and 

2006. Note changes to Vergil and Cicero. Note again the reduction of the number of 

research topics from three to two, and the addition of one topic to Theme 5 of the 

Classical Culture prescription. 

See the Schedule of Assessment at the end of the document. Note that two 

portfolios are required: one of Classical culture research as specified, and one that 

shows a representative amount of classwork. A description of the composition of a 

cumulative assessment portfolio complying with Departmental prescriptions is 

added. 

1. LATIN PRESCRIBED WORK FOR READING, CONTEXTUAL STUDY AND 

TRANSLATION (Preparation for Latin HG Paper I - External assessment) 

Recommended textbook: Tria Saecula (and see appropriate paragraphs of 

syllabus). 

NOTE: Sections of the Tria Saecula series, Musa Latina and Prosa Latina, 

are also in use and Vita Hannibalis is an alternative in Grade 11. As part of 

the series, Vademecum Latinum is recommended for language study use. All 

may be ordered from the Dept. of Ancient Studies, University of Stellenbosch, 

Private Bag X01, Matieland 7602. 

1.1 GRADE 11 (2006) 

1.1.1 Prose 

EITHER: Pliny only 

3. 

Pliny (from Tria Saecula) 

(IV.16) A marathon speech 9 lines 

4. (IX.6) Races in the Circus Maximus 16 lines 

16. (X.17a) Pliny’s arrival in Bithynia 11 lines 

17. (X.31) Pliny consults Trajan on treatment of convicts 18 lines 

18. (X.32) Trajan’s reply 

PLUS 

Pliny (from Prosa Latina) 

9 lines 

9(a) (VI.7) Pliny is glad that Calpurnia misses him 7 lines 

9(b) (VII.5) Pliny describes his longing for her 7 lines 

13 (I. 14) Pliny’s friend Mauricus is looking for a suitable husband for his 

brother’s 

daughter 17 Lines 

14 (VI.32) Pliny gladdens a young bride’s heart 9 lines 



293


Caesar (Text from Tria Saecula and commentary from Prosa Latina) 

Attack on a Roman camp in Belgium – 54 v.C. (v.42-51) (lines 49-149) 

5. The camp is besieged (42) 9 lines 

6. The enemy tries to set the camp on fire (43) 19 lines 

7. Exceptional bravery of two Roman soldiers (44) 24 lines 

8. News of the siege reaches Caesar (45) 10 lines 

9. The enemy advances towards Caesar (49) 17 lines 

10. Caesar entices the enemy to attack him (50) 10 lines 

11. The enemy is routed (51) 11 lines 

Total for Caesar 100 lines 

OR: Nepos plus Pliny 

FROM: TRIA SAECULA: Nepos: Vita Hannibalis Latin texts with commentary 

1 Hannibal’s unrivalled position as a military commander 

11 lines 

3 He explains his hatred by the story of his boyish oath 13 lines 

4 Hannibal, commander-in-chief, takes Saguntum, B.C. 221-219 9 lines 

6 Hannibal’s victories on the rivers Ticinus and Trebia, B.C. 218; at the 

Trasimene Lake, B.C. 217; at Cannae, B.C. 216. 14 lines 

7 Hannibal escapes from Fabius by a ruse, B.C. 216 9 lines 

14 The death of Hannibal 12 lines 

Total for Nepos 68 lines 

PLUS: 

Selection from Pliny: any 35 lines from the Pliny option above 

1.1.2 Poetry 

Total number of lines of prose to be read in Grade 11: 100-103 

N.B.: Candidates read both Martial and Ovid (note the alternatives for the latter) 

(a) Martial (from Tria Saecula) 

1. A modest introduction (1.1) 6 lines 

7. An insulted guest (III.60) 10 lines 

10. Teeth (I.19) 4 lines 

12 From doctor to undertaker (I.47) 2 lines 

14. The legacy hunter (IV.56) 8 lines 

15 A great help you have been! (V.9) 4 lines 

17. May she go on playing (V.34) 10 lines 

18. Erotion’s grave (X.61) 6 lines 

25. The rhinoceros (De Spec. 22) 12 lines 

27. The cruel lion (II.75) 10 lines 

28. My old guardian (XI.39) 15 lines 

Total for Martial 

PLUS 

87 lines 

294

(b) Ovid 

Note: Candidates read either (b1) or (b2) 

EITHER: 

(b1) From Tria Saecula: the story of Atalanta (in toto) 

(Metamorphoses X.560 - 680) 120 lines 

OR: 

(b2) From Tria Saecula the story of Pyramus and Thisbe (in toto) 

(Metamorphoses IV.93-166) 74 lines 

Ars Amatoria I.135-162 Flirting at the races 28 lines 

Ars Amatoria I.569-582 Words in wine 14 lines 

Total for (b2): 116 lines 

Total number of lines of poetry to be read in Grade 11: between 204 and 207 lines 

Grand total to be read in Grade 11: between 304 and 310 lines 

1.2 GRADE 12 (2007) 

N.B. Candidates read ALL passages set 

1.2.1 Prose 

(c) Cicero (from Tria Saecula 

Cicero’s involvement with the murder of Caesar; his final years) 

(Ad familiares VII.30) Letter to a friend in exile 18 lines 

(Pro Marcello 1,2,4,5) Cicero breaks his silence 20 lines 

(Pro Marcello 8;9) Flattering Caesar 17 lines 

(Pro Marcello 21) Caesar, these rumours… 13 lines 

(Philippica II.35-36) Maybe you yourself, Mark Antony 14 lines 

(Philippica II.84-85) You tried to incite the people… 13 lines 

(Philippica II.118-119) I’d willingly give my life… 11 lines 

(Livy, fragment) Cicero’s death 18 lines 

Total for Cicero 

PLUS 

(b1) Pliny (from Tria Saecula) 

124 lines 

1 (I.1) Pliny prepares an edition 6 lines 

11 (VI.16) The eruption of Vesuvius 50 lines 

12 (VI.20) The eruption of Vesuvius (2) 41 lines 


Total number of lines of prose to be read in Grade 12: 221 lines 

295

1.2.2 Poetry 

(b) Vergil: (from Tria Saecula) 

Excerpts from the Aeneid 

Aeneid I 

Vergil announces the theme of his epic (1-7) 7 lines 

Aeolus unleashes the winds (81-96) 

Aeneid II 

15 lines 

The wooden horse (Fracti—vulgus, 13-39) 

Aeneid IV 

27 lines 

Recriminations (305-319) 15 lines 

Dido’s despair (450-468) 

Aeneid VI 

19 lines 

Aeneas finds the golden bough (190-211) 

Aeneid XII 

22 lines 

Turnus’ desperate love for Lavinia (54-80) 27 lines 

Turnus prepares for combat (81-106) 26 lines 

Total for Vergil 158 lines 

PLUS 

(d) Catullus: Carmina (from Tria Saecula) 

1 (I) Dedication to a friend 10 lines 

2 (V) Life is short, my love 14 lines4 

(XIII) Invitation to dinner 14 lines 

9 (LXXXIV) Arrius or Harrius? 12 lines 

10 (CI) At the grave of his brother 10 lines 

17 (L) Poets at play 17 lines 

20 (LXX) Promises made to a lover do not last 4 lines 

81 lines 

Total number of lines of poetry to be read in Grade 12: 239 lines 

Grand total to be read in Grade 12: 460 lines 

2. UNPREPARED TRANSLATION (Preparation for Latin HG Paper II – External 

assessment) 

Passages set for unprepared translation will be selected from the works of Caesar, 

the epistles of Pliny and an oration of Cicero. As preparation for this section (to be 

examined in Paper Two) during the two year cycle candidates should read at least 

530 lines of prose taken from these three authors, in addition to the above set 

passages. 

Candidates will be required to answer any TWO of the three questions. 

Fifteen minutes' reading time (during which time no writing may commence) will be 

allowed to facilitate candidates' choice. 

296

Total number of lines to be read in two years: between 761 and 768 lines (set 

passages) plus about 530 lines chosen at the educator’s own discretion as 

preparation for unseen translation 

3. CLASSICAL CULTURE: GRADE 11 (2006) AND GRADE 12 (2007) 

• The course covers both years and is to be examined both internally and 

externally at the end of the Grade 12 year by means of research assignments. 

The internal assessment forms 25% of the normal CASS portfolio, as specified 

below; the assignments themselves are to be submitted for external assessment 

to the Department on 30 September of the year the Senior Certificate 

Examination is to be written, for moderation by both examiner and moderator, 

and that mark forms part of the exmination mark. 

• Two assignments are to be done, at least one on the prescribed literature section 

and at least one on the general Classical Culture section. These assignments 

carry equal weight. 

• An assignment need not cover the entire topic as formulated, but may be 

redefined to focus on a subsection of that field, provided that there is no dilution 

of the quality of the content. 

• Only one assignment may be done on a particular theme. 

• It is the responsibility of the teacher to see that topics are chosen only from the 

range of topics below. Note that topics may change from year to year. 

N.B.: Please consult the annual Bibliography supplied by the Education Libraries 

for research on the set topics. 

3.1 Section 1: Relating to Prescribed Literature 

3.1.1 Theme 1 

A study of Vergil's poetry within the context of the time in which he lived, with 

special reference to one of the following: 

(i) The contribution of the Aeneid to the epic tradition, showing the extent to 

which it displays the characteristic features of the genre. 

(ii) The role of women/a woman (e.g. Creusa, Dido, Amata or Lavinia) in the 

Aeneid and whether or not Aeneas in his relationship with this 

woman/these woman exemplifies Roman virtues such as pietas, 

constantia, consilium and virtus. 

(iii) Do great achievements always come at the cost of great suffering? 

Discuss with reference to death and suffering in the Aeneid. 

N.B. Beside translations of Vergil's Aeneid, consult the appropriate Education 

Library Bibliography. 

3.1.2 Theme 2 

Love and marriage in ancient Rome with particular reference to one or more 

of the following: 

(i) Marriage arrangements and conjugal love; 

(ii) Poets’ attitude to casual love affairs (which did not lead to marriage); 

(iii) Comparison with the customs within a modern culture with which you 

are familiar. 

297

(a) Texts to be consulted: 

Tria Saecula (with Musa Latina) 

Catullus Carmina 

Ovid Metamorphoses, Ars Amatoria & Amores 

Pliny Epistulae 

and/or Penguin Translations of the above. 

(b) See separate Bibliography from Education Library. 

3.2 Section 2: General topics relating to Classical Culture 

3.2.1 Theme 3 

Political life in Rome, with particular reference to one of the following: 

(i) The struggle against tyranny during the late Republic and/or early 

Empire 

(ii) Democratic processes in the Roman republic. 

(iii) The role of women in the lives of prominent Romans. 

(a) Beside translations of primary historical works and Cicero's orations, 

the following sources will serve as a useful contribution towards the 

study of the above theme: 

*Akroterion: June 1978 

*Tria Saecula: Introductions to Cicero and Pliny in textbooks 

*Tria Saecula: Introductions 1982 (Separate volume) 

(b) For modern critical and historical works, consult the Education Library 

Bibliography. 

3.2.2 Theme 4 

Rome and its provinces, with particular reference to one of the following: 

(i) Roman imperialism and the attitudes of the Roman authorities to the 

conquered (and/or the attitude of the conquered to the Roman 

authorities) with particular reference to Caesar's conquests. 

(ii) Pliny in Bithynia: problems facing a good governor 

(iii) Resistance to Roman rule in North Africa or any other part of the world 

under threat of Roman rule 

(iv) Religious freedom versus religious persecution in Roman 

administration. 

(a) Penguin or other modern translations of the following authors will serve 

as useful contributions towards the study of the above themes: 

Caesar, Cicero, Flavius Josephus, Livy, Pliny, Plutarch, Suetonius, 

Sallust, Tacitus. 

(b) See the Education Library Bibliography for secondary works. 

3.2.3 Theme 5 

Roman archaeological remains, with reference to one or more of the 

following: 

(i) The Etruscans 

(ii) Roman portraiture 

(iii) Engineering and public works in Rome and the provinces 

(iv) Roman roads and travel 

(v) City layout 

(vi) Mosaics and temples in the provinces. 

(vii) Archaeological excavations at Pompeii and Herculaneum 

298

(a) Search through the set authors for references to building and 

construction work, engineering, famous buildings, and the eruption of 

Vesuvius. 

(b) See the Education Library Bibliography for works on archaeological 

topics. 

SCHEDULE OF ASSESSMENT 

Paper I 200 marks 

Grammatical explication of prepared passages 40 marks 

Translation of set passages 100 marks 

Scansion of poetry (hexameter and pentameter) 10 marks 

Comprehension and contextual questions 50 marks 

Paper II 100 marks 

Unseen translation (2 X 100 words) (2 X 50) 100 marks 

Research Projects (Continuous Assessment), handed in on the 

day that Paper II is written for external assessment 100 marks 

Two essays, carrying equal weight (2 X 50) 100 marks 

TOTAL 400 marks 

PRO RATA REDUCTION OF THE ABOVE 300 MARKS 

Cumulative assessment of all types of classwork i (see below) 100 MARKS 

GRAND TOTAL 400 MARKS 

1 ADDENDUM 

COMPOSITION OF PORTFOLIO OF CLASSWORK FOR CUMULATIVE 

CLASSMARK OF 100 ACCORDING TO DEPARTMENTAL REQUIREMENTS 

Various examples of tests, exercises or examinations (marks reduced 

proportionately to:) 

Grammar, translation, scansion, comprehension 50 

June and September paper I to count 2/3 of the 50 marks. To this must be added 

the marks of at least 4 tests / tutorials / comprehension exercises to make up the 

remaining 1/3. Copies of these must be included in the portfolio. 

Unseen translation 25 

June and September paper 2 to count 2/3 of the 25 marks. To this must be added 

at least 2 examples of unseens taken under controlled conditions to make up the 

remaining 1/3. Copies of these must be included in the portfolio. 

Classical Culture 25 

Evidence of internal assessment of the prescribed number of research projects 

(comprising a photostat of the title page, introduction and conclusion of each 

essay as well as the teacher’s evaluation of each). Other exercises and / or tests 

may be included (optional) 

TOTAL 

299 

100

LATIN ASSIGNMENT: GRADES 11 AND 12 

MARK SCHEDULE 

SCHOOL: ____________________ LEARNER: ________________________ 

MARKS ATTAINED FOR LATIN IN LATEST EXAMINATION: _______________ 

(JUNE / SEPTEMBER / NOVEMBER EXAMINATION) 

TOPIC: ________________________________________________________ 

1. PRESENTATION Excellent 5 6 

(cover-page, table of contents, Good 3 4 

Bibliography, sources, numbering) Poor 1 2 

2. CONTENT Exceptional and original 17 18 19 20 

Very good 13 14 15 16 

Average 9 10 11 12 

Fair 5 6 7 8 

Weak 1 2 3 4 

3. RESEARCH In depth, or wide-ranging 6 7 8 

Sound 3 4 5 

Poor 0 1 2 

4. Illustrations Exceptional 6 

(including relevant and Appropriate 4 5 

functional pictures, charts, Fair 2 3 

Quotations, tables, etc.) Poor / Pointless 0 1 

5. Language and Style Fluent and articulate 9 10 

Correct and readable 6 7 8 

Some mistakes 3 4 5 

Poor 0 1 2 

300 

TOTAL: 50 MARKS 

SIGNATURE OF PRINCIPAL: ______________________________________ 

SIGNATURE OF SUBJECT EDUCATOR: ________________________________ 

DATE: __________________________

LAW SUBJECTS 

FORMAT AND STRUCTURE: LAW OF CRIMINAL PROCEDURE AND 

EVIDENCE 

FORMAAT EN STRUKTUUR: STRAFPROSES EN BEWYSREG 

ENGLISH 

301 

AFRIKAANS 

Subject Law of Criminal 

Procedure and Evidence 

Strafproses en Bewysreg 


Paper (1/2/3) 1 1 



Number of questions 10 - 12 10 - 12 

Weighting of questions 15 – 45 points per 

question 

15 – 45 punte per vraag 

Type of questions Definitions, Missing Definisies, Ontbrekende 

words, Matching 

woorde, Pas woorde/ 

words/phrases in two frases in twee kolomme, 

columns, True/False, Waar/Vals, Meervoudige 

Multiple-choice, Short and keusevrae, Kort en lang 

long questions. 

vrae. 


Compulsory/choices All questions are 

Alle vrae is verpligtend, 

compulsory, except for behalwe vir ŉ keuse van 

choice 1 of 2. 

1 uit 2. 

Remarks Attention should be given Aandag moet gegee word 

to the completion of aan die voltooiing van 

missing words. Reasons ontbrekende woorde. 

should be given for Redes moet verstrek 

true/false questions, if the word by waar/vals vrae, 

answer is false. 

indien die antwoord vals 

is. 

Recommended Textbooks As prescribed Soos voorgeskryf.

FORMAT AND STRUCTURE: INTRODUCTION TO CRIMINOLOGY 

FORMAAT EN STRUKTUUR: INLEIDING TOT KRIMINOLOGIE 

ENGLISH 

302 

AFRIKAANS 

Subject Introduction to 

Criminology 

Inleiding tot Kriminologie 


Paper (1/2/3) 1 1 




Weighting of questions All questions are of equal Alle vrae dra dieselfde 

weight, 50 marks gewig, 50 punte per vraag 

Type of questions Short questions, 2 – 10 

marks 

Kort vrae, 2 – 10 punte 

Longer questions, 10 – Langer vrae, 10 – 25 

25 marks 

punte 

Name, state, discuss, Noem, dui aan, bespreek, 

give an exposition … gee ŉ uiteensetting … 


Compulsory/choices Choice 6 of 8 questions Keuse 6 uit 8 vrae 

Remarks Only the first six 

Slegs die eerste ses vrae 

questions answered, will sal nagesien word. 

be marked. 

Skryf netjies en leesbaar. 

Write neatly and legibly. Lees die vrae en 

Read the questions and 

answer what was asked. 

antwoord wat gevra is. 

Recommended Textbooks Introduction to 

Criminology, R. Stevens 

and M.G.T. Cloete, 

Oxford University Press.

FORMAT AND STRUCTURE: INTRODUCTION TO ETHNOLOGY 

FORMAAT EN STRUKTUUR: INLEIDING TOT ETNOLOGIE 

ENGLISH 

303 

AFRIKAANS 

Subject Introduction to Ethnology Inleiding tot Etnologie 


Paper (1/2/3) 1 1 




Weighting of questions All questions are of equal 

weight, 50 marks 

Alle vrae dra dieselfde 

gewig, 50 punte per 

vraag 

Type of questions Short and long questions Kort en lang vrae 


Compulsory/choices 1: Compulsory. Choice 5 1: Verpligtend. Keuse 5 

of 7. 

uit 7. 

Remarks The examination can only Die eksamen kan 

be attempted after alleenlik aangepak word 

familiarising oneself with nadat kandidate ŉ 

the information in the deeglike studie gemaak 

recommended text book. het van die inligting in die 

aanbevole handboek. 

Recommended Textbooks General Introduction to Algemene Inligting tot 

Ethnology (Obtainable Etnologie (Verkrygbaar 

from P O Box 15, van Posbus 15, 

Woodlands, 0072. Woodlands, 0072 

Tel. (012) 997-5286 Tel. (012) 997-5286

FORMAT AND STRUCTURE: S.A. CRIMINAL LAW 

FORMAAT EN STRUKTUUR: S.A. STRAFREG 

ENGLISH 

Subject S.A. Criminal Law S.A. Strafreg 


Paper (1/2/3) 1 1 



Number of questions 5 - 8 5 - 8 

304 

AFRIKAANS 

Weighting of questions 2 marks per fact. 2 punte per feit. 

Type of questions Missing words, Column A 

and B, Multiple choice, 

True/False, Definitions, 

Name, Discuss. 

Ontbrekende woorde, 

Kolom A en B, 

Meervoudige keusevrae, 

Waar/Onwaar, Definisies, 

Noem, Bespreek. 


Compulsory/choices Answer all questions. Beantwoord alle vrae. 

Remarks Question papers are set 

for Outcome Based 

Education 

Recommended Textbooks Study material of the 

National Private Colleges, 

P.O. Box 1001, 

Johannesburg, 2017 

Call Centre: 086 010 

0704 

Fax: (011) 403-9585

FORMAT AND STRUCTURE: STATUTE LAW 

FORMAAT EN STRUKTUUR: WETTEREG 

ENGLISH 

305 

AFRIKAANS 

Subject Statute Law Wettereg 


Paper (1/2/3) 1 1 




Weighting of questions Varies from 6 – 40 marks Wissel van 6 – 40 punte 

per question. 

Type of questions Definitions, true/false, 

missing words, 

discussions. 

per vraag. 

Definisies, waar/vals, 

ontbrekende woorde, 

bespreek. 

Component of syllabus Cover syllabus, statutes Dek sillabus, 

voorgeskrewe wette 

Compulsory/choices Compulsory Verpligtend 

Remarks Read the questions. Lees die vrae. 

Recommended Textbooks Statute Law for Standard 

10, Standard Grade 

(Krönert & Reynecke) 

Wettereg vir Standerd 10, 

Standaardgraad 

(Krönert & Reynecke)

TIME: 3 hours 

MARKS: 300 

MERCANTILE LAW SG 

The paper will consist of NINE questions. 

Question ONE is compulsory and covers all 11 chapters. 

From the remaining 8 questions, learners are required to choose any 5 questions. 

Chapters / modules / units are combined. 

Each question will count 50 marks. The total marks allocated will be 300. 

306

METALWORK SG 

PAPER 1 

DRAWING 

1. Question one entails freehand sketching of orthographic views, welding 

symbols and construction of geometric shapes. 

2. Sectioning of geometric solids in first-angle orthographic projection 

3. Interpenetration and development (Shapes according to syllabus) 

4. Isometric drawing including circles 

5. Double-point perspective drawing 

PAPER 2 

THEORY 

1. The question paper is presented in English and Afrikaans. 

2. There are 10 questions, giving a total of 200 marks. 

3. The format of the question paper is much the same as the last two years. 

4. Questions cover almost the entire syllabus. 

5. Aspects covered range from composition and manufacturing of metals, the 

use of tools and machines and application of practical work in the metalwork 

centre. 

6. The following textbook has been used: Metalwork Technology by Van der 

Merwe, Du Plooy and E.H. Wenhold. 

307

TIME: 3 hours 

MARKS: 200 

MOTOR MECHANICS SG 

• All questions are compulsory. 

• Sketches must be neat. 

• Learners must draw sketches on right hand page of answer book. 

• Number questions correctly. 

QUESTION 1 

• Multiple-choice questions (cover all the work) 

• Counts 30 marks 

QUESTION 2 

• Questions 2 to 6 count 34 marks each and will cover the rest of the syllabus. 

• Each question will cover a section, e.g. 

Question 1 – Engine balance and CI engines 

Question 2 – Calculations 

• Learners must study ALL the work. Educators must ensure that they have 

covered the syllabus. 

• Learners must be able to do complete drawings according to drawing 

standards with a pencil, ruler, etc. 

308

MOTOR BODY REPAIRING 

1. No formal and complicated sketches are required. Mainly line sketches are 

required to illustrate the description and operation. Descriptions must be 

based on technical aspects, properties, use of tools, machine of processes 

2. Safety measures can be asked on the following: 

• General safety rules in the work place. 

• General safety rules with tools. 

• General safety rules with portable electrical equipment 

• General safety rules in the spray booth. 

• General safety rules with grinding machines. 

• General safety rules with hydraulic equipment. 

• General safety rules with the compressor. 

3. The Oxy-Acetylene welding plant. 

• Handling 

• Storage 

• Different parts 

• Kindling and setting different flames 

• Brazing 

• Cutting of mild steel 

• Left-hand welding technique and the right hand technique of gas 

welding 

4. Repairing of Fibre Glass Panels 

Tools required: Repairing must be explained step by step 

5. Repair and replacement of a car roof 

Tools required: Method of repairing. 

6. Measuring the alignment of door openings and chassis / body parts 

Tools required: Line sketches required 

7. Chassis 

Conventional – type 

Integral – type 

Advantages and disadvantages 

Results of a bent chassis on suspension 

Wheel alignment and body alignment 

Repairing of a cracked chassis and supports 

309

8. Steering Geometry 

Ackerman Principle 

Wheel alignment: Caster 

Camber 

Wheel inclination 

Toe-in and toe-out on turns 

Precautions before alignment setting 

Wheel balancing problems 

9. Moments (calculations) 

Lay-out sketch (only graphically) 

Supports and forces 

Calculate reactions 

10. Spray-Work 

Spray patterns 

Parts of the spray gun 

Movements of the spray gun – distance required etc. 

Colour mixing 

Paint pigments 

Primer 

Thinners, Body Filler, Water paper repairing and spray and 

repair of 

Duco running 

Dry Spray 

Paint uneven 

Orange peel 

Bad gloss 

Fish eyes 

Bad contact 

Cracks in paint 

Spray of base coat and clear coat 

11. Car in accident and impact on different angles repair: step-by-step 

description. 

12. Rust: What causes rust 

Prevention of rust 

Repairing of rusted panels 

Treatment to prevent rust 

13. Cold and hot shrinking of body panels 

Explain step by step 

13. Replace and fit of a windscreen. 

Explain step by step 

310

GUIDELINES FOR MUSIC HG / SG / MP 

PRACTICAL AND THEORETICAL GRADE 12 EXAMINATION 

THIS DOCUMENT REPLACES THE GUIDELINES ISSUED JANUARY 2005 

1. General principles 

• Music HG OR Music SG may be presented as a sixth subject. 

• Music Performance may be presented as a sixth subject only if Music 

HG OR Music SG is also presented. 

• Music Performance presented as a seventh subject on its own, will only 

be allowed in 2006 and not in 2007. 

• Music Composition SG can only be presented as a seventh subject. 

• A candidate entered for Music HG or SG must compile a portfolio 

reflecting the year’s work. Requirements for this portfolio are contained 

in a separate document and remain unchanged (see Portfolio 

Document of 2001). 

• The Learner’s Portfolio must contain seven activities, at least ONE 

each from practical, history and form, harmony and composition. Three 

controlled tests and the trial examination must also be included. 

[Portfolio (60%) + Controlled Tests (20%) + Trial Examination Mark 

(20%) = CASS (100%)]. 

• Marks obtained for any component in the trial examination may not be 

used for the final examination. Two separate evaluations must be 

done. 

• Any cancellation (especially Music Performance) must be verified by 

the principal. The notification must be given or faxed to the external 

moderator. 

1.1 Mark allocation : HG / SG / MP 

MUSIC : ALLOCATION OF MARKS 

PRACTICAL 

311 

HG 

606/1 

SG 

606/2 

MP 

608 

Performance pieces 140 100 210 

Aural 25 20 - 

Scales / Arpeggios / Exercises 15 15 20 

Sight Reading 20 15 20 

Viva Voce (Oral questions and Portfolio) - - 20 + 30 

Total 200 150 300 

THEORETICAL WORK 

PAPER 1 Harmony and Composition 100 75 - 

PAPER 2 History of Music and Form 100 75 - 

TOTAL 200 150 - 

SUBJECT TOTAL 400 300 300

1.1 Content and mark allocation : Music Composition (607) 

1.2.1 This subject should only be considered by candidates with a special 

interest in, and talent for music composition. The subject consists of a 

portfolio only which must reach the moderator by 18 October 2006. 

1.2.2 The portfolio must include the following: 

- A five-part choral work for SATB and soloist 100 marks 

(with or without accompaniment) 

- Movement/s in sonata form for at least a keyboard 

instrument (work for unaccompanied single line 

instrument is unacceptable) 100 marks 

- Programmatic work for at least a keyboard 

instrument (contemporary style including a fugal 

section) 100 marks 

TOTAL 300 marks 

1.2.3 The scores may be computer-typed or written in black ink. The 

submission of a recording of one or more of the works is 

recommended, but is not obligatory 

2. REQUIREMENTS 

• Enquiries : Dr. Niel van der Watt (012- 460 2246) 

2.1 Practical 

2.1.1 Performance Pieces 

• The programme must be balanced and represent at least THREE style 

periods. 

• Minimum requirements: 

GRADE 

NO. OF 

PIECES 

312 

COMPARATIVE LEVEL 

HG 4 UNISA / RSM Grade VII 

SG 4 UNISA / RSM Grade VI 

MP 6 UNISA / RSM Grade V 

• Candidates presenting any piece/s on a higher level than the required 

minimum, will not automatically benefit unless the performance is 

musically and technically acceptable. 

• Candidates presenting any piece/s on a lower level than the required 

minimum will automatically be penalized with one third of the marks per 

piece. 

• Where a candidate is accompanied by an ensemble, the ensemble 

must not detract from the solo performance. 

• All examinations must be acoustic performances, i.e. no microphones, 

amplification or back-tracks may be used. The electronic keyboard 

may no be presented as a keyboard instrument at the Grade 12 

Practical Examination.

• Folk instruments (such as bagpipes, mbira, konsertina, African drums 

etc.) may not be presented at the Grade 12 Practical Examinations. 

2.1.2 Aural 

• Aural training must include the following: 

i dictation 

ii cadences 

iii modulation (HG only) 

iv chord progressions 

v triads 

vi sight singing 

2.1.3 Scales / Arpeggios / Exercises 

• To be presented at a level, not lower than the minimum requirements 

for HG / SG / MP. 

• Internal evaluation by panel of educators. 

2.1.4 Sight Reading 

• Minimum, requirements for HG / SG / MP must be adhered to. 

• A copy of the internal assessment for the final examination must be 

handed to the external moderator on the day of the final examination. 

2.1.5 Viva Voce (oral questions and portfolio) 

• Only required for candidates presenting Music Performance. 

• Preparation must be in the form of a portfolio which must be submitted 

to the moderator at the final practical examination. 

• The portfolio must contain a table of contents and be organised 

according to style periods. 

NB : to accommodate a greater emphasis on Viva Voce, allocation of marks 

has been adjusted as follows : 

20 marks oral questions 

30 marks written portfolio 

• Two educators must assess the portfolios and the oral questions one 

week prior to the final examination. Comments and marks must be 

clearly indicated in the written portfolio 

2.2 THEORETICAL WORK 

2.2.1 HARMONY AND COMPOSITION 

(a) Four-part harmony 

Candidates are expected to use an acceptable method of figuring. All chords 

and cadences must be figured within the context of a key and position 

(.eg. C:IV b - V). 

313

• SG : minimum requirements 

i Chord progressions based on the diatonic harmony of the 

eighteenth century 

(diatonic triads and dominant quartads in root position and in 

inversion; modulation not required) 

ii Vertical chord construction (doubling and spacing) 

iii Horizontal voice leading (principles of good vocal writing) 

iv Non-chordal notes (unaccented and accented passing notes; 

upper and lower auxiliary notes) 

v Analysis : examples from the chorale literature (which may 

include modulations) 

• HG : minimum requirements 

As for SG, with the following additions: 

i Modulation to the dominant, subdominant and relative major/ 

minor with the same key signature 

ii Only the secondary dominant of the dominant (V/V) 

iii Only the supertonic quartad in first inversion (ii 7 b) 

iv Non-chordal notes (suspension, anticipation, escape note and 

appoggiatura) 

v Analysis : all secondary dominants 

(b) Two-part counterpoint 


i The same harmonic style as for four-part harmony 

ii Independent rhythmic and melodic movement of the two parts 

iii Motives from the given part should be used 

iv Imitation and sequence should be considered where applicable 

v Analysis : examples from two-part contrapuntal literature which 

may include modulation 


As for SG with the following additions: 

i Modulation to the dominant, subdominant and relative 

major/minor with the same key signature and secondary 

dominants 

ii Analysis : all secondary dominants 

(c) Melody writing / Setting of words to music 

SG / HG: a choice between completing a melody and setting 

words to music 

314


i Melody : 8 bars in AB form; no modulation 

OR 

ii Setting of words to music : four lines of text; no modulation 


i Melody : 12 bars in ABA form with modulation (dominant, 

subdominant and relative major/minor key with the same key 

signature) 

OR 

ii Setting of words to music : eight lines of text; with modulation 

2.2.2 HISTORY OF MUSIC AND FORM 

a. Interim Core Syllabus (1995) 

a. The syllabus specifies the following three topics: 

Opera 

Symphonic Music 

Chamber Music 

• Questions are set on all three topics but candidates are required to 

answer questions on only two topics. 

• The Question paper consists of the following: 

Question 1 (compulsory): general questions testing background 

knowledge 

Question 2: Opera 

Question 3: Symphonic Music 

Question 4: Chamber Music 

(Any two of questions 2, 3 and 4) 

b. General 

• Differentiation between HG and SG is achieved by the level of difficulty of 

questions 

• It is essential that learners listen to a wide variety of music and that they have 

access to the music scores of the works of which an in-depth study is 

required. 

c. Content (MINIMUM REQUIREMENTS) 

i General background 

• STYLISTIC FEATURES i.e. melody, harmony, rhythm, tonality, timbre 

(tone colour), orchestration, genres etc. of the following style periods: 

Classical, Romantic and Twentieth Century (including definitions and 

understanding of diverse trends in the Twentieth Century music) 

• TRENDS IN THE OTHER ARTS (literature, visual art) as well as the 

influence of social circumstances on composers of prescribed works. 

• BRIEF BIOGRAPHIES 

• TITLES of relevant works 

315

• The study of FORM includes the following: fugue (especially the 

exposition), binary, ternary, rondo, sonata form, sonata-rondo and 

theme and variation. 

• THEMES which learners must be able to recognize are in the 

addendum to this document. 

ii Opera 

• Elements of opera: Definitions and understanding of the following 

terms: 

opera; libretto; cast; numbers; act; scene; décor; orchestral pit; 

aria; recitative; ensemble; overture; prelude; voice categories 

• Origins of opera: The Camerata 

• C.W. Gluck’s opera reforms 

• W.A. Mozart as opera composer: 

Stylistic features of Mozart’s operas; 

Terms and definitions : opera buffa; opera seria; opera semiseria; 

singspiel 

Don Giovanni - in-depth study with special reference to: 

brief outline of the libretto; overture; Act I; Act II (finale) 

• C.M von Weber 

Contribution to the development of German romantic opera 

• R. Wagner 

Stylistic features of Wagner; theoretical works with emphasis on the 

Gesamtkunstwerk; 

orchestral techniques; melody and leading motives; harmony and 

tonality; titles of his operas / music dramas; 

Die Walküre - in-depth study with special reference to 

brief outline of the libretto; Act I (Love Scene) 

• G. Donizetti 

Donizetti as predecessor of Verdi - characteristics of Donizetti’s operas 

• G. Verdi 

Stylistic features of Verdi; Verdi as Nationalist; Verdi’s ideals and the 

realization of his musical ideals in his operas 

Rigoletto - in-depth study with special reference to: 

brief outline of the libretto; Act III 

iii Symphonic music 

• Definitions and understanding of the following terms; symphony, 

programme symphony; tone poem (symphonic poem) 

• The Mannheim School and its contribution to the development of 

sonata form, sonata cycle and the orchestra. 

• F.J. Haydn 

General characteristics of his style; in-depth study of Symphony no. 94 

in G major (Surprise symphony) 

• L. von Beethoven 

Contribution to the development of sonata form, the sonata cycle and 

the orchestra in his symphonies; in-depth study of Symphony no 5 in c 

minor with emphasis on motivic treatment in the first movement. 

316

• H. Berlioz 

Programme symphony; thematic transformation (idée fixe); 

orchestration; in-depth study of Symphonie Fantastique 

• F. Liszt 

Development of programme music: concert overture; programme 

symphony; symphonic poem (definitions and characteristics) 

Symphonic poem; thematic transformation; Les Preludes 

• R. Strauss 

Symphonic Poem; in-depth study of Till Eulenspiegel’s lustige 

StreicheI. 

Stravinsky 

Neo-classicism; in-depth study of Symphony of Psalms ( including neo- 

Classical elements) 

iii Chamber music 

• Definition of chamber music; different instrumental combinations; 

origins of chamber music; development and form of the string quartet 

• F.J. Haydn 

Haydn’s contribution to the development of the string quartet; in-depth 

study of Haydn’s String Quartet in C major opus 76 no 3 (Keizer) 

• L. von Beethoven 

Beethoven’s contribution to the development of the string quartet; indepth 

study of Beethoven’s String Quartet opus 18, no. 1 

• F. Schubert 

In-depth study of Piano Quintet in A major with emphasis on the fourth 

movement (variations on Die Forelle) 

• B. Bartòk 

General characteristics of the music of Bartòk (i.e. melody, rhythm, 

harmony, texture, tone colour and form); in-depth study of Music for 

Strings, Percussion and Celesta 

• B.Bartòk 

In-depth study of the Fourth String Quartet (1928) 

3. SUGGESTED SOURCES 

3.1 Harmony and Composition 

Kennan, KW Counterpoint. 1972. Englewood Cliffs: Prentice- 

Hall 

Ottman, RW Elementary Harmony. 1970 and 1989. Englewood 

Cliffs: Prentice-Hall 

Piston, W et al Harmony. 1983. Great Britain. St Edmundsbury 

Press 

Riemenschneider, A 371 Harmonized Chorales by JS Bach. 1941. New 

York, London: Schirmer 

3.2 History of Music and Form 

Apel, W The New Harvard Dictionary of Music, editor D-M 

Randel. 1986. Cambridge. 

317

Grout, DJ et al History of Western Music. Third edition. 1980. 

London. Dent. 

Kamien, R Music - An Appreciation. Fifth edition. 1992. New 

York. McGraw-Hill. (NB Compact discs - basic 

and supplementary sets) 

Kamien, R The Norton Scores : An anthology for listening. 

Third edition vols 1&2. New York. Norton. 1977 

Machlis. J Introduction to contemporary music. Second 

edition. Dent and sons.1980 

Politoske, DT Music. Second and Fourth editions. 1979, 1988. 

Englewood-Cliffs: Prentice-Hall 

In the event of educators not having access to information on any of the following, 

contact: 

Mariette Verryn at (012) 807 3437, (012) 346 2827 or 083 336 5377: 

HAYDN: STRING QUARTET OPUS 76 NO 3 (EMPEROR) 

STRAUSS: TILL EULENSPIEGELS LUSTIGE STREICHE 

BARTÒK: MUSIC FOR STRINGS, PERCUSSION AND CELESTA 

BARTÒK: FOURTH STRING QUARTET (1928) 

Examination panel : Practical and theoretical work 

Paper I Dr N van der Watt (Moderator) 

Mr S Fredericks (Examiner HG) 

Me M Hodgson (Examiner SG) 

Paper 2 Me M Verryn (Moderator) 

Mr M du Plessis (Examiner HG) 

Dr A Hoek (Examiner SG) 

• Inquiries must be directed to: Dr N van der Watt (012) 460 2246 or 

Mrs M Verryn 083 336 5377 

318

PRACTICAL EXAMINATION 2006 MUSIC HG / SG / 

AND MUSIC PERFORMANCE SG 

• Practical examinations: August to September 2006. 

• Complete the entry form below and return per fax on or before 

21 April 2006. 

Please fax as follows: ATTENTION: MARIETTE VERRYN 

FAX: (012) 346 5484 

Enquiries: M Verryn: Tel: (012) 807 3437 / (012) 346 2827 

Cell: 083 336 5377 

ENTRY FORM 

SCHOOL: _________________________________________ 

CENTRE NUMBER: _________________________________________ 

TEL. NO: _________________________________________ 

NO FULL NAME OF LEARNER 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

319 

HG / SG / 

MP 

INSTRUMENT 

DATE PREFERENCE: 1 ____________________ 2 ____________________ 

PRINCIPAL: ____________________ EDUCATOR: ____________________ 

DATE: ____________________

ADDENDUM: GUIDELINES FOR / RIGLYNE VIR VIVA VOCE (MUSIC PERFORMANCE 

MUSIEKVOORDRAG SG, CODE 608) 

• The following guidelines provide the minimum requirement for each piece / Die volgende 

riglyne verskaf die minimum vereiste vir elke stuk. 

• A written portfolio for Viva Voce must be submitted to the external moderator at the 

practical examination / ‘n Geskrewe portefeulje moet by die praktiese eksamen by die 

eksterne moderator ingedien word. 

• Marks will be externally moderated by means of questions based on the candidates 

portfolio / Punte sal onderwerp word aan eksterne moderering deur middel van vrae wat 

op die kandidaat se portefeulje gebaseer is. 

• The written portfolio and the oral questions must be assessed by two educators, one 

week before the final examination. / Die geskrewe portefeulje en die mondelinge vrae 

moet een week voor die finale eksamen deur twee onderwysers evalueer word : 

• Written portfolio / Geskrewe portefeulje 

It must be clear that the document was read completely and assessed critically./ 

Dit moet duidelik wees dat die dokument in geheel gelees, en krities evalueer is. 

Marks must be awarded and relevant comments must be written. / Punte moet 

toegeken word en toepaslike kommentaar moet geskryf word. 

• Oral questions / Mondelinge vrae 

An assessment sheet containing the type of questions asked must be placed in 

the written portfolio. / ‘n Evalueringsblad wat die tipe vrae wat gevra is bevat, moet 

in die geskrewe portefeulje geplaas word. 

1. COMPOSER / KOMPONIS 

1.1_ Date of birth / Geboortedatum 

1.2_ Date of death / Sterftedatum 

1.3_ Nationality / Nasionaliteit 

1.4_ Contemporaries / Tydgenote 

1.5_ Brief biography (one paragraph) / Kort biografie (een paragraaf) 

2. STYLE PERIOD / STYLTYDPERK 

2.1 Name of style and style period / Naam van styl en styltydperk 

2.2 From / vanaf ___________________ to / tot ____________________ . 

2.3 Style characteristics of the composer and period / Styleienskappe van die komponis en 

tydperk 

3. PERFORMANCE WORK / VOORDRAGWERK 

3.1 Title and meaning / Titel en betekenis 

3.2 Definition of genre / Definisie van genre 

3.3 Form / Vorm : Scheme and name of formal structure, as well as main cadences and 

keys / Skema en naam van vormmodel, asook hoofkadense en toonsoorte 

3.4 Indicate formal aspects on score / Dui vormaspekte op partituur aan 

3.5 Terms / Terme 

320

3.6 Harmony / Harmonie: Primary, secondary chords and V 7 / Primêre,sekondêre drieklanke 

en V 7 

3.7 Style and texture / Styl en tekstuur 

3.8 Names and execution of ornaments / Name en uitvoering van ornamente 

4. INSTRUMENT - a concise knowledge of : / ‘n beknopte kennis van : 

4.1 Method of sound production (demonstrate) / Metode van klankproduksie (demonstreer) 

4.2 Other similar instruments / Ander soortgelyke instrumente 

4.3 Brief history of the instrument / Kort geskiedenis van die instrument 

4.4 Construction of the instrument / Konstruksie van die instrument 

4.5 Techniques characteristic of the instrument / Tegnieke eie aan die instrument 

4.6 Well-known performers of the instrument / Bekende uitvoerders op die instrument 

321

HISTORY OF MUSIC - GRADE 12 MUSIC THEMES 

322

323

324

325

326

327

328

329

330

3. CHAMBER MUSIC 

331

332

333

334

NEEDLEWORK AND CLOTHING SG 

ENGLISH 

335 

AFRIKAANS 

Subject NEEDLEWORK AND 

CLOTHING 

NAALDWERK EN KLEDING 


Paper (1/2/3) 1 1 



Sections A: Short questions 

A: Kortvrae 

B: Knowledge and 

B: Kennis, begrip, 

application 

toepassing 


Weighting of questions Section A: 50 marks 

Afdeling A: 50 punte 

Section B: 6 x 25 marks Afdeling B: 6 x 25 punte 

Type of questions Section A: Multiple-choice, Afdeling A: Meervoudige 

mix and match, one word for keusevrae, meng en pas, een 

a description 

woord vir 'n beskrywing 

Section B: Sentences, 

paragraphs 

Afdeling B: Sinne, paragrawe 

Component of syllabus Cover all aspects of syllabus Dek alle sillabus 

Compulsory/choices All questions are compulsory Alle vrae is verpligtend. 

Remarks Answer Section A on answer Beantwoord Afdeling A op die 

sheet. 

antwoordblad. 

Section B in answer book. Afdeling B in die 

Illustrations / sketches are antwoordboek. 

given and questions asked Illustrasies / sketse word 

referring to it. 

gegee en vrae word daaroor 

gevra. 

Recommended Textbooks Colourful Clothing 

Kleurvolle Kleding 

Active Home Economics Huishoudkunde in Aksie 

Needlework and Clothing Naaldwerk en Kledinggids vir 

Manual for Standards 9 and Standerd 9 en 10 . Volume 1 

10 Volume 1 and 2 

en 2. 

Home Economics in Action Huishoudkunde in Aksie 

Standard 8 – Groenewald Standerd 8 – Groenewald 

Home Economics in Action Huishoudkunde in Aksie 

Standard 9 – Groenewald Standerd 9 - Groenewald

PAINTING 

The final marks will be made up of the following: 

A. CASS MARKS (150) 

1. Final words: Paintings 30 x 2 = (60) 

2. Research projects (20) 

3. Drawings colour studies (20) 

4. Compositional sketches, etc. (50) 

TOTAL: [150] 

B. OPEN EXAMINATION (150) 

1. 1 x Final works: Painting (100) 

2. Research project (in 3 parts) (25) 

3. Drawing and prep work (colour studies) (10) 

4. Compositional sketches, etc. (15) 

TOTAL: [150] 

300 

Please note that the Research Project (Year work) consists of the following 3 parts: 

Part 1: Discussion of Artist(s) (5) 

Part 2: Analysis of Artwork(s) (10) 

Part 3: Annotated images, i.e. an interaction between text, visuals and 

small sketches (10) 

The Exam Research Project consists of the following 3 parts: 

Part 1: Discussion of Artist(s) (related to theme) (5) 

Part 2: Analysis of Artwork(s) (related to theme) (10) 

Part 3: Annotated images (related to the theme) (10) 

336 

RESEARCH TOTAL [25] 

PREP WORK TOTAL: [25] 

WORKBOOK: [50] 

FINAL ARTWORKS: [100]

PHYSIOLOGY HG AND SG 

1. GUIDELINES FOR THE COMPOSITION OF THE HG PAPER 

SECTION A 

• Multiple-choice questions 25 x 2 = 50 

• Column-type questions 10 x 2 = 20 

• Physiological terms 10 x 2 = 20 

(90) 

SECTION B 

• Four questions x 40 marks each, each question covering a section of the syllabus. 

• No choices are given to learners. 

• Label sketches, answer from sketches, short passage and questions on it, drawing 

of sketches. 

• Longer questions. 

(160) 

SECTION C 

• A choice of one out of two questions is given. In this section the insight ability of the 

pupil is tested. The questions can be in the form of a data response type of 

question or a composition argumentative type of question. 

(50) 

2. GUIDELINES FOR THE COMPOSITION OF THE SG PAPER 

SECTION A 

• Multiple-choice questions 25 x 2 = 50 

• Physiological terms = 10 

• Column-type questions = 15 

• Labels = 15 

• Complete a table = 10 

SECTION B 

337 

(100) 

• Four questions x 40 marks each, each question covering sections of the syllabus 

• No choices are given to learners 

• Diagrams, table sketches, answer from sketches, short passage and questions on it 

• Longer questions 

• Drawing of sketches 

(200)

TIME: 3 hours 

PLUMBING AND SHEET METALWORK SG 

The examination paper will include the following topics: 

1. Water purification 

Various stages of public water purification 

Pressure filter for public water purification 

Water pollution 

2. Drainage 

Single-line plans for domestic drainage layouts 

The inspection and testing of drains. 

3. Safety precautions 

3.1 Safety precautions in workshop and on premises 

3.2 Safety precautions with regard to 

(i) Aids 

(ii) Cholera 

4. Sewerage water disposal 

French drains, vacuum tanks 

Subsoil drains, manholes 

Septic tanks 

5. Sanitary fitments 

Sectional sketches as well as a concise description and uses of sanitary fitments and 

their connections to the discharge pipes 

6. Central heating 

6.1 The principles of heating and the application thereof 

6.2 Schematic diagrams of the different pipe systems 

6.3 The functioning of heating components 

7. Ventilation and central air-conditioning 

7.1 Air-conditioning of schools, theatres and auditoriums 

7.2 Stages in the treatment of air in an air-conditioning system 

7.3 Natural ventilation 

8. Pattern development 

8.1 The different methods used for pattern development 

8.2 Development of patterns for square, round and off-centered transitional pieces 

338

TYD: 3 uur 

LOODGIETERY EN PLAATMETAALWERK SG 

Die eksamenvraestel sal die volgende onderwerpe insluit: 

1. Watersuiwering 

Verskillende stadiums van publieke watersuiwerings 

Drukfilters vir publieke watersuiwering 

Waterbesoedeling 

2. Riolering 

Eenvoudige enkellynplanne van die riolering vir woonhuise 

Die ondersoek en toetsing van riole. 

3. Veiligheidsmaatreëls 

3.1 Veiligheidsmaatreëls in werkswinkel en op perseel 

3.2 Veiligheidsmaatreëls ten opsigte van 

(i) Vigs 

(ii) Cholera 

4. Riolerring en waterwegdoening 

Stapelriole, Vakuumtenks 

Sugriole, Mangate 

Septiese tenks 

5. Sanitêre meublement 

Deursnee tekening sowel as kort beskrywings en die gebruike van sanitêre 

meublement an die afsluiting van afvoerpype 

6. Sentrale verwarming 

6.1 Die beginselsvan verwarming en die toepassing daarvan 

6.2 Skematiese diagramme van die verskillende pypstelsels 

7. Ventilasie en sentrale lugversorging 

7.1 Lugversorging by skole, teaters en auditoriums 

7.2 Stadiums in die behandeling van die lug in ’n lugversorgingstelsel 

7.3 Natuurlike ventilasie 

8. Patroonontwikkeling 

8.1 Die verskillende metodes wat gebruik word by patroonontwikkeling 

8.2 Patroonontwikkeling vir vierkante, ronde en uitmiddelpunting oorgangstukke 

339

Estrutra do exame 

PORTUGUESE/PORTUGUỆS HG & SG 

N.B: Higher Grade: Civilization and Culture is examined in the Literature Paper (Paper 2) 

A secção de Civilização e Cultura encontra-se integrada na prova de 

Literatura (Paper 2) 

Standard Grade: Civilization and Culture is examined in the Language Paper (Paper 1) 

A secção de Civilização e Cultura encontra-se integrada na prova de 

Língua (Paper 1) 

HIGHER GRADE 

PAPER 1 – LANGUAGE [2 ½ Hrs] [190 MARKS] 

PROVA 1 – LÍNGUA [2 ½ Hrs] [190 VALORES] 

Section A 

Secção A 

Section B 

Secção B 

Section C 

Secção C 

Section D 

Secção D 

COMPREHENSION 

COMPREENSÃO 

LANGUAGE & GRAMMAR 

FUNCIONAMENTO DA LÍNGUA & GRAMÁTICA 

COMMUNICATION 

COMUNICAÇÃO 

COMPOSITION 

REDACÇÃO 

340 

35 Marks 

35 Valores 

45 Marks 

45 Valores 

30 Marks 

30 Valores 

80 Marks 

80 Valores 

PAPER 2 – LITERATURE [2 Hrs] [150 MARKS] 

PROVA 2 – LITERATURA [2 Hrs] [150 VALORES] 

Section A 

Secção A 

Section B 

Secção B 

Section C 

Secção C 

NARRATIVE [to be answered in Portuguese] 

NARRATIVA [para responder em Português] 

POETRY [to be answered in Portuguese or English] 

POESIA [para responder em Português ou Inglês] 

CIVILIZATION AND CULTURE [to be answered in Portuguese or English] 

CIVILIZAÇÃO E CULTURA [para responder em Português ou Inglês] 

50 Marks 

50 Valores 

50 Marks 

50 Valores 

50 Marks 

50 Valores


PAPER 1 – LANGUAGE [2 ½ Hrs] [180 MARKS] 

PROVA 1 – LÍNGUA [2 ½ Hrs] [180 VALORES] 

Section A LANGUAGE [to be answered in Portuguese] 

Secção A LÍNGUA [para responder em Português] 

I. Comprehension 

Compreensão 

II. Language & Grammar 

Funcionamento da Língua & Gramática 

III. Communication 

Comunicação 

IV. Composition 

Redacção 

Section B 

CIVILIZATION AND CULTURE [to be answered in Portuguese or 

English] 

Secção B CIVILIZAÇÃO E CULTURA [para responder em Português ou 

Inglês] 

341 

[140 Marks] 

[140 Valores] 

35 Marks 

35 Valores 

45 Marks 

45 Valores 

10 Marks 

10 Valores 

50 Marks 

50 Valores 

40 Marks 

40 Valores 

PAPER 2 – LITERATURE [1 ½ Hrs] [80 MARKS] 

PROVA 2 – LITERATURA [1 ½ Hrs] [80 VALORES] 

Section A 

Secção A 

Section B 

Secção B 

NARRATIVE [to be answered in Portuguese] 

NARRATIVA [para responder em Português] 

POETRY [to be answered in Portuguese or English] 

POESIA [para responder em Português ou em Inglês] 

40 Marks 

40 Valores 

40 Marks 

40 Valores

SEPEDI PRIMARY LANGUAGE HG 

PAPER 1 

KAROLO YA A 

TEKATLHAOLOGANYO 

Barutwana ba tla fiwa ditemana gore ba di bale. Morago ga moo gwa latela dipotšišo tšeo di ka 

go akaretša: 

• Tsebokakaretšo mabapi le diteng tša tekatlhaologanyo 

• Boiphetolelo go tšwa go diteng tša ditemana 

• Go akaretša ditemana ka diema, bjalo ,bjalo 

• Tlhaloso ya mebolelwana go tšwa ditemaneng 

[30] 

KAROLO YA B 

KAKARETŠO 

Barutwana ba ka fiwa temana /ditemana tše ba swanelwago ke go di akaretša Ka: 

• Temana ( Methaladi e tla laetšwa) 

• Dintlha (Palo ya dintlha e tla laetšwa) 

[10] 

KAROLO YA C 

THUTAPOLELO 

1. Diema le Dika 

2. Mehuta ya mafoko 

3. Tšhomišo ya mafoko 

4. Pharologanyo ya mafoko 

5. Malahlelwa 

6. Mabotšiši 

7. Tlhalošo ye e fapanego ya mantšu 

8. Seka bakeng sa sehlophantšu 

9. Mahlalosagotee 

10. Lentšu le lekaone go leo le šomišitšwego 

11. Kgetho ya lentšu la maleba 

12. Dikapolelo 

13. Nyenyefatšo 

14. Maekiši 

15. Medirišo 

16. Mehuta ya madiri 

17. Diphetogomedumo 

18. Maadingwa 

19. Mainagokwa 

20. Mafetedi 

21. Mafeledi 

22. Dihlophantšu 

23. Tlhalošo ye e fapanego ya mantšu [40] 

342

Hlokomela: 

• Ge re botšiša bana re hlokomele go šomiša polelo bjalo ka ge e dirišitšwe. (In 

Context) Mehlala ka diema. 

• Re rute ditho tša polelo ka go amana ga tšona. 

• Mohlala: 

• Ka se rute bana ka Mafetedi le Mafeledi ntle le go ba ruta ka 

• Madiri pele. (Integration of concepts) 

• Ga re ithuteng mehuta ya dipotšišo 

• Maswaodikga 

• Mopeleto 

• Pharologanyo ya mafoko 

• Tokišo ya polelo. 

• Lentšu le tee bakeng la a mantši 

GO RULAGANYA POLELO 

343 

[20] 

[100]

1. Lephephe le, le na le MEPUTSO ye 75. 

2. Lephephe le, le na le DIKAROLO tše 4. 

SEPEDI LELEME LA GAE 

MAEMO A MAGARENG 

(LEPHEPHE LA PELE) 

KAROLO YA A 

POTSO 1 


Bana ba tla fiwa tekatlhaologanyo ye tee GOBA e ke ba ka ditema tše PEDI. [25] 

KAROLO B 

POTSO 2 

KAKARETŠO 

• Bana ba tla fiwa tema yeo ba tla e akaretšago go ya ka moo ba laetšwego. [10] 

KAROLO C 

POTSO 3 LE 4 

THUTAPOLELO 

• Madiri 

• Maina 

• Mahlathi 

• Mahlaodi 

• Mašalašala 

• Maekiši 

• Malahlelwa 

• Dikapolelo / diema / dika / mebolelwana 

• Mediriso 

• Mahlalosagetee 

• Mahlaloša ntši 

• Malatodi 

• Bontsi / Nyenyefatšo 

• Lebaka le le fetilego / letlago 

• Tirwa 

• Kganetšo [30] 

344

POTSO 4 

GO RULAGANYA POLELO 

• Ditlhaka tše kgolo 

• Maswoodikga (10) 

3. Lephephe le, ke la botelelele iri tše PEDI. 

4. Lephephe le, ke la MAEMO A MAGARENG. 

345 

MEPUTSO [75]

NAKO: Diiri Tše 2 

MEPUTSO: 75 

SENAKANGWEDI – D M MAMPURU 

SEPEDI SG 

PRIMARY LANGUAGE (PAPER 2) 

KAROLO A 

POTŠIŠO 1 

THETO 

• Ga go sereto sa go se tsebje (unknown poem) 

• Ga go potšišo e telele ka direto (essay type question) 

• Baithuti ba tla fiwa ditsopolwa tše NNE go tšwa diretong tše NNE tša go fapana 

• Ba arabe dipotšišo go tšwa ditsopolweng tše PEDI fela. 

MEHUTA YA DIPOTŠIŠO 

• Baithuti ba tsebe dintlha tše bohlokwa tša go sekaseka direto, le ka fao dintlha tšeo di 

šomišitšwego ka gona diretong: Bjk. Mehuta ya direto, lebaka, dika, 

diema, dikapolelo, merumokwano le tše dingwe. 

• Dipotšišo tša go nyaka dikarabo tša boikgopolelo le maikutlo a baithuti di tla 

botšišwa. 

Mohlala: Efa maikutlo a gago … 

Ge e be e le wena … 

• Dipotšišo di ka tšwa ka pele ga setsopolwa, setsopolweng goba ka morago ga . 

setsopolwa. 

KAROLO B 

POTŠIŠO 2 

TERAMA 

A MO SWINA NGWANANA WA THAKANA – M S SERUDU 

346 

PALOMOKA YA KAROLO A: 25 

• Araba potšišo e TEE karolong ya B e ka ba ya ditsopolwa goba ye telele. 

• Dipotšišo tša ditsopolwa tšona di ka tšwa ka pele ga setsopolwa, 

setsopolweng goba ka morago ga setsopolwa. 

• Dipotšišo tša boikgopolelo le tša go ntšha maikutlo a baithuti di tla botšišwa: 

Mohlala: Go ya ka wena … 

O be o ka dira eng ge … 

(25)

Dipotšišo tša ditsopolwa 

GOBA 

• Tšona di ka tšwa ka pele ga setsopolwa, setsopolweng goba ka morago ga 

setsopolwa. 

• Dipotšišo tša boikgopolelo le tša go ntšha maikutlo a baithuti di tla botšišwa: 

Mohlala: Go ya ka wena … 

O be o ka dira eng ge … 

Dipotšišo tše telele: 

GOBA 

• Tšona di tla ba le dintlha tša go hlahla baithuti gore ba se lahlegelwe ke 

Meputso 

NNETE FELA – MA KEKANA 

KAROLO C 

POTŠIŠO 3 

PADI 

347 

(25) 

PALOMOKA YA KAROLO YA B: 25 

• Araba potšišo e TEE Karolong ya C. 

• Ge o arabile ya disopolwa go Karolo ya B, gona go Karolo ya C araba ye telele. 

Dipotšišo ka ditsopolwa 

• Dipotšišo di tla tšwa ka pele ga ditsopolwa, ditsopolweng le ka morago ga ditsopolwa, 

Mehuta ya dipotšišo 

• Dipotšišo di tla nyaka maikutlo le boikgopolelo bja moithuti. 

Mohlala: O bona … a dirile gabotse ka go … Efa lebaka (25) 

Dipotšišo tše telele 

GOBA 

• Baithuti ba tla phulwa dipelo maroba ka tšeo di tla nyakwago ke dipotšišo go 

ba hlahla gore ba se hlahlathe. (25) 

PALOMOKA: 75

NAKO: diiri tše2 

MEPUTSO: 80 

SEPEDI LELEME LA GAE (PRIMARY LANGUAGE) 

MAEMO A GO LEKANELA HG 

(LEPHEPHE LA BORARO) (PAPER 3) 

1. Lephephe le, le na le MEPUTSO ye 80 

2. Lephephe le, le na le DIKAROLO tše 3. 

KAROLO YA A 

DITAODIŠO 

POTŠIŠO 1 

• Bana ba tla fiwa ditaodišo tše mmalwa, le tšeo di tlago ka mokgwa wa diswantšho gore 

ba ngwale ka tšona. 

• Taodišo e tla ba botelele bja letlakala te TEE LE SERIPA go ya go a MABEDI ka hlogo 

goba seswantšho seo se kgethilwego. 

[30] 

GOBA 

KAROLO YA B 

DINGWALWAŠOMIŠWA 

POTŠIŠO 2 

• Bana ba tla fiwa lengwalo la segwera le la semmušo fao ba tla kgethago le TEE fela. 

Botelele bja lona e tla ba letlakale TEE. 

[15] 

• Bana ba tla kgetha go tše dingwe tša dingwalwana tša go swana le tše di latelago: 

Memorantamo 

Metsotso 

Pego ya dinyakišišo GOBA ya kuranta. 

Tša bophelo bja mohu (e sego lenaneo la go šomišwa tirelong ya poloko) 

Lenaneothero 

Pukwana ya letšatši ka letšatši/pukwana ya sephiri (taeri) 

Polelo 

Ngangišano/Poledišano 

Phetleko ya puku 

348 

[15]

POTŠIŠO 4 

DINGWALWAŠOMIŠWA tše dikopana 

Bana ba tla fiwa dingwalwana tše dikopana tša go swana le tše: 

Fekese 

Memo 

Lengwalo la boitsebišo (CV) 

Papetla ya tsebišo (poster) 

Molaetša wa E-mail 

Karata ya memo 

3. Lephephe ke la botelele bja iri tše 2. 

4. Lephephe ke la MAEMO A MAGARENG 

349 

(15)

DIKELOTLHOKO: 

SEPEDI LELEME LA TLALELETŠO 

MAEMO A A PHAGAMEGO 


KAROLO YA A 

POTSO 1 


Mo karolong ye baithuti ba tla fiwa ditemana tše tharo tšeo ba swanetšego gore ba di bale 

gomme ba arabe dipotšišo mabapi le tšona. Ditemana tše tharo di tla ba thuša gore ba se lape 

go bala temana e tee ye telele le go lahlegelwa ke diteng le molaetša wa temana. 

Dipotšišo tša tekatlhaologanyo di ka akaretša: 

(a) Tša go botšiša mabapi le diteng tša temana. 

(b) Tša go hlaloša maikutlo a balekwa. 

(c) Tša go fa ditšhišinyo mabapi le ditaba tše di rilego, le tše dingwe. 

Baithuti ba hlokomele go bala ditemana ka kwešišo pele ba ka araba dipotšišo. [35] 

KAROLO B 

POTSO 2 

KAKARETŠO 

Baithuti ba bantši ba ba le bothata go araba potšišo ye. 

Barutiši ba rute baithuti go akaretša temana. Go elwe tlhoko tše di latelago: 

(a) baithuti ba laetšwe go akaretša temana ka dintlha gore ba se be le bothata ge ba 

kgopetšwe go dira bjalo. 

(b) Baithuti ba bale le go hlokomela ditaelo gore ba kgone go fa karabo ya maleba. 

(c) Dintlha tše lesome di tla abelwa meputso ye lesome. 

(d) Baithuti ba se ngwalolle diteng tša temana. 

(e) Baithuti ba šomiše tlotlontšu ya bona. [10] 

350

KAROLO C 

POTSO 3 LE 4 

POPOPOLELO 

Barutiši ba rute dithuto ka moka tšeo di swanetšego go rutwa go ya ka lenaneo la thuto. 

Baithuti ba bantši ba sa na le bothata kudu go tše di latelago: 

• Mahlaodi 

• Mahlathi 

• Go kgaogantšha le go kgomaganya mantšu 

• Makopanyi 

• Dika, diema le dikapolelo 

• Maarogi 

• Go šomiša mantšu mafokong a a nepagetšego 

• Go itlhamela mafoko ka dika goba diema. 

• Mopeleto le maswao a polelo. 

• Barutiši ba tlwaetše baithuti go araba dipotšišo go tšwa temaneng e sego lefeelafeleng (in 

isolation). [35] 

351 

MEPUTSO [80]

SEPEDI LELEME LA BOBEDI (PAPER 1) 

MAEMO A GO LEKANELA (SG) 


DINTLHA TSE DI SWANETSEGO GO FIWA SEDI MABAPI LE LEPHEPHE LE 

DITLHAHLOBONG TSA MAFELELO A NGWAGA LE TSA TLALELETSO. 

LEPHEPHE LE, LE AROTSWE KA DIRIPA TSE THARO: 

KAROLO YA A 

POTŠISO 1 

TEKATLHAOLOGANYO: MEPUTSO [35] 

TEKATLHAOLOGANYO e arotswe ka ditemana tse tharo e lego: 

• Temana ya pele 

• Temana ya A le temana ya B. 

• Seswantsho sa go kwera (khathuni). 

* Balekwa ba tla botsiswa dipotsiso go tswa go ye nngwe le ye nngwe ya tsona. 

* Tse dingwe tsa dipotsiso, di nyaka maikutlo a molekwa. 

* Dikarabo di swanetse go fiwa goya ka dinyakwa tsa dipotsiso. [35] 

KAROLO YA B 

POTŠISO 2 

KAKARETSO YA DITEMANA: MEPUTSO [10] 

* Baithuti ba tla akaretsa ditemana. 

* Ba akaretse dikgopolo tse di lego mo ditemaneng. 

* Kakaretso e se be dikgopolo tsa molekwa. 

* Methaladi e se fete ye lesome. 

* (NB: Ba se fetise botelele bjo ba bo filwego). [10] 

352

* Dipotsiso di tla hlangwa go tswa go: 

– Thutapolelo. 

KAROLO YA C 

POTŠISO 3 

THUTAPOLELO: MEPUTSO [35] 

* Balekwa ba tla hwetsa dipotsiso tse di ba nyakago tsebo ya bona ya polelo. 

* Dipotsiso di botsiswa go tswa go: 

DIKAROLO TSA POLELO TSE DI SOMISITSWEGO: 

A. 1. Mahlathi. 

2. Tlhaloso ya wona. 

3. Mehuta ya maina. 

4. Dika. 

5. Maadingwa. 

6. Mahlaodi. 

7. Dikapolelo. 

8. Mabotsisi. 

9. Malahlelwa. 

10. Tlhaloso ya wona. 

11. Maamanyi. 

12. Masalasupi. 

13. Tumelo. 

14. Mophosollo. 

B. 1. Tlhaloso ya dikafoko. 

2. Mafokonolo. 

3. Mainagokwa. 

4. Mahlaodi. 

5. Meselana ya madiri. 

6. Leinakgopolo. 

7. Malahlelwa. 

8. Kgetho ya mantsu. 

9. Letlago. 

10. Masalasala. 

11. Matusi. 

12. Mahlathi. 

353 

PALOMOKA: [80]

SEPEDI HG AND SG 

ADDITIONAL LANGUAGE PAPER 2 

Se ke tlhahlo fela ya mokgwa woo dipotšišo di tla botšišwago ka gona. Dipotšišo tše di 

botšišitšwego mo ke mohlala fela. 

1. Lephephe le arotšwe ka diripa te TLHANO e lego A, B, C. 

2. Dipotšišo di botšišitšwe go tšwa dipukung tše TLHANO, wena kgetha tše PEDI fela tše 

o ithutilego tšona. 

(i) Terama : A mo swina ngwanana Thakana 

(ii) Dikanegelokopana : Go tseba mang 

(iii) Padi : Nnete fela 

(iv) Theto : Senakangwedi 5 

(v) Dikanegelotšhaba : Moepathutse 

3. Molekwa o swanetše go araba dipotšišo go tšwa dipukung tše pedi fela. 

4. Karolo ye nngwe le ye nngwe e na le ditsopolwa tše NNE. 

354 

40 x 2 = (80) 

5. Dipotšišo di tla botšišwa go tšwa ditsopolweng le tikologong ya tšona go lebeletšwe 

kgwekgwe ya taba (the main idea). 

6. Ga no na dipotšišo tše telele, dipotšišo ke tše kopana fela tša meputso ya go tloga 

go o tee go ya go ye tshela. 

7. Mehuta ya dipotšišo. 

(i) Go tla ba le dipotšišo tšeo di nyakago dikarabo tše lebanego (thwii). 

(ii) Gwa ba le tšeo di nyakago tlhalošo. 

(iii) Gwa ba le tšeo di nyakago boikgopolelo bja molekwa. 

Mohlala: 

Sepolwa 

DIKANEGOLETŠHABA 

Kgalekgale go kile gwa ba le taba ya semaka. 

Keleketla! 

Mosadi o kile a belega ngwana a nnoši wa mošemanyana. 

Keleketla! 

Ngwana wa gona e be e le semaka ruri 

Keleketla! 

A belegwa a se na mmele le maoto le matsogo. 

Keleketla! 

Go se na selo e le hlogo ye fela. 

Keleketla! 

Mmagwe a se botše motho ka ngwana yo. 

Keleketla! 

4. Bontšha mantšu ao o tšweletšago manyami seretong se. (2)

5. Efa morumokwano wa go thoma wo o hwetšwago seretong se. (2) 

NNETE FELA – KEKANA MA 

PADI 

Bala ditsopolwa ka tlhokomelo gore o tle o kgone go araba dipotšišo tše di di latelago. 

Setsepolwa 

Ke mosegare wo mogolo. Ka phapošingtulelo ya Noko go be go dutše 

batho ba bararo. Bona ke yena Noko ka sebele le morwedi wa gagwe. 

Mahlo a Noko a ba a kgabakgaba ka khuduego ye o ka tiišago gore ge e tlilo 

tšholwa ka moka ga yona, ba bangwe ba tlilo fetša ba sobeletše go yona. 

Karabo o be a ipothile bjalo ka ge go swanela motho yo a ka ikhwetšago a le 

seemong sa gagwe. Ge e le Bubbles yena, o ile a lebelela go tloga go 

tatagwe go ya go kgaetšediagwe ka tetelo. Mahlo a phadima o ka se tsebe 

gore ke ka letšhogo goba lethabo, kgahlego goba tšhikyego efe … Eupša se 

o ka bago le nnete ka sona ke gore lekgarebe le e be e le thwadi mokgweng 

wa go uta maikutlo a gagwe a nnete. 

1. Ba ra go reng ge ba re mahlo a Noko a be a kgabakgaba ka khuduego? (2) 

2. Hlaloša ka boripana gore go be go diregile eng pele ga ge maloko a lapa le, a tla 

kgobokana. (4) 

3. Mothaladi wa mafelelo mo setsopolweng o re utollela Bubbles e le motho yo 

mobjang? (2) 

4. Na o kile wa ikhwetša o le seemong se se swanago le se Karabo a lego go sona? 

(2) 

4.1.1 Go be go diregile eng? (2) 

1. Ke ka lebaka la eng ba re ngwana yo e be e le semaka? (2) 

2. Ke ka lebaka la eng mmagwe a be a tšhaba go botša batho ka yena? (2) 

3. Basadi ba hlogwana ba be ba mo fa dijo le meetse ka mokgwa ofe? (2) 

4. Ke ka lebaka la eng ba be ba sa swanela go tsena ka ngwakwaneng wa gagwe? 

(2) 

5. Ge go be go se na motho ka lapeng, hlogwana e be e dire eng? (2) 

6. Laodiša ditiragalo tša go tloga ge ngwetši e lebala kgare go fihla ge hlogwana e wela ka 

meetseng. (6) 

7. Na hlogwana e ntšhitšwe ke eng ka meetseng? (2) 

8. Setšo se re lebitla la mosadi ke bogadi. Ge o be o le mosadi wa hlogwana, na o be o tla 

kgotlelela mehlolo ye. Efa dikgopolo tše gago. (6) 

355

SENAKANGWEDI 5 – DM MAMPURU 

THETO 

Bala ditsopolwa ka tlhokomelo gore o tle o kgone go araba dipotšišo tšeo di tlogo di latela. 

Setsopolwa 

La gago, lebelo mpšhe ke ngwana 

O wa ka, eupša lebelong o a ntšhia 

Eupša ka sekgalela o khuta ka fase ga ka, 3 

O re le refile o tšhabele ka bohlabela ke go šire 

Mohla puta o tsena mpeng ya ka, ke no ikhomolela 

Ke se ke ke go tshwenya, ka ge o le wa ka. 6 

Ka nnete selo sa ka, o kgano, mošikologaseolo! 

Ke go hlagoletše, leokana, bjala o a ntlhaba? 

Ke go alafile, molwetši, bjale o roga ngaka? 

1. Moreti o ra go reng ge a re mohla pula moriti o tsena ka mpeng ya gagwe? 

(2) 

2. Moreti o reta eng? (2) 

3. Mlaloša methalotheto ye MEBEDI ya mathomo. (4) 

Setsopolwa 

Go bohloko bjang, go phela mmung? 

Go bohloko bjang, go bitšwa ke Yena godimo! 

Go bohloko bjang, go sepela swiswing? 

Go bohloko bjang, go šupšašupša, o le motho! 

Go bohloko bjang, go bitšwa phoofolo! 

Bo bohloko bjang, go bose bjang. 

356

DIKELOTLHOKO: 

SEPEDI LELEME LA TLALELETŠO 

MAEMO A A PHAGAMEGO 

(LEPHEPHE LA BORARO) 

KAROLO YA A 

POTSO 1 

TAODIŠO 

Balekwa ba tla fiwa dihlogo tše tlhano tša ditaodišo le seswantšho, gomme ba ikgethela se tee 

seo ba nyakago go ngwala ka sona. 

Ditlhogo tša ditaodišo di tla tšwa mehuteng ya go fapana bjalo ka tlhaloši, kanegelo, ya go 

tšweletša dikgopolo le tše dingwe. Go hlokomelwe kudu tše di latelago: 

– tšhomišo ya lebaka 

– tirwa 

– mabopi 

– mopeleto le maswao 

– go arola taodišo ka ditemana 

– tirwa 

– go beakanya dikgopolo. 

Balekwa ba kgethe dihlogo tšeo ba di kwešišago. 

KAROLO YA B LE C 

POTSO 2 LE 3 

DINGWALWA TŠE DI KOPANA / KUDU 

Balekwa ba rutwe dithuto ka moka tša dikarolo tše. 

Mangwalo (semmušo le segwera) memorantamo, papatšo, lenaneothero, memo thelekeramo, 

botsebišo, polelo, poledišano taeri, fekese le tše dingwe. 

Balekwa ba kgethe dipotšišo tšeo ba di kwešišago. 

357 

MEPUTSO [80]

SEPEDI LELEME LA BOBEDI (P3) 

MAEMO A GO LEKANELA 

(LEPHEPHE LA BORARO) 

DINTLHA TSE DI SWANETSEGO GO FIWA SEDI MABAPI LE LEPHEPHE LE 

DITLHAHLOBONG TSA MAFELELO A NGWAGA LE TSA TLALELETSO. 

LEPHEPHE LE, LE AROTSWE KA DIRIPA TSE THARO: 

KAROLO YA A 

POTSO 1 

TAODISO: MEPUTSO [40] 

* Balekwa ba tla kgopelwa go araba e tee ya ditaodiso tse di filwego. 

* Balekwa ba fiwa ditaodiso tse hlano tse di latelago: 

• Taodisokanegelo. 

• Taodisotlhaloso. 

• Taodisokakanyo. 

• Taodisokganetsi. 

KAROLO YA B 

POTSO 2 

DINGWALWANA: MEPUTSO [20] 

* Barutwana ba tla fiwa dingwalwana tse tharo gomme ba tla kgetha e tee go tswa go tse di 

latelago: 

• Poledisano 

• Lengwalo la segwera 

• Pego 

• Polelo 

KAROLO YA C 

POTSO 3 

DINGWALWANA: MEPUTSO [20] 

* Mo karolong ye le gona balekwa ba kgetha se tee sa dingwalwana go tse di latelago: 

• Metsotso. 

• Lengwalo la boitsebiso. 

• Taletso. 

• Tsebiso. 

• Memorantamo. 

• Papatso. 

• Tsa bophelo bja mohu. 

• Lenaneothero. 

PALOMOKA: [80] 

358

TLALEHO YA SESOTHO PUO YA LAPENG (PRIMARY LANGUAGE) HG 

BOEMO BO PHAHAMENG (HG) 

PAMPIRI YA PELE (PAPER 1) 

DINTLHA TSA TATAISO MALEBANA LE PAMPIRI 

KAROLO YA A 

TEKOKUTLWISISO 

POTSO 1 

1. Mohlahlobi o sebedisitse tokomane ya Bloom bakeng sa ho kgetha dipotso tse fapaneng 

serapeng se qotsitsweng. 

2. Serapa se sebedisitsweng mona se mabapi le kgohlano e teng pakeng tsa MaAfrika – 

Borwa le matswantle. Se bontsha lehloyo le kgolo ya MaAfrika- Borwa hore matswantle a 

ba nkele mesebetsi, basadi kapa banna ebile ke bona ba tlisang le ho hweba ka 

dithethefatsi naheng ya rona. Hona ho bontsha ntwa ya mobu. Bolelele ba serapa ke 

mantswe a pakeng tsa 500 ho isa ho 600. Dipotso di ikamahanya le bokgoni , tsebo 

makgabane le mokgwa wa ho tadima ditaba ( SKVA) tse hlonngweng le ho tswa 

tokomaneng ya TIRISANO le Diphetho tse Hlokolosi ( CO’s) hammoho le Diphetho tse 

Ntshetsang Pele ( DO’s) tsa Thuto e Thehilweng Hodima Diphetho ( OBE). 

3. Dipotso di botsitswe ka tsela eo bahlahlobuwa ba tla kgona ho sebedisa mokgwa wa 

puisano le tshebetso. 

4. Dipotso di arotswe karolo tse pedi e leng dipotso tse bonolo ( Low Order) jwalo ka tsebo 

le kutlwisiso tse nkang 60% le dipotso tse batlang monahano o phahameng ( High 

Order) mme tsona ke tshebediso , tlhopollo kopanngo tshekatsheko ha tsona di nka 40% 

ho tekokutlwisiso. 

(MATSHWAO: 30) 

KAROLO B 

KAKARETSO 

POTSO 2 

1. Bahlahlobuwa ba tla botswa dipotso ka tsela tse tharo tsa bokgoni e leng ho bala , ho 

ngola le ho kgona puo ka tsela ya ho itshebedisetsa ho toloka. 

2. Bahlahlobuwa ba lokela ho akaretsa serapa seo ba se neilweng ka mantswe a bona. 

3. Bahlahlobuwa ba nehelana ka dintlha tse supileng tse jereng mohopolo wa bohlokwa . 

Ntlha ka nngwe e tla abelwa letshwao. 

4. Bahlahlobuwa ba ngole ka tsela ya moqoqo ha ba qeta ba bale mantswe , mme 

qetellong ba ngole palo ya mantswe , ba ntse ba ela hloko ho se fete moedi wa mantswe 

a lekgolo le metso e leshome. (110) 

5. Serapa se bontsha phapang e teng pakeng tsa batho ba kgothetseng / ba sebetsng ka 

thata le batho ba botswa. Se bontsha hore bophelo bo ka ba boima ho bana ba batho ba 

botswa. Se bontsha batho hore ba sebetse nako e sa dumela. 


359

KAROLO YA C 

TSHEBEDISO YA PUO 

POTSO 3 

1. Dipotso di itshetlehile hodima diqotso. 

2. Kwahollopuo / popopuo e theilwe hodima tshebediso ya mabitso, maetsi 

(tshebediso ya makgathe le dikao) makgetholli, masupi mefuta ya leba, nyenyefatso, 

mahokedi, boetsuwa le maamanyi. 

3. Sehlalohantshi ( semantics) sona se itshetlehile hodima tshebediso ya mantswe a 

ngolwang ka ho tshwana empa moelelo o fapane, mekgabiso puo / dikapuo, maele le 

dika. 

4. Tokiso ya diphoso ho sebedisitswe tema. Dipotso di itshetlehile hodima mopeleto o 

fosahetseng, matshwao a puo, puo e fosahetseng le diphoso ka kakaresto. 


360


SESOTHO 

FIRST LAGUAGE 

STANDARD GRADE PAPER 1 

1. Palo ya mantswe e pakeng tsa 400 – 600. 

2. Dipotso tse botsitsweng di hlahloba bokgoni ba mohlahlobuwa ba ho kgona ho ahlola 

boteng ba seo a ithutileng sona. 

3. Dipotsong tse ding mohlahlobuwa o lokela ho bontsha bokgoni ba tshebediso ya puo le 

dintlha. 

KAKARETSO 

1. Mohlahlobi o hlakisitse hore mohlahlobuwa a ngole ka tsela ya moqoqo, hape a ngole ka 

mantswe a bona a pakeng tsa 100 – 110. 

TSHEBEDISO YA PUO 

1. Mohlahlobi o botsitse dipotso ho tswa diqotsong tse fapaneng. 

2. Mohlahlobuwa o botsitswe dipotso ka dikarolo tse fapafapaneng tsa puo jwalo ka 

mabitso, masupi, makopanyi, makgathe, makgetholli, marui le tse ding. 

3. Mohlahlobuwa o botsitswe dipotso tse bontshang bokgoni ba mohlahlobuwa ba ho 

hopola/tseba dintlha le ho sebedisa puo ka bokgabane. 

4. Tokisong ya diphoso mohlahlobi o qotsitse seratswana hore mohlahlobuwa a lokise 

diphoso tsa puo, mopeleto, tlotlontswe, ho arolwa ha mantswe le tshebediso ya 

matshwao a puo. 

361

SESOTHO PUO YA LAPENG (PRIMARY LANGUAGE) 

PAMPIRI YA BOBEDI HG (PAPER2) 

DINTLHA TSA TATAISO MALEBANA LE PAMPIRI 

Pampiri ya hlahlobo e arotswe dikarolo tse tharo ka tsela e latelang: 

TLHAKA YA BASOTHO: PTPK MABOEA 

Thothokiso e sa bonwang 

KAROLO A 

DITHOTHOKISO 

POTSO 1 

POTSO 2 

Dithothokiso tse nne tse bonweng (10) 

• Ho botsitswe dithithokiso tse nne tse rutilweng, baithuti ba kgetha le ho araba tse pedi 

feela. 

• Ho hlahlojwa tsebo ya dintlha tsohle tsa manollo ya thothokiso. 

• Baithuti ba lebelletswe hore ba tsebe ho qoqa ka makgabane a bothothokisi tlasa dihlooho 

tse itseng tseo ba di filweng. 15 x 2 = (30) 

KAOFELA [40] 

LERU LE LEFUBEDU: TDW MOHAPI 

KAROLO B 

TSHWANTSHISO/TERAMA 

POTSO 3 

Dipotso di pedi, baithuti ba kgetha e le nngwe. 

3.1 (contextual) Potso ya dipotso tse kgutshwane malebana le qotso hammoho le buka 

yohle 

3.2 Potso ya moqoqo malebana le poloto le moralo wa pale. 

Baihuti ba lebelletswe ho ithuta pale ba ntse ba e lebanya le ditaba tsa bophelo. 

(30) 

362

MEHLADITWE HA E EKETHEHA: T MAFATA 

KAROLO C 

PALE/PADI 

POTSO 4 

• Dipotso di pedi, baithuti ba araba e le nngwe. 

• 4.1 Potso ya wdikarabo tse kgutshane malebane le gotso Lammoho le buka yohle. 

• 4.2 Ya moqoqo e amang dintlha tsohle tsa manollo ya buka. 

• Ha moithuti a arabile potso ya dikarabo tse kgutshwane karolong ya B karolong ya C o 

tlamehile a arabe ya moqoqo. Ebang o arabile ya moqoqo karolong ya B o tlamehile a 

arabe ya dipotso tse kgutshwane karolong ya C. (30) 

363 

MATSHWAO KAOFELA: [100] 

E.H: Bo Titjhere ba lemohiswa hore PELONG YA KA ha e sa le karolo ya pampiri e 

ngolwang. E fetiseditswe ho Potefolio moo ba tlamehileng ba kgethe pakeng tsa yona le 

BOKGELEKE BA BASOHO.

PUO 

SESOTHO PUO YA LAPENG (PRIMARY LANGUAGE) 

PAMPIRI YA BOBEDI SG (PAPER2) 

E be e otlolohileng. E ka balwang ha bonolo 

Baithuti ba sebedise puo e amohelehileng naheng ena 

DITAELO 

Baithuti ba badisisise ditaelo hore ba tle ba se ke ba ahlolelwa ho araba dipotso ka tsela e 

fosahetseng 

Dibuka di tharo mme di botsitswe ka tsela e latelang. 

E balletsweng kereiti ya 12 

KAROLO A 

POTSO 1 

THOTHOKISO 

Moithuti o tla kgetha potso tse pedi ho tse nne tsa thothokiso tse baletsweng kereiti 12 

O araba potso tse pedi feela. 

POTSO 1 

DITHOTHOKISO 

POTSO 2 

2.1 KAPA 2.2 

TERAMA/ TSHWANTSHISO 

Mona ho botsitswe potso tse pedi 2.1 kapa 2.2 tse tswang bukeng e le nngwe. Ke potso ya 

moqoqo le ya tse kgutshwanyane. Moithuti o kgetha potso e le nngwe feela,ekaba e 

kgutshwane kapa moqoqo. 

POTSO 3 

PALE/ PADI 

3.1 KAPA 3.2 

Ho botsitswe potso tse pedi, ya moqoqo le ya tse kgutshwayane. Moithuti o kgetha e le nngwe 

feela 

Ha moithuti a kgethile potso ya moqoqo ho karolo B , O TLAMEHILE MAOTO LE MATSHOHO 

ho kgetha e kgutshwane ho karolo C. 

Ha moithuti a kgethile potso ya moqoqo ho karolo C. O TLAMEHILE MAOTO LE MATSHOHO 

ho kgetha e kgutshwane ho karolo B. 

DIPOTSO 

• Ke tse kgutshwanyane 

• Ke tse batlang temana 

• Ke tsa moqoqo 

364

SESOTHO PUO YA LAPENG 

PAMPIRI YA BORARO 

DINTLHA TSA TATAISO MALEBANA LE PAMPIRI. 

KAROLO A 

MEQOQO 

POTSO 1 

Mohlahlobi o botsitse bahlahlojwa mefuta e latelang ya moqoqo. 

1. Moqoqokgang 

2. Puisano 

3. Moqoqo phetelo 

4. Moqoqo tlhaloso 

5. Moqoqo boikgopolelo 

6. Setshwantsho 

1. Lengolo la setswalle. 

2. Lengolo la semmuso / kgwebo. 

1. Tsebiso le lenanetsamaiso. 

2. Memorandamo 

3. Tlaleho / Raporoto 

4. Metsotso 

5. Tsa bophelo ba mofu ( Obitjhuwari) 

1. Papatso/ phatlalatso 

2. Boitsebiso ( CV) 

3. E- mail 

KAROLO B 

MANGOLO 

POTSO 2 

LE 

DITEMA TSE TELELE 

POTSO 3 

HAPE LE 

DITEMA TSE KGUTSHWANE 

POTSO 4 

365 

(MATSHWAO : 40) 



(MATSHWAO : 10)

MOQOQO 

KAROLO YA A 

SESOTHO 

FIRST LANGUAGE STANDARD GRADE PAPER 3 

Mohlahlobi o botsitse bahlahlobuwa ka mefuta e latelang ya meqoqo: 

1. Moqoqo wa kgang 

2. Moqoqo wa tlhaloso 

3. Moqoqo wa tlhaloso 

4. Moqoqo wa kgopolo 

5. Puisano 

6. Moqoqo wa phetelo 

KAROLO B 

MANGOLO LE DITEMA 

1. Lengolo la setswalle 

2. Lengolo la semmuso 

3. Memo 

4. CV 

5. Tayari 

6. Tsebiso 

DITEMA 

1. Tsebiso 

2. Memorandamo 

3. Tlaleho 

4. Obitjhuari 

366

SESOTHOPUO YA TLATSETSO (L2 HG AND SG P1 AND 3) 

BOEMO BO MAHARENG 

PAMPIRI YA PELE 

DITAELO 

KAROLO A Tekokutlwisiso 

KAROLO B Kakaretso 

KAROLO C Tshebediso ya puo 

DITAELO 

-Bahlahlojwa ba bale ditaelo 

-Dipotso di nomorwe ka nepo 

-Ba arabe ho ya ka dikarolo tsa pampiri 

KAROLO A 


- E boemong ba bahlahlojwa 

- Dipotso kaofela di ntshitswe seratswaneng 

- Tlotlontswe ke e amohelehileng 

- Puo le tshebediso ya yona ke e tlwaelehileng 

- Kabo ya matshwao ke e lekanyaditsweng 

MATSHWAO: [40] 

KAROLO B 

KAKARETSO 

- Seratswana ke sa puo e tlwaelehileng le ditlwaelo tsa bahlahlojwa 

- Ditaelo di balwe,mme kakaetso e ngolwe ho ya ka ditelo 


KEROLO C 

TSHBEBEDISI YA PUO 

- Bahlahlojwa ba fuwe diratswana ho dib ala mme ba arabe dipotso ka ditho tsa puo tse 

latelang: 

- Mabitso, Mahlalosi, Maetsi, Masupi,Maakaretsi,Makgethi ,Maemedi, Maetsi a letso, Makgathe, 

Malatodi, Maele Dikapolelo.jj 

MATHSWAO: [35] 

MATSHWAO KAOFELA: [80] 

367

KAROLO A MOQOQO [20] 

KAROLO B DITEMA LE MANGOLO [20] 

KAROLO C DITEMA [20] 

KAROLO A 

- Meqoqo e mehlano mm eke ya:- 

- Moqoqophetelo 

- Moqoqotlhaloso 

- Moqoqo o hlahisang dintlha 

- Moqoqboitekolo 

- Moqoqokgang 


KAROLO B 


LENGOLO LA KGWEBO 

Le ya ho Ramotse 

Bolelele e be ba mofuta wa lona 





LENGOLO LA SETSWALLE 

- Bolelele e be ba mofuta wa lengolo la setswalle 

- Puo e be e nepahetseng e hlwahlwa 

PUISANO: [20] 

PUO 

- Bolele e be ba mofuta wa puisano 

- Puo e nepahetseng 

- Ha ho sebediswe di a bulwa di a kwalwa. 

368

KAROLO C 

DITEMA 

PAPATSO/PHATLALATSO: [20] 

- Puo e be e thetsang empa e ntse e ikamahantse le maemo a thekiso a SABS 

- Puo e hohele moreki 

MEMORANDAMO: [20] 

- Bolelele ba ona bo latele sebopeho sa memorandamo 

- Puo e be e hlwahlwa 

OBITJHUARI: [20] 


- Ho latelwe sebopeho sa obitjhuari 

- Kabo ya matshwao e nepahetse 

TSEBISO 

BOITSEBISO (CV) 

369




KAROLO A 

- Meqoqo e mehlano mm eke ya:- 



- Moqoqo o boitekolo 

- Moqoqo tebisang maikutlo 

- Moqoqohlahisang dintlha.(setshwantsho) 


KAROLO B 



Le ya ho Mosuwehlooho 









PUO: [20] 

- Bolele e be ba mofuta wa puo 


.[20] 

KAROLO C 

TSEBISO: [20] 


370




KAROLO A 

- Meqoqo e mehlano mm eke ya: 



- Moqoqo o hlahisang dintlha 

- Moqoqboitekolo 

- Moqoqokgang 


KAROLO B 



Le ya ho Ramotse 









PUISANO: [20] 

- Bolele e be ba mofuta wa puisano 


- Ha ho sebediswe di a bulwa di a kwalwa. 

[20] 

371

KAROLO C 

TSEBISO: [20] 

- Bolelelee be ba mofuta wa tsebiso 

- Puo e be hlwahlwa 

BOITSIBISO CV: [20] 

- Hlokomela ditaelo tsa ho boitsebiso 

- Bolelele e be boo o bobaletsweng. 


372

SESOTHO PUO YA TLATSETSO (ADDITIONAL LANGUAGE) HG LE SG 

PAMPIRI YA BOBEDI 

Dintlha tsa tataiso malebana le pampiri. 

Pampiri ena e arotswe dikarolo tse hlano e leng karolo A, B, C, D, E ho tswa bukeng tse hlano. 

Baithuti ba araba dipotso tse pedi feela ho tswa dibukeng tse pedi tseo ba ithutileng tsona. 

TLHAKA YA BASOTHO: PTPK MABOEA 

KAROLO A 

POTSO 1 

• Ho botsitswe dipotso ho tswa dithothokisong tse pedi tse rutilweng baithuti ba araba 

dipotso kaofela. 

• Ho hlahlojwa tsebo ya dintlha tsohle tsa manollo ya thothokiso. 

• Baithuti ba lebelletswe hore ba tsebe ho hlalosa ka makgabane a bothothokisi tlasa 

dihlooho tse itseng tseo ba di filweng. 

LERU LE LEFUBEDU: TDW MOHAPI 

KAROLO B 

POTSO 2 

TSHWANTSHISO / TERAMA 

373 

MATSHWAO [40] 

• Ho botsitswe dipotso ho tswa bukeng ya tshwantshiso, baithuti ba araba dipotso kaofela. 

• Baithuti ba lebelletswe hore ba tsebe poloto le moralo wa tshwantshiso. 

• Baithuti ba tshwanetse ho ithuta tshwantshiso ba e amahanya le ditaba tsa bophelo. 

MATSHWAO [40] 

KAROLO C 

POTSO 3 

PALE / PADI 

MEHALADITWE HA E EKETHEHA: T MAFATA 

• Ho botsitswe dipotso ho tswa bukeng ya pale, baithuti ba araba dipotso kaofela. 

• Dipotso di ama dintlha tsohle tsa manollo le moralo wa pale. 

• Baithuti ba tshwanetse ho ithuta pale ba ntse ba e amahanya le ditaba tsa bophelo. 

MATSHWAO [40]

BOKGELEKE BA BASOTHO: R. MOEKETSI 

KAROLO D 

POTSO 4 

DITSHOMO LE TSA SETSO 

• Dipotso di itshetlehile hodima tsebo ya ditshomo le tsa setso 

• Baithuti ba tlamehile ho hlalosa ka makgabane a tsa setso, dithoko, dipina, maele le 

dikapolelo, dilotho sesiu, tlasa dihlooho tse itseng tseo ba di filweng. 

• Baithuti ba tsebe dintlha tsohle tsa manollo ya ditshomo le tsa setso. 

PELONG YA KA: S.M. MOFOKENG 

KAROLO E 

POTSO 5 

MOQOQO 

374 

MATSHWAO [40] 

• Qotso kappa dogotso tse pedi hotswa megogong e mmedi bukeng eo ba e badileng, 

baithuti ba arabe dipotso kaofela. 

• Ho hlahlojwa tsebo ya dintlha tsohle tsa sebopeho le manollo ya moqoqo. 

• Baithuti ba tshwanetse ho ithuta moqoqo ba ntse ba e amahanya le ditaba tsa bophelo. 

MATSHWAO [40] 

MATSHWAO KAOFELA [80]

SETSWANA (PRIMARY LANGUAGE PAPER 1) HG 

KAROLO YA A 

POTSO 1 

TEKATLHALOGANYO 

Temana e e tlhaloganyegang mme morago go tla botswa dipotso go tswa mo go yona. Mefuta 

ya dipotso: 

• Tse di kopang lefoko le le nngwe fela. 

• Tse di kopang tlhaloso e e nang le dintlha tse di tlhaloganyegang 

• Tse di kopang Ee, kgotsa Nnya, mme o setlega ka lebaka le le tlhaloganyegang 

• Tse di kopang gore o neele maikutlo a gago. MADUO: [30] 

KAROLO YA B 

TSHOSOBANYO 

Temana kgotsa Setshwantsho. Moithuti o tla tshwanelwa ke go buisa temana kgotsa gone go 

lebelela setshwantsho ka kelotlhoko mme morago o tla kopiwa go sosobanya e nngwe ya tsona 

ka mafoko a gagwe. Netefatsa gore ga go kwalololwe temana. 

KAROLO YA C 

TIRISO YA PUO 

375 

MADUO: [10] 

Temana e e tlhaloganyegang e tla newa mme morago e tla buisiwa ka kelotlhoko. Dipotso 

tsotlhe tsa Thutapuo di tla botswa go tswa mo go yona. Dikarolopuo tsotlhe tsa Setswana di 

tshwanetse go rutiwa. Tiriso ya dikarolopuo e botlhokwa. 

1. Maina 

1.1 Leina ya maina 

1.2 Mefuta ya maina 

1.3 Ditlhopha tsa maina 

2. Popego ya maina 

2.1 Maina a tlhago 

2.2 Mainamatswa 

2.3 Maadingwa a maina 

2.4 Nyenyefatso / Ngotlo 

3. Maingoboka 

4. Mainatswako 

4.1 Bokao jwa maina – tswako 

4.2 Tiriso ya maina-tswako

5. Maemedi 

5.1 Mefuta 

5.2 Tiriso ya maemeditho le maeditota 

6. Masupi 

6.1 Tiriso ya masupi 

7. Lediri 

8. Matlhaodi 

9. Lebotsi. 

10. Diphetogomodumo 

11. Marui 

12. Maetsi 

13. Makopanyi 

14. Mefuta ya Mediriso le dipaka tsa lediri 

15. Makaelagongwe 

16. Malatodi 

17. Ditumatshwano 

18. Maele 

19. Diane MADUO: [40] 

Potso ya ditshiamiso 

Tshiamiso ka go kwala ditlhaka tse di kgolo fa go tlhokegang, matshwao a Puiso, le mopeleto o 

o siameng. 

Mafoko a tlhakatlhakantswe mme a tla tshwanelwa ke go rulagangwa sentle gore go nne le 

bokao bo bo tlhaloganyegang. MADUO: [20] 

376


KAROLO YA A 

DITLHAMO 

Mefuta ya ditlhamo e botlhokwa go ka itsiwa le go tlhaloganywa ke baithuti. 

KAROLO YA B 

MAKWALO 

377 

MADUO: [40] 

Mefuta ya makwalo e botlhokwa thata go ka itsiwe gone ba tla idirisa mo isagong. 

• Tse telele 

• Memorantamo 

• Metsotso 

• Puo 

• Pegelo 

Tse dikhutshwane 

DIKAROLWANA TSE DI KHUTSHWANE 

MADUO: [20] 

• Fekese 

• Lekwaloikitsiso 

• Tsa botshelo 

• Taeri 

• Molaetsa 

• Telegeramo 

• Emeile 

• Taletso 

• Phasalatso 

• Thomelo ya molaetsa ka Inthanete MADUO: [10]

DINTLHA TSA BOTLHOKWA 

1. TEKATLHALAGANYO 

2. TSHOSOBANYO YA TEMANA 

3. TIRISO YA PUO 

1. TEKATLHALOGANYO 

SETSWANA PUO YA NTLHA (PRIMARY LANGUAGE) 

SEEMOGARE (SG) 

PAMPIRI YA NTLHA (PAPER 1) 

1.1 Tekatlhaloganyo ke temana e mo go yona go bonwang gore mmuisi o tlhaloganya 

se a se buisang. 

1.2 Temana go le gantsi e tswa mo mofuteng mongwe le mongwe wa dikwalo. 

1.3 Pele mmuisi a ka araba dipotso, o tshwanetse go buisa temana gabedi kgotsa 

gararo. 

1.4 Tshwaya dintlha tse o lemogang e le tse di botlhokwa thata. 

1.5 Fa o araba dipotso go tswa mo temaneng, leka go araba ka mafoko a gago ka 

tlhamala. 

1.6 Tlhokomela kgotsa tlhaloganya gore dipotso di batla eng le gore mafoko a 

dirisitswe jang. 

1.7 Dipotso di ka bodiwa jaana 

- Tlhalosa; go ra gore o tshwanetso go tlhokomela maduo a a kwadilweng 

- Fa gotwe tlhalosa leele ga go ree naya leele le lengwe, sekao; go roba 

sogo; go nna kwa mothakga (25) 

2. TSHOSOBANYO / KHUTSHWAFATSO 

2.1 Tlhaloganya temana eo pele o ka sosobanya. 

2.2 Fa gotwe o sosobanye, ga gotwe o kopolele temana eo. 

2.3 Boleele jwa tshosobanyo e nne nngwe – tharong (1/3) 

2.4 Tshosobanyo e tshwanetse go nna le mooko wa temana ya ntlha. 

2.5 Tlogela mafoko a a sa tlhokegeng. 

2.6 Neela temana ya gago setlhogo se maleba. 

2.7 Sosobanya ka mokgwa wa temana e seng ka dintlha. 

2.8 Bapisa tshosobanyo ya gago le tema e e filweng, go tlhomamisa fa o sa ratha 

sekgwa. 

378

2.9 Tlhopho ya madiri a a malebe ke yona e e lebeletsweng ke motshwai thata. 

(10) 

3. TIRISO YA PUISO 

3.1 Dipotso tsa thutapuo di bodiwa go tswa mo temaneng. 

3.2 O ka bodiwa potso jaana; nopola lediriletswa mo temaneng mme o le dirise mo 

pelong e e tlhabosang. 

3.3 Dikarolopuo tse di latelang di ka bodiwa go tswa mo temaneng: matlhaodi, 

matlhalosi, marui, makaelagongwe, malatodi j.j (30) 

4. TSHIAMISO YA TEMANA (EDITING) 

4.1 Go neilwe temana mme mo go yona go dirisiwa matshwao a a maleba jaaka: 

matshwao a puiso, mopeleto le puo e e letleletswana. 

sekao; - ditsejwana, phegelwana, khutlo j.j 

- ibitsa-ipitsa 

- jaeba-bina (10) 

379 

PALOGOTIHE: [75]

SETSWANA PUO YA NTLHA 

SEEMOGODIMO 

PAMPIRI YA BOBEDI: DIKWALWA 

Pampiri e, ena le dikarolo tse tharo e leng A, B, C. dikarolo tseo di tswa go buka tse tharo, e 

leng poko, terama le padi. 

KAROLO YA A: MABOKO 

SELELE SA MOOKI: CD MOGOTSI 

– Mo karolong e, baithuti ba araba dipotso tse tharo fela. 

– Potso ya ntlha e arabiwa ke baithuti botlhe, ga go na tlhopo mme leboko ke le le sa 

rebolwang go tswa mo bukeng ya rona ya poko k.g.r. “Unseen Poem” maduo e leng (10). 

– Dipotso tse di latelang e fa godimo, ke tse di tswang go maboko a sometlhano (15) a a 

rebotsweng go ithuthwa, mme go botswa a le mane (4) moithuti o araba a mabedi (2) fela a 

a ikgethetseng ona maduo e leng 15x2(30. 

– Dipotso e tla nna tse di ikaegileng ka maitemogelo a moithuti, mme kgatelelo e le mo 

puong ya botshwantshi le diponagalopoko ka bophara. 

KAROLO YA B: TERAMA 

DINTSHONTSHO TSA LORATO: LD RADITLADI 

380 

MADUO: 10+30=[40] 

– Go tla nna le dipotso tse pedi mo karolong e. 

– Potso ya ntlha ke ya dipotso tse di khutshwane tse di tla botswang go ya ka nopolo 

(temana) mme moithuti o tshwanetse go nna le morago la buka-terama yotlhe. 

– Potso ya bobedi ke ya tlhamo kgotsa ditemana. 

– Dipotso le tsona e tla nna tse moithuti a ka kgonang go nnela maitemogelo a gagwe mme e 

seng kwalololo ya diteng tsa buka jaaka e ntse. 

– Fa moithuti a kgetha go kwala dipotso tse di khutshwane mo Karolong e (B) o tshwanetse 

go kwala ya tlhamo mo Karolong ya C. 

MADUO: [30] 

KAROLO YA C: PADI 

– Go dipotso tse pedi mo Karolong e. Potso ya ntlha ke ya dipotso tse di khutshwane go 

tswa mo nopolong ya temana ga mmogo le go tswa mo lemoragong la buka-padi yotlhe. 

– Potso ya bobedi ke ya tlhamo kgotsa ditemana. 

– Moithuti o tshwanetse go ntsha maikutlo / maitemogelo a gagwe mme e seng go 

kwalolola diteng tsa buka jaaka e ntse. 

– Fa moithuti a kgethile go kwala dipotso tse di khutshwane mo Karolong e (C). o 

tshwanetse go kwala potso ya tlhamo / ditemana mo Karolong ya B. 

MADUO: [30] 

MADUO OTLHE: 100


SEEMOGARE 

PAMPIRI YA BOBEDI: DIKWALWA 

Pampiri e, ena le dikarolo tse tharo e leng A, B, C dikarolo tse di tswa go dibuka tse tharo, e 

leng ya Polo, Terama le Padi. 

KAROLO YA A: MABOKO 

SELELO SA MOOKI: CD MOGOTSI 

– Mo karolong e baithuti ba araba dipotso tse pedi fela go tswa go tse nne tse di 

boditsweng. 

– Dipotso tsa Maboko e tla nna go tswa go tse sometlhano (15) tse di rebotsweng go 

ithuthwa. 

– Dipotso e tla nna tse di ikaegileng ka maitemogelo a botshelo a moithuti, mme puo ya 

botshwantshi le diponagalo poko tsa Seemogodino di tla lekwa go sikologwa. 

KAROLO YA B: TERAMA 

DINTSHONTSHO TSA LORATO: LD RADITLADI 

381 

MADUO 12½ x 2=[25] 

– Go dipotso tse pedi mo karolong e. 

– Potso ya ntlha ke ya dipotso tse khutshwane. Baithuti ba tla neelwa nopolo go thusa go 

gopola ditiragalo, mme baithuti ba tshwanetse go nna le lemorago la buka yotlhe. 

– Potso ya bobedi ke ya tlhamo / ditemana. 

– Dipotso e tla nna tse di moithuti a ka kgonang go naya maitemogelo / maikutlo a gagwe, 

mme e seng go kwalolola diteng tsa buka jaaka di ntse. 

– Fa moithuti a kgethile go kwala dipotso tse di khutshwane mo Karolong e (B), o 

tshwanetse go araba tlhamo mo go Karolo C. 

MADUO [25] 

KAROLO YA C: PADI 

MASAIKATEGANG A MAGODIMO: RM MALOPE 

– Go dipotso tse pedi mo karolong e, potso ya ntlha ke ya dipotso tse di khutshwane. 

Baithuti ba tla neelwa nopolo (temana) go ba gopotsa ka bokhutshwane ditiragalo tsa 

buka. Baithuti ba tshwanetse go nna le kitso kgotsa lemorago la buka yotlhe. 

– Potso ya bobedi ke ya tlhamo / ditemanna. Moithuti o tshwanetse go ntsha maitemogelo / 

maikutlo a gagwe mme e seng go kwalolola buka jaaka e ntse. 

– Fa moithuti a kgethile potso tse di khutshwane mo Karolong ya C, o tshwanetse go kwala 

potso ya tlhamo mo Karolong ya B. 

MADUO [25] 

MADUO OTLHE 75


SEEMOGARE 

PAMPIRI YA NTLHA 

KAROLO YA A 

POTSO NTLHA 

1.1 TEKATLHALOGANYO 

Baithuti ba buisa tekatlhaloganyo mme morago ba arabe dipotso tse di tswang mo 

tekatlhaloganyong eo. Dipotso dingwe e ka nna tse di batlang maikutlo a gago gongwe 

kakanyo ya gago jaaka: Fa e ne e le wena o no o tla dirang? [25] 

KAROLO YA B 

POTSO YA BOBEDI 

2.1 TSHOSOBANYO 

• Buisa ditaelo ka kelotlhoko gore o kgone go tlhaloganya seo o se bodiwang sekao: 

boleele jwa temana, mela, dintlha kgotsa mafoko. 

• Buisa temana ka kelotlhoko gore o tlhaloganye seo o se buisang 

• Buisa temana eo gape mme o ntse o thalela mafoko kgotsa dipolelo tse di botlhokwa. 

• Kwala dintlha tse di botlhokwa. Se fetole bokao mme o ntse o dirisa mafoko a gago. 

• Kopanya dintlha tsa gago ka go disosobanya gore o bone fa di go naya tlhaloganyo mme 

morago o ntshe tseo di seng botlhokwa. 

• Buisa potso gape gore o bone gore o arabile ka tshwanelo. 

• Siamisa mopeleto, tiriso ya mafoko mme morago o bo o kwala tshosobanyo eo mo 

bukeng. (final draft) 

• O ka naya tshosobanyo ya gago setlhogo fa se tlhokega. [10] 

Buisa temana mme morago o arabe dipotso. 

KAROLO C 

POTSO YA BORARO 

3.1 THUTA-PUO 

• Maele, diane, dikapuo, maina, maemedi, masupi, matlhaodi, matlhalosi, makgethi, 

matlhophi, marui, mabotsi, madiri, maetsi, mediriso, mathusamadiri, malatlhelwa, 

makopanyi, Makaelagongwe, malatodi, maadingwa jalo le jalo. [30] 

POTSO YA BONE 

4. Tshiamiso ya mafoko, mopeleto letiriso ya matshwao a puiso. [10] 

382 

MADUO OTLHE: 75

1.1 Diteng 


SEEMOGARE 


DIKAKANYO TSE DI BOTLHOKWA 

KAROLO YA A 

1. TLHAMO 

Moithuti o tshwanetse go tlhopha setlhogo se le sengwe fela mme a kwale tlhamo ya 

tsebe le halofo. Tlhamo e ka nna ya kanelo, tlhaloso, ikakanyetso jalo le jalo 

mme wena o tla itlhophela eo o e tlhaloganyang botoka. 

Tiriso ya puo, mopeleto kagego ya tlhamo ya gago e tla go okeletsa maduo. 

Matseno a tshwanetso go nna le kgogego mo mmading. Tiriso ya diane, maele le 

dikapuo di kgabisa puo thata. Ke tsona tse di tsenyang kgogedi mo puisong. 

[30] 

1.2 Lekwalo 

KAROLO YA B 

Go bodiwa makwalo a le mabedi fela, e leng la semmuso le la botsalano. 

Maduo a lekana. (15) 

Lekwalo la semmuso le na le di aterese tse pedi mme fa e le la botsalano aterese e le 

nngwe fela. 

Kagego, matshwao a puiso, mopeleto le puo e e tshwanetseng e ka go okeletsa maduo. 

[15] 

1.3 O ka bodiwa dipotso tse di latelang: 

Kwala metsotso gongwe memorantamo gongwe pegelo, tsa botshelo jwa moswi, puo, 

fekese gongwe taletso. 

Potso e fa o e araba, o tshwanetse go tlhokomela dilo tse di latelang: kagego, diteng, 

matshwao a puiso le puo le setaele. [15] 

383

SETSWANA (ADDITIONAL LANGUAGE) (PAPER 1) HG AND SG 

KAROLO YA A 

POTSO 1 

TEKATLHALOGANYO 

Temana e e tlhaloganyegang e tla neelwa baithuti mme morago go bodiwe dipotso go tswa mo 

go yona. 

Mefuta ya dipotso tse di tla bodiwang: 

1. Dipotso tse di batlang karabo ya lefoko le le lengwe. 

2. Dipotso tse di lopang moithuti go nopola ditiragalo di le mmalwa go tswa mo temaneng. 

3. Dipotso tse di lopang tlhaloso ya mebolelo [35] 

KAROLO YA B 

POTSO 2 

TSHOSOBANYO 

Go tla nopolwa temana mme moithuti o tla tshwanelwa ke go e buisa ka kelotlhoko mme 

morago a e sosobanye ka dintlha a dirisa mafoko a gagwe. Go elwe tlhoko gore baithuti ga ba 

kwalolole temana jaaka e ntse. Baithuti ba lemosiwe gore ba tlhagise dintlha tsa botlhokwa 

fela sekao: Fa moithuti a tswa go lebelela setshwantsho se se rileng, mme a tlotlela ditsala ka 

ga setshwantsho se, o se tlotla ka metsotswana ntswa a se lebeletse diura di le mmalwa 

gonne a tlhagisa ditiragalo tsa botlhokwa fela. [10] 

KAROLO YA C 

POTSO 3 

TIRISO YA PUO 

Baithuti ba tla nopolelwa temana e e tlhaloganyesegang mme morago e buisiwe ka kelotlhoko. 

Baithuti ba rutiwe dikarolo tse di farologaneng tsa puo gonne dipotso tse di tla bodiwang go 

tswa mo temaneng di ikaegile ka dikarolopuo tse di farologaneng. 

1. Maina 

2. Nyenyefatso 

3. Masupi 

4. Matlhophi 

5. Matlhaodi 

6. Matlhalosi 

7. Marui 

8. Malatlhelwa 

9. Mabotsi 

10. Makaelagongwe 

11. Malatodi 

12. Makopanyi 

13. Tumelo / Kganetso 

14. Maele [35] 

PALOGOTLHE: 80 

384

SETSWANA PUO YA BOBEDI (ADDITIONAL LANGUAGE) 

SEMOGODIMO LE SEEMOGARE (HG AND SG) 

BARUTWANA BA NAKWANA (PAMPIRI YA BARARO) (PAPER 3) 

PAMPIRI YA BORARO: Diura tse 2 

• BARUTWANA BA TLHOMELE DITAELO TSE BA DI NEELWANG 

KAROLO YA A 

DITLHAMO: DIKAROLWANA TSE DI ATOLOSITSWENG TSA BOITSHIMOLEDI 

• Barutwana ba neelwa tlhopo mo ditlhogong di le tlhano tsa ditlhamo mme ba tshwanela 

go tlhopha tlhogo e le NNGWE. 

• Ditshwantsho di akarediwe. 

• Ditlhogo tsa ditlhamo di akaretse mefuta e e latelang: 

- Kanelo 

- Tlhaloso 

- Thadiso 

- Ngangisano 

- Kganetsano/Mmuisano 

KAROLO YA B 

DIKAROLO TSE DI KHUTSHWANE TSA MEKWALWANA 

385 

BOLEELE: TSEBE DI LE PEDI (40) 

PALOGOTLHE YA KAROLO A: [40] 

• Barutwana ba tshwanela go tlhopha karolwana e le NNGWE go tswa mo dikarolwaneng 

tse tharo tse di tla newang. 

• Dikarolwana tse dikhutshwane tsa mekwalwana di akaretsa mefuta e e latelang: 

- Lekwalo la Semmuso/Kgwebo 

- Lekwalo la Botsalano 

- Kwadiso ya bukatsatsi 

- Puo 

- Pegelo 

BOLEELE: TSEBE E LE NNGWE 

PALOGOTLHE YA KAROLO B: [20]

KAROLO YA C 

DIKAROLO TSE DINGWE TSE DI KHUTSHWANE TSA MEKWALWANA 

• Barutwana ba tshwanela go tlhopha karolwana e le NNGWE go tswa mo dikarolwaneng 

tse tharo tse di tla newang. 

• Dikarolwana tse di khutshwane tsa mekwalwana di akaretsa mefuta e e latelang: 

- Lenaane le metsotso ya kopano 

- Taletso 

- Tsa botshelo jwa moswi 

- Boikitsiso 

- Phasalatso 

- Telekeramo 

386 

BOLEELE: TSEBE E LE NNGWE (20) 

PALOGOTLHE YA KAROLO C: [20] 

PALOGOTLHE: [80]

SETSWANA L2 PAPER 2 

Baithuti ba tshwanetse go araba dipotso di le pedi fela go tswa mo go tse tlhano tse di 

boditsweng. Potso nngwe le nngwe e na le maduo a le 40. 

Mo pokong, moithuti o nopolelwa leboko, mme a itse go araba dipotso tse di boditsweng go 

tswa mo lebokong. Dipotso di akaretsa diteng tsa poko, diponagalo tsa poko, bokao jwa 

leboko, go tlhopha dikarabo tse di siameng go tswa mo go tse o di neetsweng. 

Mo naaneng, moithuti o neelwa khutswafatso ya naane, mme a itse go araba dipotso tse di 

boditsweng. Dipotso di akaretse kitso ya dinaane j.k. mefuta ya dinaane, felo le nako ya 

dinaane. Moithuti o tshwanetse go itse go tlhopha dikarabo tse di siameng go tswa mo go tse o 

di filweng. 

Go tswa mo pading, Khutsweng le terame moithuti o neelwa nopolo mme a itse araba dipotso 

go tswa mo nopolong. Dikarabo tsa dipotso gantsi ke tse dikhutswane. Dikarabo tse ditelele ke 

fa moithuti a tshwanetse go araba ka mela e le mene / tlhano fela. Moithuti gape o tla nelwa 

dikarabo tse a tshwane tseng go tlhopha karabo e e maleba mo go tsona. 

387

SETSWANA PUO YA BOBEDI SEEMOGODIMO LE SEEMOGARE 

(ADDITIONAL LANGUAGE HG AND SG) 

(BARUTWANA BA NAKWANA LE BA NAKO E E TLETSENG) (PAPER 1) 

MADUO: 80 

PAMPIRI YA NTLHA: Diura tse 2 

BARUTWANA BA TLHOKOMELE DITAELO TSE BA DI NEWANG 

KAROLO YA A 

TEKATLHALOGAYO 

• Bontsi jwa dipotso bo bodiwa go tswa mo temaneng. 

• Bonnyane jwa dipotso bo tlhatlhoba boikakanyetsi jwa barutwana. 

• Fa barutwana ba neelana ka dintlha, ntlha nngwe le nngwe e abelwe leduo le le lengwe, 

fa di le pedi, maduo a mabedi jalojalo. 

• Fa barutwana ba tlhalosa sengwe, ba tshwaela ka sengwe se se riling kgotsa ba ntsha 

maikutlo a bona ba abelwe maduo a mabedi. (35) 

KAROLO YA B 

TSHOSOBANYO 

388 

PALOGOTLHE YA KAROLO A: [35] 

• Tekatlhaloganyo e se ke ya dirisiwa gape jaaka tshosobanyo, gone fa barutwana ba se e 

tlhaloganya ga ba kitla ba tlhaloganya tshosobanyo mme seno se ka dira gore maduo a 

bone a nne kwa tlase. 

• Bobedi bo, bo tshwanetso go ikemela ka bo bona. 

• Go dirisiwe ditemana, ditshwantsho le tsona di ka dirisiwa, mme barutwana ba 

tshwanetse ke go di sosobanya ka go neelana ka dintlhakgolo di le lesome mme bokao 

jwa temana bo sa fetolwe. (10) 

KAROLO YA C 

THUTAPUO 

PALOGOTLHE YA KAROLO B: [10] 

• Dipotso tsotlhe tsa thutapuo di tshwanetse go bodiwa go tswa mo temaneng. 

• Barutwana ba buisana le temana. 

• Barutwana ba tshwanetso go tlhaoloa/inola, nopola dikarolopuo tse di farologaneng go 

tswa mo temaneng. 

• Ba di dirise mo dipolelong tse ba di itlhametseng mme ba se kwalolole dipolelo, go tswa 

mo temaneng.

• Ba itse gore dikarolopuo tse di farologaneng di dirisitswe jang mo temaneng. Sekao: 

- sediri 

- sedirwa 

- thui 

- letiro 

- matlhalosi a a arologaneng jalojalo. 

• Dikarolopuo tse di farologaneng di dirisiwe mo bongwe le mo bontsing. 

• Ba itse go kwala dipolelo mo tumelong le mo kganetsong. 

• Bokaogabedi, dikapuo, maele le diane le tsona di tlhokomelwa. (35) 

389 

PALOGOTLHE YA KAROLO C: [35] 

PALOGOTLHE: [80]

SIKHATSI: 2 ½ hours 

EMAMAKI: 100 

SISWATI PRIMARY LANGUAGE (HG) 

PAPER 1 

LIPHEPHA LOKUCALA 

SIMO SELIPHEPHA 

Sifundvo Sekuvisisa (30) 

Kufinyeta (10) 

Luhlelo (40) 

Kulungisa emaphutsa ekubhaleni (20) 

(100) 

UMBUTO 1 

SIFUNDVO SEKUVISISA 

Kunesicephu sinye. Bafundzi baphendvula imibuto lesisuselwe esiceshini. Kune mibuto 

lembalwa ledzinga kutsi umfundzi aphendvule ngekuticabangela yena abeke luvo lwakhe. 

(30) 

UMBUTO 2 

KUFINYETA 

• Umfundzi ulindzeleke kutsi afundzisise indzatjana bese uyayifinyeta ngemagama akhe. 

• Ungalahleki umnyombo wendzaba . 

• Angaphindzaphindzi emagama. (10) 

Ifonetiki 

UMBUTO 3 

LUHLELO 

Umbuto ngekuphinyiswa kwemagama, kwenyusa, nekwehlisa livi (tone) e.g. lusizi lolwalula. 

Ifonology 

Imibuto ngengucuko yemsindvo. 

Bafundzi kufanele bachaze ingucuko leyentikile etinhlamvini leti dvwetjwelwe tiveta 

lokulandzelako: 

• Kulwangisa. 

• Kufonkhotisa 

390

• Kungwacatisa. 

• Kulumbana kwabonkhamisa. 

Imofology 

Bafundzi babutwa ngetincetu tenkhulumo, i.e. takhi tato kanye nekusetjentiswa kwato. 

Lokubalulekile kusentjetiswa kwato kanye nemcondvo letiwuvetako, 

e.g. bantfwabakho bakhulu kune bami. 

Syntax 

• Bakha imisho ngendlela labayobe batjelwe ngayo. 

• Kukhona imisho yetimpambosi, neyetindlela tesento. 

• Akuchazwa kodvwa kusentjetiswa emushweni. 

391

Tincwadzi letisetjentiswako nguletilandzelako: 

Tinkondlo . 

iDrama 

iNoveli. 

SIGABA A 

TINKODLO 

SISWATI PRIMARY LANGUAGE (HG) 

(PAPER 2) 

UMBUTO 1 

Labahlolwako bacindzetelelekile kutsi bawuphendvule lombuto. Unemamaki lali (10) 

Kusentjentiswa inkondlo lengekho kuletikhetsiwe. Lenkondlo itawufakwa ephepheni 

lokuhlolwa. 

Imibuto yonkhe itawubutwa isuselwa kulenkhondlo lecashuniwe, lephambi kwabo. (10) 

UMBUTO 2 

Ungemamaki lange 30, ahlukaniswa kabili abe li-15 macala. 

2.1. Kukhwetfwa tinkodlo letimbili tibekwe phambili kwebafundzi. Babutwe imibuto kuto. 

Ngayinye ikhondlo kuletikhetsiwe itawube itfwele emamaki lali 15. Natitonkhe tenta 

emamaki lange 30. 

UMBUTO 2.2 

Imibuto itabe iloku iphuma etinkodlweni. Umbuto ubuke kuchazwa kwesakhiwo nesimo 

setinkhodlo letikhetsiwe. Nguleyo naleyo nkondlo itawuba nemamaki lali-15. 

Labahlolwako kulindzeleke kutsi baphendvule umbuto 1 bese bakhetsa kuphendvula phakatsi 

kwembuto 2.1. nobe 2.2. lonemamaki lange-30. 

Tinkondlo letikhetsiwe tibhalwe ngalokucacile kusekhula 52/2002. 

Kunetinhlobo letimbili temibuto. 

SIGABA B 

iDRAMA (IMIDLALO) 

3.1 Ticephu letimbili ticaphunwe encwadzini leyi drama. 

Sicephu ngasinye sinemibuto leyenta amamaki lali (15) laphuma endzabeni. 

(30) 

3.2 Umbuto lomudze lobuke kubalingisi labasembili kumdlalo wedrama. Emamaki 

ngalokuphelele ange-30. Ahlukananiswa 3.2, 3.3, 4. 

392 

(40)

Kunetinhlobo letimbili temibuto. 

SIGABA C 

iNOVELI 

4.1. Kukhishwa ticephu letimbili kuNoveli. 

Sicephu ngasinye sinemibuto lenemamaki lali-15 latsatselwa esiceshini. Lena mibuto 

letsatselwa endzabeni. 

4.2. Umbuto lomudze (i-eseyi). Emamaki ngalokuphelele ange-30, ahlukaniswe ku 8.8, 6.5. 

393 

(30)

TINKONDLO 

1. Bafundzi banikwa: 

imibuto lemine, bakhetse lemibili kuphela. 

Luhla lweTinkondlo (Circular 52/2002) 

SISWATI LULWIMI LWEKUCALA SG 

(PAPER 2) 

SIGABA A 

IMIDLALO- (DRAMA) 

Bafundzi bakhetsa phakatsi kwembuto lomudze (essay) nobe lomfisha. 

SICEPHU C 

INOVELI 

394 

(25) 

(25) 

Bafundzi bakhetsa phakatsi kwembuto lomudze (essay) nobe lomfisha. 

(25) 

Emamaki laphelele: [75]

eMAMAKI: 120 

SISWATI (HG) (PRIMARY LANGUAGE) 

(PAPER 3) 


SIGABA A 

UMBUTO 1 

• Umfundzi ubhala indzaba yinye ngesihloko lasitsandzako. 

• Umfundzi kufanele abhale emakhasi lamabili. 

1 X 40 = (40) 

UMBUTO 2 

• Umfundzi ukhetsa incwadzi yinye phakatsi kweyemtsefto neyebungani 

1X20 = (20) 

SIGABA B 

UMBUTO 3 

• Umfundzi ukhetsa indzatjana yinye kuletidluisa umyaleto. 

• Abhale emaminitsi, imemorandamu/ indzabambiko, umlandvo wemufi. 

• Kanye nenkhulumo. 

• Lakhuketsile kufanele akubhale kungadluli likhasi linye. 

10X20 = (20) 

UMBUTO 4 

• Lena mibuto lemibili lemifisha kakhulu. 

• Umfundzi akakhetse phakatsi kwe CV ne FAX. 

395 

Emamaki laphelele: [90]

SISWATI (HG) 

LIPHEPHA LESITSATFU 

SIGABA C 

Khetsa imibuto lemiblili encwadzini yinye. 

Refer to the language standardization policy page 18 

Response to folkfore /shortstory/ essay 

UMBUTO 4.1 

Kukhishwa imibuto esiceshini lesikhetsiwe, leminye imibuto ihambelane nemongo wesicephu 

lesikhetsiwe. Emamaki lal- 15 

UMBUTO 4.2 

Luhlobo lwemibuto kungaba we-eseyi nobe sigaba lesicuketse emaphuzu ngalokubutiwe. 

Emamaki lali-15. 

NOBE 

5.1. Kukhishwa siceshana imibuto itsatselwe kumongo nakusicephu lesicashuniwe emamaki 

lali-15. 

5.2. Kubutwa umbuto lodzinga imphendvulo lendze leyi eseyi nobe sigaba. Emamaki lali-15. 

[30] 

396

SISWATI PRIMARY LANGUAGE (SG) 

LIPHEPHA LESITSATFU (PAPER 3) 


SIGABA A 

Umbuto 1 

• Umfundzi ubhala indzaba yinye. 

• Budze lobulindzelekile makhasi lamabili. 1x30=(30) 

SIGABA B 

Umbuto 2 

• Umbuto lovulelekile. 

• Umfundzi ukhetsa abhale kunye phakatsi kwencwadi lesemtsetfweni , yebungani, NOBE 

emaminitsi emhlangano, umlandvo wemufi, imemorandamu/ indzabambiko kanye nembiko. 

• Budze lobulindzelekile likhasi linye. 1x15= (15) 

UMBUTO 3 

• Umfundzi ukhetsa sihloko sinye phakatsi kwe C.V , Fax , E-mail nekutsengisa. 

• Ulindzeleke kutsi abhale likhasi linye. 1x15 = (15) 

SIGABA C 

Umbuto 4.1 

Labahlolwako bakhetsa umbuto munye. Sibonelo. 4.1, 4.2, Nobe 5.1, 5.2. 

Kukhishwa imibuto letsatselwe esiceshaneni lesikhetsiwe (nemongo). 

Emamaki lali 10 

Umbuto 4.2 

Umbuto lodzinga imphendvulo lendze, nobe sigaba lesilingene. Emamaki 10. 

[20] 

397

SIKHATSI: 2 hrs. 

EMAMAKI: 80 

Sifundvo sekuvisisa. 

SISWATI LULWIMI LWESIBILI (ADDITIONAL LANGUAGE) 

(HG) LIPHEPHA LEKUCALA. 

SIGABA A 

A. Indzaba letsintsa bantfwana ngemphilo yabo. 

B. Imibuto lebutwa ngetinhlobo letinyeti. 

• Lehlola kucabanga kwemfundzi. 

• Lehlola kuninga kwemfundzi. 

• Lehlola simo endzabeni. 

• Lehlola kuvisisa kutsi indzaba itsini. 

C. Kunalapho kukhetfwa imphendvulo lefanele. 

2. Kufinyeta indzaba. [10] 

A. Umfundzi kufanele afinyete indzaba layiniketiwe. Angafaki imibono yakhe, futsi 

angaguculi umcondvo wendzaba. Emamaki lali-10. 

3. LUHLELO NELULWIMI [35] 

A. Kufanele ati kutsi tincetu tenkhulumo tisebenta njani emushweni. Ati tivumelwano 

tato. 

Umbuto: Gcwalisa tikhala letishiyiwe emushweni ngetincetu tenkhulumo, ngemagama 

lafanele. 

Make ufanele kutsandza indvondza (Buniyo) ngobe imentela konkhe lokuhle. 

• Imphendvulo –“Yakhe” 

B. Timphawu tekubhala nekusebenta kwato emushweni. 

Umbuto: Lungisa umusho ngekufaka timphawu tekubhala letifanele. 

bafana baka maseko babita zanele 

Imphendvulo: Bafana baka Maseko babita Zanele. 

C. Ukunikwa imisho asho kutsi ikumiphi imiva. 

Umbuto : Bhala usho kutsi lemisho inemiva miphi. (Luvelomagama) 

• Ngitakushaya ngobe uyedzelela 

• Imphendvulo: Utfukutsele. 

398

D. Kutfola tinchazelo temagama ngekusetjentiswa kwawo emushweni 

Umbuto: Chaza emagama ladvwetjelwe emushweni kutsi asetjentiswe njani. 

• Sewaba lutsi ngekugula. 

• Imphendvulo: lutsi muntfu lowondzile/ lomncane kakhulu ngemtimba. 

E. Kusebenta kwetakhi netinchazelo tetakhi letihlukene 

Umbuto: Gcwalisa imisho ngekusebentisa takhi letifanele. 

• Ngi---hamba kusasa. 

• Imphendvulo: - to-, -yo- 

F. Umfundzi kufanele ati tikhatsi tesento. 

Umbuto: Calisa umusho ngemagama lafakwe kubakaki. 

• Nyalo ngihamba ngebhasi kuya esikolweni ngobe Babe uyagula. (ngemnyaka lowengcile/ 

lophelile) 

G. Umfundzi akacapheliswe kutsi kuyini kulandvula 

Umbuto: Landvula letento letidvwejelwe umushweni. 

Bantfu labagulako bahlala kulesitulo. 

Imphendvulo: Labangaguli. 

H. Bafundzi kumele bafundziswe kutsi letiyalo tisho kutsini 

Chaza: Kumele anike inchazelo legcwele. 

Catsanisa: Akavete kutsi tintfo latinikiwe tehlukene njani. 

Sekela imphendvulo yakho: Nawutsi yebo nobe cha yisho kutsi kungani nika tizatfu 

temphendvulo yakho. 

399

SIKHATSI: 2 hrs. 

EMAMAKI: 80 

Sifundvo sekuvisisa. 

SISWATI LULWIMI LWESIBILI (ADDITIONAL LANGUAGE) (SG) 

LILPHEPHA LOKUCALA 

SIGABA 

A. Indzaba letsintsa bantfwana ngemphilo yabo. 

B. Imibuto lebutwa ngetinhlobo letinyeti. 

• Lehlola kucabanga kwemfundzi. 

• Lehlola kuninga kwemfundzi. 

• Lehlola simo endzabeni. 

• Lehlola kuvisisa kutsi indzaba itsini. 

C. Kunalapho kukhetfwa imphendvulo lefanele. 

2. Kufinyeta indzaba. [10] 

A. Umfundzi kufanele afinyete indzaba layiniketiwe. Angafaki imibono yakhe, futsi 

angaguculi umcondvo wendzaba. Emamaki lali-10. 

3. LUHLELO NELULWIMI [35] 

A. Kufanele ati kutsi tincetu tenkhulumo tisebenta njani emushweni. Ati tivumelwano 

tato 

Umbuto: Gcwalisa tikhala letishiyiwe emushweni ngetincetu tenkhulumo, ngemagama 

lafanele. 

Make ufanele kutsandza indvondza (Buniyo) ngobe imentela konkhe lokuhle. 

• Imphendvulo –“Yakhe” 

B. Umfundzi kufanele akwati buningi betigaba. Bacaphele kutsi netakhi tiyagucuka 

nawuyisa umusho ebunyentini 

Umbuto: Bhala bunyenti bemusho. 

• Hamba uyowasha sitja sakho. 

Imphendvulo: Hambani niyowasha titja tenu. 

C. Ukunikwa imisho asho kutsi ikumiphi imiva 

Umbuto : Bhala usho kutsi lemisho inemiva miphi. (Luvelomagama) 

• Ngitakushaya ngobe uyedzelela 

• Imphendvulo: Utfukutsele. 

400

Kutfola tinchazelo temagama ngekusetjentiswa kwawo emushweni 

Umbuto: Chaza emagama ladvwetjelwe emushweni kutsi asetjentiswe njani. 

• Sewaba lutsi ngekugula. 

• Imphendvulo: lutsi muntfu lowondzile/ lomncane kakhulu ngemtimba. 

D. Kusebenta kwetakhi nitinchazelo tetakhi letihlukene 

Umbuto: Gcwalisa imisho ngekusebentisa takhi letifanele. 

• Ngi---hamba kusasa. 

• Imphendvulo: - to-, -yo- 

E. Umfundzi kufanele ati tikhatsi tesento 

Umbuto: Calisa umusho ngemagama lafakwe kubakaki. 

• Nyalo ngihamba ngebhasi kuya esikolweni ngobe Babe uyagula. (ngemnyaka lowengcile/ 

lophilile) 

F. Umfundzi akacapheliswe kutsi kuyini kulandvula 

Umbuto: Landvula letento letidvwejelwe umushweni. 

Bantfu labagulako bahlala kulesitulo. 

Imphendvulo: Labangaguli. 

H. Bafundzi kufanele bati kutsi kukhona emagama langabhalwa ngekufuna kodvwa abe 

netinchazelo letinyenti. 

Umbuto: Bhala imisho lembili letawuveta kutsi leligama lenetinchazelo letimbili letehlukene 

Litsanga: Lelidliwako, sitjalo 

Sitfo semtimba ngenhla kwelidvolo. 

Imisho yemfundzi kufane ivete inchazelo hhayi kutsi. Atsi: Ngitsandza litsanga. 

I. Bafundzi kumele bafundziswe kutsi letiyalo tisho kutsini 

Chaza: Kumele anike inchazelo legcwele. 

Catsanisa: Akavete kutsi tintfo latinikiwe tehlukene njani. 

Sekela imphendvulo yakho: Nawutsi yebo nobe cha yisho kutsi kungani, nika tizatfu 

temphendvulo yakho. 

401

SISWATI LULWIMI LWESIBILI (ADDITIONAL LANGUAGE) SG AND HG 

SG LIPHEPHA LESIBILI (PAPER 2) 

Incwadzi lejikeletako 52/2002 ibonisa tincwadzi letisetjentiswako nelingekatsi lato elulwimini 

lwesibili HG & SG. Yehlukaniswe kahlanu i.e. iNoveli, iDrama, Tinkondlo, Tindzaba letimfisha, 

ne Folklore. Bafundzi kufanele bati lingekhatsi nasekhiwo.(Sibonelo,Tinkondlo: kudzingeka bati 

sakhiwo sangekhatsi nesangaphandle nabahluta inkondlo). 

Leliphepha lihlukaniswe kutigaba letinhlanu. Kuleso naleso sigaba kunaletincwadzi letikhetsiwe 

tabhalwa ngenhla. 

Bafundzi kufanele bakhetse tigaba lelimbili. Kufanele baphendvule yonkhe imibuto etigabeni 

labatikhetsile. 

Sigaba ngasinye sinemamaki la 20 nakahlanganiswa aba nge-40 

Letigaba letimbili letikhetsiwe titawenta emamaki lange-80 

Liphepha litawutsatsa emahora lamabili. 

SIGABA D 

Lisigaba setindzaba letimfisha. Incwadzi lesetjentiswako :Circular 52/2002 

• Lesigaba singe Folklore /Tinganekwane. 

• Incwadzi lesetjentiswako: Circular 52/2002 

SIGABA E 

402

SIKHATSI: 2 hrs 

EMAMAKI: 80 

SISWATI LULWIMI LWESIBILI (ADDITIONAL LANGUAGE) 

LIPHEPHA LESITSATFU (HG AND SG) 

SIGABA A 

1. Lwati lokubhala indzaba . (40) 

Bafundzi babhala indzaba leyenta emakhasi lamabili nobe emagama lange 250-300 

Tinfo lekufanele baticaphele nababhala indzaba nguleti letilandzelako. 

• Kunamatsela/ kuhlala esihlokweni labasinikiwe. 

• Kusebentisa lulwimi lolufanele, kubhala ngalokufanele. 

• Lokwamulekile, kupela amagama ngendlela lengiyo. 

• Kubhala timphawu ngalokufanele. 

• Bumnandzi bendzaba. 

• Tigaba tembhali kufanele tibe nekuvana, tibumbeke ngendlela lengiyo, kubonakale 

umcondvo lophetfwe sigaba, Umusho lonemongo awubekhona, sigaba sesingeniso sibe 

sifisha, sidvonse.\ Siphetfo asigoce indzaba, sivete kutsi wena umephi. 

Nati tintfo umfundzi lokufanele ahlolwe ngato. 

SIGABA B 

INCWADZI 

• Sakhiwo: emakheli, sibingelelo, sivaleliso. 

• Lokucuketfwe: kunamatsela / kuhlala esihlokweni losinikiwe 

• Lulwimi lokufanele: sipelingi,timphawu, emagama lamukelekile / langiwo. 

Kwetfula inkhulumo 

- Sakhiwo lesingiso : Kubingelela, kwamukela tikhulu letikhona, kubabita ngemagama, 

kubonga. 

- Lulwimi: kukhekha kwemisho , sipelingi, timpawu. 

- Lokucuketfwe: Kunamatsela esihlokweni, kukhetsa emagama lafanele / langiwo. 

SITSENGISI 

SIGABA C 

- Sakhiwo: ligama lekutsengisa, siga sekutsengisa, kungenti sibhicongo sesitsengisi. 

- Lulwimi: lulwimi lolakha sitfombe engcondvweni, emagama laveta umsindvo, kunyakata 

nolukunye. 

- Lokucuketfwe: Kunamatsela esihlokweni, khangisa lokunikiwe. 

403 

(20)

LIKHADI LESIMEMO 

- Sakhiwo: lokwenatani, tihlokwana, kuhleleka, kungenti sibhicongo. 

- Lulwimi: Kwakhela kwemisho, sipelingi, timphawu. 

- Lokucuketfwe: sikhatsi, indzawo lekutawuhlanganelwa kuyo, siphendvulelwa kuliphi likheli 

simemo, kunamatsela esihlokweni. 

EMAMINITSI EMHLANGANO 

- Sakhiwo: sihloko semaminitsi, sikhatsi, indzawo, tihlokwana temaminitsi. 

- Lulwimi: sikhatsi lesidlulile, kubika, kwakheka kwemisho, sipelingi, timphawu. 

- Lokucuketfwe: tindzaba letiphatselene nemhlangano / litikhulunywe emhlanganweni, 

tinkinga netisombululo. Tiphetfo lokuvunywelwene ngato. 

404

SIKHATSI: 2hrs 

EMAMAKI: 80 

SISWATI LIPHEPHA LESIBILI (HG AND SG) 

Incwadzi lejiketako 52/2002 ibeka elubala tincwadi letisetjentiswako elulwimini lwesibili HG and 

SG 

Kunemibuto lesihlanu 

1. iNOVELI. 

************************** 

Simo: kuneticashunwa letimbili kulencwadzi, ngasinye sinemamaki lange 20, sikawonkhe ange 

40. 

2. TINKONDLO 

****************************** 

Tinkondlo letikhetsiwe Circular 52/2002 

- 

- 

- 

- 

- 

- 

- 

- 

- 

• Kuneticashunwa letimbili letiphuma kutinkondlo letikhetsiwe 

• Inkondlo / sicephu ngasinye sinemamaki la-20 

• Emamaki sekawonke ange-40 

• Kuneticephu / ticashunwa letimbili kuDrama. 

• Sicephu / sicashunwa ngasinye sinemamaki la-20 

• Emamaki sekswonke ange-40 

• Yonke imibuto ngulephatselene neticashunwa nobe ticephu letiniketwe bafundzi. 

Umbuto 5.1. 

NOBE 

• Kuphendvula indzaba lemfisha / lendze (iesayi) kutokhishwa siceshana / sicaphunwa. 

• Imibuto itsatselwe kuso nobe kumongo wendzaba. 

• Imibuto lemifisha ilindzelekile: emamaki lali-10 

Umbuto 5.2 

405

- Umbuto lodzinga imphendvulo lendze nobe sigaba lesicuketse amaphuzu lalingene 

emamaki. Emamaki lali-10 [20] 

406

MARKS: 200 

1. PLAYS AND THEATRE HISTORY 

STRUCTURE 

FORM 

OUTCOMES: 

SPEECH AND DRAMA (HG AND SG) 

SECTION A 

THEORY 

Learners will be expected to write THREE essays (50 marks each) on THREE 

different texts: 

• An Absurd text 

• A Brechtian text 

• A South African text 

• Own choice – could also be South African 

Learners will be expected to have extensive knowledge and understanding of the sociopolitical 

background in which their chosen texts were created. 

The essay should address the questions on THREE levels: 

• Give relevant information on dramatic principles and theories 

• Display an ability to interpret the information 

• Apply information and understanding to the texts (reference to the text) 

1.1 Rubric for Section A 

Identify the 

structure of the 

play. Name the 

structure- linear, 

episodic, 

circular. 

The following table interprets Section A of the core syllabus and provides a rubric 

for marking the 50 mark essays: 

CHARACTER 

OUTCOMES: 

Place the 

characters on a 

scale ranging 

from realistic to 

stylised (stereotypical). 

Place characters 

in terms of 

physical, social, 

moral and 

psychological 

aspects. 

DIALOGUE, 

LANGUAGE 

OUTCOMES: 

Place the 

language on a 

scale ranging 

from realistic to 

stylised (poetic). 

Address the 

matter of 

appropriateness. 

407 

THEMATIC 

CONCERNS 

OUTCOMES: 

Identify the 

issues that the 

dramatist chose 

to address. 

Range these in 

an order of 

importance. 

SPACE, 

SETTING 

OUTCOMES: 

Identify the spatial 

demands of the 

play by 

interpreting the 

stage directions in 

the text. 

Place the 

treatment of 

space on a scale 

ranging from 

realistic to stylised 

(representational).

The relevant 

dramatist’s 

theories on 

structure 

OUTCOMES: 

Explore the 

nature of the 

theory 

Apply to the text 

The way in which 

the socio-political 

background to 

the play 

influenced 

structure 


dramatist’s 

theories on 

characterisation 

OUTCOMES: 

Identify unique 

theories on 

characters 

Refer to 

examples in the 

text 

The dramatist’s 

world vision 

influences his 

concept of 

character 


dramatist’s 

theories on the 

use of language 

in creating 

dialogue 

OUTCOMES: 

Identify unique 

aspects 

concerning the 

dramatist’s use 

of language 

Refer to 

examples in the 

text 

The use of 

dialogue 

comments on the 

world in which 

the play was 

created 

408 

The thematic 

concerns of the 

dramatists 

OUTCOMES: 

Identify themes 

Refer to the text 

The dramatist 

takes a stance 

from which 

he/she interprets 

the world in 

which the play is 

written 


dramatist’s 

theories on the 


space 

OUTCOMES: 

Identify those 

aspects that are 

unique to the 

dramatist as 

regards 


space 

Refer to the text 

The dramatist 

treats space as a 

reflection of the 

world in which 

the play was 

created 

These outcomes could and should be addressed in each play that is studied in the 

drama course from Grade 10 to Grade 12. 

When learners give information on the text they choose to discuss it stands to 

reason that the outcome – an ability to represent information in a logical manner – 

will prompt the learner to pay attention to layout. 

1.2 Layout of essays 

Think of the essay as consisting of FIVE major paragraphs directly related to outcomes 

addressed since Grade 10 concerning an understanding of the dramatic principles. 

• Structure 

• Characterisation 

• Dialogue 

• Themes 

• Use of space or setting 

Learners should address no fewer than FIVE principles to the value of 

10 marks each.

Each topic must be: 

• Stated/named 

• Explained 

• Illustrated with an appropriate example to motivate or justify the statement 

• Placed in the socio-political context 

This can then be regarded as a 10 mark unit. 

Five such units will constitute a 50 mark essay. 

Some of the outcomes: 

Identify linear, episodic and circular structures. 

Place characters in a socio-political context. 

Read dialogue in the context of characterisation and socio-political 

context. 

Read the dramatist’s interpretation of the acting space. 

Trace and interpret the major thematic concerns of the dramatists. 

1.3 The socio-political background 

All information concerning a particular text will bear evidence of an awareness of 

the social, economic, political, historical, philosophical and other relevant concerns 

of the world in which the text was created. Learners should then refer to the 

relevant background information in reference and in relation to the dramatic 

principles of the text under discussion. In this way information on the background 

is presented in a totally integrated manner. 

This aspect of the response addressed the outcome: 

Look at the world in which the text was created. 

Interpret the world in which the text was created. 

Explore the significance of historical events that are reflected in the play. 

Explore the significance of social awareness that is reflected in the play. 

Explore the ideology that the play reflects. 

Trace the economic climate that is reflected by the play. 

1.4 Evidence of interpretation of information 

Examples must show that learners understand the concepts treated as facts. 

Information must be interpreted rather than listed without any relevance to the 

examples. 

The integration of information and examples must enhance the response. 

It is not what you know but how well you understand the information in relation to 

a specific text that will be acknowledged. 

1.5 How to deal with “examples” 

Learners must refer to examples as though the examiner is also an 

informed reader of the text. 

Informal names may be given to scenes, e.g. Bald Prima Donna – The Bobby 

Watson Scene or The Fireman scene. 

409

Learners must NOT relate the contents of the plays (do not just tell the 

story). 

SECTION B 

SPEECH 

Note that all answers must refer to a particular practical experience. Learners must give a 

personal response that bears evidence to the practical work that addresses the outcomes for 

Speech. 

2.1 The Outcomes for Section B : Speech 

Voice/Body Integration 

Learners should demonstrate an understanding of optimal voice/body integration: 

Learners should understand how to develop control over the body in order to release 

unnecessary tension and establish optimal alignment and balance so that voices and 

bodies support one another in performance and in life. 

They should understand the effect of a lack of integration on the voice and on the 

performance in general. 

Breathing 

Learners should demonstrate an understanding of how the body breathes for speech. 

They should understand how to work towards efficiency in the physical co-ordination of 

breathing in order to produce just the necessary breath pressure and airflow for effective 

voice. 

They should understand how to have sufficient control of breathing appropriate to the 

context of the performance or life situation. 

Phonation 

Learners should demonstrate an understanding of healthy vocal fold function, which 

avoids breathiness and excessive effort or tension. 

They should understand the importance of using their voice in a free but healthy fashion, 

particularly when demands are made in terms of volume usage or emotional intensity. 

Resonance/Vocal tone 

Learners should demonstrate an understanding of resonance and vocal tract shaping, 

and be able to apply this understanding to their exploration of text and character. 

They should develop an awareness of how resonance contributes to projection, 

characterisation and healthy, pleasant voice use. 

410

Muscularity/Clarity 

Learners should understand the importance of speaking distinctly and audibly for clear 

communication. 

They should demonstrate a general understanding of how the articulators work to make 

speech sounds. 

They should be able to explore and utilise the expressive, interpretative and musical 

aspects of speech sounds and be able to adapt their use of these aspects to create 

differences between characters or express subtleties of meaning. 

Use of pitch 

Learners should understand the importance of using a comfortable pitch for healthy voice 

use and be able to employ a degree of flexibility depending on meaning, character and 

emotion. 

They should be able to demonstrate a basic understanding of how the vocal folds 

function to sustain and change pitch and therefore be aware of the dangers of forcing 

pitches which are uncomfortable. 

Use of Volume 

Learners understand how to create a certain amount of volume without vocal strain and 

how to control volume appropriate to meaning, character and emotion within the 

performance environment. 

Use of Rhythm 

Learners should be aware of how appropriate pace enhances clarity in communication 

and be able to demonstrate an understanding of how rhythmic changes (pace, pause, 

climax, emphasis) contribute to establishing meaning, character and emotion. 

Expression of Meaning 

Learners should demonstrate an understanding of how to convey meaning through such 

elements as phrasing, pause, emphasis, intonation and vocal tone, and be able to 

interpret a text using these elements in order to communicate the meaning of the text 

clearly and expressively. 

Expression of Character 

Learners should be aware of how character is reflected in the voice. 

They should be able to demonstrate an understanding of how all elements of voice work 

come together to communicate the personality, class background, age, education and 

status of the speaker. 

Learners should be able to interpret a text, making appropriate choices for 

characterisation. 

411

Vocal Health 

Learners should understand how to look after their voices. 

They should have some basic knowledge of those things that can interfere with or 

contribute towards healthy voice use. 

Some aspects they should consider are the effect of smoking on the voice; the effects of 

what we eat and drink (water, medications, foodstuffs) on the voice; avoiding vocal abuse 

and misuse (excessive throat-cleaning, glottal attacks, coughing, shouting, straining, 

over-use). 

SECTION C 

STAGING 

This section requires a response directly based on the staging of one of the prescribed texts 

and is directly related to the practical component of the subject. 

Learners must be creative within the constraints of the style of the text they select to answer. 

The response must bear evidence of some knowledge of an acting space or theatre. 

412

MARKS: 150 

SPEECH AND DRAMA SG 

THEORY 

SECTION A 

PLAYS AND THEATRE HISTORY 

At Standard Grade, learners will be expected to possess a basic knowledge of factual 

information on THREE texts and they should be able to apply this in simple, straightforward 

situations. 

The essays will count 30 marks each. 

Questions will also be based on the dramatic principles as for HG but learners will not be 

expected to refer to examples to substantiate statements. (90) 

SECTION B 

SPEECH 

Learners will be required to answer questions on the application and interpretation of the types 

of work covered in the practical Speech and Drama course. 

Refer to the breakdown of outcomes discussed in the HG section for more information. (40) 

SECTION C 

STAGING 

This section requires a response based on the staging of one of the prescribed texts and is 

directly related to the practical component of the subject. 

Learners must be creative within the constraints of the style of the text they select to answer. 

The response must bear evidence of some knowledge of an acting space or theatre. 

413 

(20)

SPEECH AND DRAMA 

PRACTICAL EXAMINATION 

Please note that some changes have been made to the format of the final Grade 12 practical 

examination for 2006. Learners will be expected to prepare THREE different pieces for the 

practical examination. The total time for the presentation/performance of the three pieces 

should not exceed the allowed 10 minutes per candidate. 

THREE PRACTICAL PIECES 

1. A monologue from a play written by an established writer 

2. A scene from a (published or professionally performed) play 

3. An own choice piece 

MORE INFORMATION ON THE OWN CHOICE PIECE 

The own choice piece must display an integrated use of body and voice. 

It could be presented as a group or an individual item. 

It must be theatrically engaging. 

It could include: 

• Poetry, izibongo, songs 

• Dramatised prose, ntsomi or storytelling 

• An additional monologue 

• An additional scene 

• A stand-up comedy routine 

• A work-shopped scene 

• A large group scene/song which is an extract from a theatrical production or a musical 

• Physical theatre that incorporates voice work 

• An experimental piece using movement, voice and other effects 

MARK ALLOCATION 

ITEM OUTCOMES MARKS 

Monologue Rubric in Guidelines document 60 

Scene (2 or 3 participants) Rubric in Guidelines document 60 

Own choice Rubric prepared by the educator to 

60 

Overall performance 

assessment 

accommodate the outcomes of the piece 

Should address outcomes concerned with 20 

variety, energy, confidence, concentration, 

etc. 

TOTAL: 200 

414

Text: Bharatyars Kuyil Pattu 

10 selected poems 

1. Kondrai Vanthan Vilaku Kathaygil 

(10 selected stories) 

2. Thirukurral 

(10 selected verses) 

Text: 1. Thanga Pathakama 

Optional 

Text: 2. Six Short Plays 

TAMIL 

SECTION A 

POETRY 

SECTION B 

PROSE 

SECTION C 

DRAMA 

415

TECHNIKA (SIVIEL) HG 

TECHNICA (CIVIL) HG 

Eerste DRIE vrae is verpligtend. Daar is ŉ keuse van TWEE ander vrae 

First THREE questions are compulsory. There is a choice of TWO others. 

Teorie / Theory including: 

Vereistes vir sonwaterverhitting effektiewe werking 

Requirements for effective operation of solar heating 

Aspekte om op te let by aankoop van nuwe erwe 

Aspects to look at when buying a new stand 

Vereistes van staal vir beton bewapening 

Requirements of steel used for reinforcing 

Punte om in ag te neem wanneer timmerhout vir dakkappe gekoop word 

Points to consider when buying timber for roof trusses 

Funksie van: Function of: 

Drukverminderingsklep 

Pressure reducing valve 

Ontlasklep 

Pressure relief valve 

Primêre voerpyp 

Primary flow pipe 

Bestandele van beton en redes vir staalwapening in beton 

Ingredients of concrete and reasons for reinforcing of concrete 

Eienskappe van vogweerlae 

Characteristics of dampproofing 

Veiligheid op boupersele 

Safety on building sites 

Besonderhede nodig vir die tekening van knoopplate 

Details needed for drawing of gusset plates 

Teorie / Theory 

Bouregulasies en redes vir bouregulasies 

Building Regulations and reasons for building regulations 

Besonderhede op rioolplanne 

Details found on sewer plans 

Stappe wat geneem moet word voor bouwerk begin op nuwe standplaas 

Steps to be taken before building can commence on a new stand 

Beskryf opstelling van bukswaterpas 

Describe the set up of a dumpy level 

416

OTHER TYPES OF QUESTIONS 

Skets van sonwaterverhitting stelsel 

Sketch a solar heating system 

Skets van vensterbank konstruksie van staalraam venster 

Sketch of a window sill construction with steel frame 

Skaaltekening van knoopplaat 

Scale drawing of a gusset plate 

Skaaltekening van huisplan 

Scale drawing of dwelling plans 

Balk berekeninge. (Buigmomente en Skuifkragte) 

Calculation of beams (Bending moments and Shear forces) 

Raamwerk berekeninge 

Calculations of frameworks 

Skaaltekening van balk en blad met I-balk wapening 

Scale drawing of a concrete beam and slab with an I-beam reinforcing 

Skaaltekening van isometriese leunskoor 

Scale drawing of isometric raking shores 


Verskillende digtheids toetse op rioolstelsels. 

Different density tests on sewer systems. 

Definisies van terme soos topografiese opmeting en opmeting 

Definitions of terms such as topographical surveying and surveying. 

Sonkollektors 

Solar collectors 

Young se Modulus 

Young’s Modulus 

Ontleding van geannoteerde kodes 

Interpretation of annotated codes 

Sketse van verskillende betonstaalstawe. 

Sketches of different reinforcement bars. 

Massa / gewig / belasting / spanning / vervorming 

Mass / weight / load / strain / deformation 

Veiligheidsfaktore 

Safety factors 

Formule afleiding 

Deducing of formulae 

417

TECHNIKA (SIVIEL) SG 

TECHNICA (CIVIL) SG 

Eerste DRIE vrae is verpligtend. Daar is ŉ keuse van TWEE ander vrae 

First THREE questions are compulsory. There is a choice of TWO others. 

Teorie / Theory including: 

Punte om in ag te neem by die ontwerp van nuwe woonhuise 

Point to consider when designing new dwellings 

Punte om te oorweeg by die aankoop van nuwe erwe 

Points to consider when buying a new stand 

Verskillende soorte skore 

Different types of shoring 

Faktore vir die effektiewe werking van sonwaterverhittingstelsels 

Factors for effective operation of solar heating systems 

Vereistes vir bekisting 

Requirements for shuttering (Formwork) 

Rede vir die dubbel glase by sonkollektors 

Reasons for double glass covers on solar collectors 

Elemente wat brande veroorsaak 

Elements causing fires 

Eienskappe van vogweerlae 

Characteristics of dampproofing 

Skets van bekisting in los grond 

Sketch of shuttering in loose soil 

Rede vir die gebruik van houtdeure en -vensterrame by kusstreke 

Reasons for the use of wooden doors and frames at coastal regions. 

Vereistes van betonbewapening 

Requirements for concrete reinforcing 

Besonderhede nodig vir die teken van knoopplate 

Details needed for drawing of gusset plates 


Afleiding van standaard formules 

Deducing of standard formulae 

Berekening van Young se Modulus 

Calculation of Young’s Modulus 

Skaaltekening van knoopplaat 

Scale drawing of a gusset plate 

Skaaltekeninge van betonbalke, blaaie en betontrappe 

Scale drawings of concrete beams, slabs and stair cases 

Skaaltekening van huisplanne 

Scale drawing of dwelling plans 

Raamwerk berekeninge 

Calculation of frameworks 

418

Balk berekeninge. (Buigmomente en Skuifkragte) 

Calculation of beams. (Bending moments and Shear forces) 

Skaaltekening van isometriese leunskoor 

Scale drawing if isometric raking shore 

Skets van sonwaterverhittingstelsel 

Sketech of a solar heating system 

Skets van vensterbankkonstruksie van ŉ venster met staal raam 

Sketch of a window sill construction of a steel frame window 

Teorie wat die volgende insluit / Theory including 

Voorsorgmaatreëls waar riole onder deur gebou gaan. 

Precautions for sewers under buildings. 

Betonbekisting 

Concrete shuttering 

Primêre veiligheids kleure en gebruike 

Primary safety colours and uses 

Standaardafkortings en kleure op rioolplanne 

Standard abbreviations and colours on sewer plans 

Eienskappe van beton 

Characteristics of concrete 

Vetvangers 

Fat traps 

419

MARKS: 200 

TIME: 3 hours 

1. GENERAL INFORMATION 

TECHNICAL DRAWING HG 

PAPER 1 

1.1 Descriptive Geometry and Locus is covered in this paper. 

1.2 All questions are printed. 

1.3 All questions are compulsory. 

1.4 Marks allocated varies between 10 and 40 

1.5 Candidates are requested to align the answer sheets on the 

centre lines and not the frame. 

1.6 Coloured pencils not allowed in SCE. 

1.7 Presentation – mark allocation positive. 

1.8 Abulation of answers is important. 

2. SPECIFIC INFORMATION 

2.1 POINTS AND LINES 

• positioning must be interpreted from a text 

• true length and true angle to the VP or HP 

• shortest distance (two lines inclined to HP and VP) 

• shortest distance indicated in all the views 

• bearing - very important 

• traces (VT and HT) 

2.2 PLANE FIGURES 

• edge view method and plane method 

• true angle to HP and VP 

• true shape and true size 

• shortest distance between a point and a plane figure 

• shortest distance indicated in all views 

• interpenetration between plane figures, visibility 

2.3 OBLIQUE AND INCLINED PLANES 

• application of the following methods on points, lines, plane figures and solids 

which lies in or outside the auxiliary plane : 

• oblique to inclined plane 

• cutting trace 

• HoPP 

• VTH can be obtuse or acute angles 

• Cylinder excluded. 

420

2.4 SOLIDS 

• Sectioning on combination of solids 

• True shape of cutting plane 

• Cylinders excluded 

• Axis of solids inclined to HP and VP with sections 

2.5 INTERPENETRATION CURVES AND DEVELOPMENT 

• prism penetrating pyramid 

• pyramid penetrating prism 

• interpenetration can be at angles of 30°, 45°, 60° and 90° 

• centre lines for main and branch pipes will be in different planes 

• visibility very important 

• development of branch pipe and main pipe 

2.6 ROULETTE 

• cycloid , epi-cycloid , hypocycloid and trochoids 

• can be tested in combinations of the above 

• name the locus generated, show calculations 

• involute curve 

2.7 CAMS 

• roller or wedge shaped follower 

• must be able to answer or indicate relevant questions on the drawing 

for example : direction/rotation, stroke height, displacement , total travel, 

angular displacement 

• movement must be interpreted from a text 

2.8 THIRD ANGLE ORTHOGRAPHIC PROJECTION 

• Any section mentioned above 

2.9 SPIRALS AND HELIX 

• Archimedean 

• All applications of helix 

421

PUNTE: 200 

TYD: 3 uur 

1. ALGEMENE INLIGTING 

TEGNIESE TEKENE HG 

VRAESTEL 1 

1.1. Beskrywende Meetkunde en Lokusse word gedek. 

1.2. Alle vrae is gedruk. 

1.3. Alle vrae is verpligtend. 

1.4. Puntetoekenning per vraag wissel tussen 10 en 40. 

1.5. Kandidate word versoek om die antwoordvelle wat tydens die eksamen voorsien 

word volgens die senterlyne en nie die raamwerk op te stel nie. 

1.6. Geen gekleurde lood mag gebruik word nie. 

1.7. Aanbieding – positiewe punte. 

1.8. Tabulering van antwoorde baie belangrik. 

2. SPESIFIEKE INLIGTING 

2.1 PUNTE EN LYNSTUKKE 

• Plasing in teksvorm kan interpreteer 

• Ware lengte en ware helling t.o.v. HV en VV 

• Kortste afstand (twee lyne skuins t.o.v. HV en VV) 

• Kortste afstand kan aantoon in alle aansigte 

• Ligging – baie belangrik 

• Snyspore (HS , VS) 

2.2 VLAKFIGURE 

• Kantaansig- en vlakmetode 

• Ware helling t.o.v. HV en VV 

• Ware vorm en ware grootte 

• Deurdringing van twee vlakfigure, sigbaarheid 

• Kortste afstand tussen ‘n punt en ‘n vlakfiguur 

• Kortste afstand kan aantoon in alle aansigte 

2.3 SKUINS – EN HELLENDE VLAKKE 

• Toepassings van volgende metodes op punte, lyne, vlakfigure en vaste 

liggame wat in of buite die hulpvlak lê 

• Skuins- na hellende vlak kan verander 

• Snyspoormetode 

• HeLP 

• VSH kan skerphoek of stomphoek vorm 

• Silinders uitgesluit 

422

2.4 VASTE LIGGAME 

• Saamgestelde snitte 

• Ware vorm van snit 

• Silinders ingesluit 

• As van ‘n vaste liggaam skuins t.o.v HV en VV met snitte 

2.5 DEURDRINGINGSKROMMES 

• Prismas dring piramides in 

• Piramide dring prisma binne 

• Indringing teen hoeke van 30°, 45°, 60° en 90° wees 

• Senterlyne van hoof- en takpyp sal in verskillende vlakke wees 

• Sigbaarheid baie belangrik 

• Ontwikkeling van takpyp en hoofpyp 

2.6 ROULETTES 

• Sikloïdes , epi-sikloïdes , hipo-sikloïdes en trogoïdes 

• Bogenoemde kan in kombinasies gevra word 

• Moet lokusse kan benoem, berekeninge toon 

• Involventeboog 

2.7 NOKKE 

• Roller of wigvormige nokvolgers 

• Moet relevante vrae en afmetings vanaf die tekening kan weergee en aandui 

Bv. draairigting, slaghoogte, verplasing, totale slag, hoekverplasing, ens. 

• Beweging in teks vorm kan interpreteer 

2.8 DERDEHOEKSE ORTOGRAFIESE PROJEKSIE 

Enige van bogenoemde afdelings 

2.9 SPIRAAL EN HELIKS 

• Archimedes 

• Alle toepassings van heliks 

423

TIME: 3 hours 

MARKS: 150 

GENERAL INFORMATION 

TECHNICAL DRAWING SG 

PAPER 1 

• All questions are compulsory 

• Marks allocated vary between 18 and 30. 

• Coloured pencils are not permitted 

• Candidates are requested to align the answer sheets on the center lines and not the frame. 

SPECIFIC INFORMATION 

Plane Geometry 

• Positioning of points and lines 

• True length and true angle with VP or HP 

• Shortest distance between two lines / point and a line 

• Traces VT and HT 

• True shape of a plane figure using traces VTH 

• Line of penetration ( trace ) between intersecting plane figures 

Solids 

• Sectioning of solids using traces VTH as cutting plane 

• Axis of solids inclined to both planes ( pyramids / prisms only ) 

Development and curves of interpenetration 

• Prisms / pyramids penetrating prisms / pyramids 

• Interpenetration angles of 30°, 60° and 45°. 

• Center lines of main and branch pipe in the same plane 

• Development of branch / main pipe 

Roulette 

• Combination of cycloid and epi-cycloid 

• Involute curves 

Cams 

• Wedge shaped cam follower 

424

TECHNICAL DRAWING HG PAPER 2 TEGNIESE TEKENE HG VRAESTEL 2 

1. GENERAL INFORMATION 1. ALGEMENE INFORMASIE 

1.1 The question paper will consists of 4 

to 5 questions which may have subquestions. 

1.2 All questions to be answered on the 

given diagram sheets. 

1.1 Die vraestel sal bestaan uit 4 tot 5 

vrae wat subvrae kan bevat. 

1.2 Alle vrae moet op die gegewe 

antwoordvelle beantwoord word. 

1.3 All questions are compulsory. 1.3 Alle vrae is verpligtend. 

1.4 No COLOUR PENCILS are to be 

used for construction lines. 

1.5 Mark allocation for the question 

paper will be 200 marks and the 

duration 3 hours. 

2. SUB-QUESTIONS 2. SUBVRAE 

To implement the OBE approach the 

question paper will include short 

questions. These questions can be 

inform of multiple choice, 

interpretation and general knowledge 

questions. 

1.4 Geen kleur potlode moet gebruik 

word vir konstruksielyne nie. 

1.5 Puntetoekenning sal 200 punte wees 

en die tyd 3 uur. 

425 

Om UGO te implementeer kan vrae 

gebaseer op kortvrae gestel word. 

Die vrae kan in die vorm van 

meervoudige vrae, interpretering of 

algemene kennis vrae wees. 

2.1 SABS GUIDELINES AND RULES 2.1 SABS-RIGLYNE EN REËLS 

Question is based on a diagram of 

components which the candidate has 

to complete by implementing the 

necessary applications as specified 

by the SABS. 

Vraag sal bestaan uit diagram van 

komponente wat die kandidaat moet 

voltooi deur die reëls van SABS toe 

te pas.

3. ISOMETRIC DRAWING 3. ISOMETRIC TEKENING 

Candidate must be able to draw an 

isometric drawing of components out 

of the industry. 

Dimensioning of the drawing may be 

asked. 

The isometric drawing can also 

include sections. 

426 

Kandidaat moet in staat kan wees 

om ŉ tekening, van ŉ komponent 

vanuit die industrie, isometries te kan 

teken. 

Afmetings kan ook gevra word. 

Die isometyriese tekening kan ŉ snit 

bevat. 

4. PERSPECTIVE DRAWINGS 3. PERSPEKTIEFTEKENINGE 

The constructions to draw one-point 

and two-point-perspective must be 

known. 

Dwellings and components 

Konstruering van een-punt en tweepunt 

perspektief tekeninge. 

Geboue en komponente

427

4. ENGINEERING DRAWING 4. INGENIEURSTEKENINGE 

The candidate must have knowledge 

of the basic principles regarding 

engineering drawing. Including 

preparation and dimensioning. 

4.1 Scale – be able to drawn to different 

scales e.g. Scale 1:2, Scale 1:1 

4.2 Projection system – have knowledge 

of first- and third-angle orthographic 

projection. 

4.3 Able to produce drawings that consist 

of ± 6 components, excluding 

fasteners. 

4.4 Sections – know the rules regarding 

sectioning. 

Type of sectioning Tipe snitte: 

– Full-sectioned view 

– Half-section view 

– Partly-sectioned view (e.g. to 

show keyway) 

4.5 Sectioning – Have knowledge of 

items that do not get sectioned. 

Hatching preferable at 45° to the axis 

or main outline of the component. 

Spacing between lines to be different 

as well as in different direction to 

indicate different components. 

4.6 Fasteners – Construction of nuts and 

bolts, keys, washers, etc. 

4.7 Dimensions – as per SABS code, 

section 4.2 

428 

Die kandidaat moet kennis hê van 

die basiese beginsels t.o.v. 

ingeneurstekene. Insluitend die 

voorbereiding en maatskrywing. 

4.1 Skaal – moet tekeninge kan teken 

d.m.v. verskillende skale, bv. Skaal 

1:2, Skaal 1:1 

4.2 Projeksiesisteem – kennis hê van 

eerste en derdehoekse ortografiese 

projeksie. 

4.3 Masjienonderdeel kan uit ± 6 

komponente bestaan wat nie 

noodwendig hegstukke insluit nie. 

4.4 Snitte – kennis van die reëls t.o.v. 

snitte en aansigte. 

– Volsnit aansig 

– Halfsnit aansig 

– Gedeeltelike snit aansig (bv. 

om spy te toon) 

4.5 Arsering – Kennis dra van items wat 

nie gearseer moet word nie. 

Arsering verkieslik teen 45° met die 

as of buitelyn van die komponent. 

Spasiering tussen lyne verskillend 

asook verskillende rigtings om 

verskillende komponente aan te dui. 

4.6 Hegstukke – konstruksie van boute 

en moere, spye, wassers ens. 

4.7 Afmetings – soos per SABS kode, 

afdeling 4.2

RIGLYNE: 

TEGNIESE TEKENE SG (P2) 

• Tyd: 3 uur 

• Puntetotaal: 150 

• Alle vrae moet op die vooraf voorbereide tekenvelle beantwoord word. 

• Die teks (vraestel) en diagramvelle sal apart van die antwoordvelle (tekene-antwoordboek) 

wees 

• Die standaard van die lynwerk moet aan die Gebruikskode vir Ingenieurstekenwerk 

voldoen (Metrieke Eenhede) 

VRAESTEL: 

• Bestaan uit VIER verpligte vrae. 

VRAAG 1 DERDEHOEKSE ORTOGRAFIESE PROJEKSIE 

• ŉ Isometriese aansig van ŉ gietstuk word gegee. 

• Verskillende aansigte van die gietstuk moet geprojekteer wod in eerste- / derdehoekse 

ortografiese projeksie 

• Projeksiesimbool is belangrik. (20 – 30) 

VRAAG 2 ISOMETRIESE TEKENE 

• Twee of meer ortografiese aansigte van ŉ gietstuk word gegee. 

• ŉ Verwysingspunt A waarvan die isometriese aansig geteken moet word, word gegee. 

• Alle konstruksielyne en hulpaansigte moet getoon word. (20 – 30) 

VRAAG 3 TWEEPUNT PERSPEKTIEF 

• Die perspektiefaansig van ŉ woning sal gedruk wees op ŉ A3-tekenvel. 

• Die dakhoogtes kan op verskillende hoogtes wees of daar kan geen dak op die mure wees 

nie. 

• Die leerder moet in staat wees om die verdwynpunte te bepaal. Die vorm / dak van die 

woning kan L-vormig of vierkantig wees en kan verwyder wees of op veskillende vlakke. 

VRAAG 4 SAAMGESTELDE MASJIENTEKENE 

• Senterlyne sal op die korrekte spasies geplaas wees. 

• Twee prentaansigte word gegee om vir die leerder ŉ aanduiding te gee van hoe die 

antwoord behoort te wees. Uitgeskuifde isometriese aansig en saamgestelde deursneë 

isometriese aansig. 

• Die konstruksie van ŉ bout en moer is baie belangrik. 

• Behandel reëls wat op deursnee en projeksiesimbole van toepassing is. Lynwerk, 

dimensionering, samestelling. Leerders moes geleer word hoe om ŉ tekening en ŉ vraag 

te lees. (75 – 80) 

429

GUIDELINES: 

TECHNICAL DRAWING SG (PAPER 2) 

• Time 3 hours 

• Total marks: 150 

• All the questions must be answered on provided A3 paper. 

• The text and diagram sheets will be separate. 

• All reference lines will be printed on A3 paper. 

• All line work must adhere to the SABS code of practice for engineering drawings (metric 

units) 

QUESTION PAPER: 

• Consists of four questions. 

QUESTION 1: THIRD-ANGLE ORTHOGRAPHIC PROJECTION 

• An isometric view is shown. 

• Project different views in first / third-angle orthographic projection 

• (Projection symbol). (20 – 30) 

QUESTION 2: ISOMETRIC DRAWING 

• Two / three orthographic views are given. 

• A reference point A is given (learners must start drawing from this point). 

• All construction lines and auxiliary views must be shown. (20 – 30) 

QUESTION 3: TWO POINT PERSPECTIVE 

• On the answer sheet a lay-out of the dwelling will be printed. 

• The perspective view asked will be of a dwelling. 

• Learner must be able to determine the vanishing points. The shape of the dwelling will be 

in an L shape or a rectangular shape / roof has been removed from building / roofs not on 

same level. 

QUESTION 4: MACHINE ASSEMBLY DRAWING 

• Centrelines will be printed. 

• Two pictorial views will be given – exploded sectioned isometric view + assembled 

sectioned isometric view. 

• Construction of the nuts and bolts is very important. 

• Look at the rule that applies to sectioning. Projection symbol very important. Line work, 

dimensioning, assembling. Learners should be taught how to read a drawing and a 

question. (75 – 80) 

NO FREE HAND DRAWING / SKETCHING THIS YEAR 

430

TIME: 3 hours 

MARKS: 300 

TECHNIKA (ELECTRICAL) HG 

QUESTION 1 


1.1 Calculations on parallel and series circuits including phasor diagrams 

1.2 Impedance matching 

1.3 Q-factor – Circulating Current, supply frequency 

1.4 Active and reactive components of RLC circuits 

1.5 Learners should have a ruler, protractor, pencil and eraser handy to do scaled 

drawings of phasor diagrams 

QUESTION 2 

ONE- AND THREE-PHASE SYSTEMS 

431 

[±50] 

2.1 3-phase calculations – line and phase voltage, current, impedance and reactance, phase 

angle 

2.2 Leading and lagging phase angles and power factor correction 

2.3 Advantages and disadvantages of each system 

[±40] 

QUESTION 3 

TRANSFORMERS 

3.1 Turns ratios 

3.2 Schematic diagrams 

3.3 Auto transformer and calculations. Eddy currents. 

3.4 CTs and VTs precautions 

3.5 3-phase using single-phase transformers 

QUESTION 4 

AC MOTORS 

4.1 Synchronous speed and slip calculations and explanations 

4.2 Centrifugal switch 

4.3 Power consumption calculations 

4.4 Capacitor start and Capacitor start-and-run motors 

4.5 Coupling of coils in star and delta 

[±30] 

[±30]

QUESTION 5 

SEMI-CONDUCTORS & SWITCHING & CONTROL 

5.1 Principle of operation of the SCR & TRIAC – Motor speed control 

5.2 Common emitter amplifier – operation and purpose of components 

5.3 Regulated PSU – Design and definition 

5.4 Using discrete components in design rather than block diagrams 

5.5 Identification of components and characteristic curves 

5.6 N-FET and waveforms 

QUESTION 6 

AMPLIFIERS 

6.1 Amplifier coupling methods and characteristic curves 

6.2 Input and output waveforms Class A, Class B 

6.3 Load line calculations from a given circuit diagram 

6.4 Multi-stage amplifiers 

6.5 Decibel 

7.1 Crystal controlled oscillators 

7.2 Purpose of components 

7.3 Operation of the circuit 

7.4 Feedback 

7.5 Definitions 

QUESTION 7 

OSCILLATORS 

QUESTION 8 

OPERATIONAL AMPLIFIERS 

8.1 Comparator circuit using 741 op amp 

8.2 Differential amplifier – circuit and principle of operation 

8.3 IC pin configurations. DIL package 

QUESTION 9 


9.1 Boolean algebra 

9.2 Identify circuit functions and simplify circuits/logic gates. 

9.3 Design a simple logic circuit. 

9.4 RS Latch 

9.5 Use of NAND gates 

9.6 De Morgan’s theorem 

432 

[±40] 

[±20] 

[±20] 

[±15] 

[±35]

QUESTION 10 

MEASURING INSTRUMENTS 

10.1 Inductance meter/Digital frequency meter 

10.2 Uses of the oscilloscope 

10.3 Measurements using an analogue meter 

QUESTION 11 


11.1 Important considerations when designing safety posters 

11.2 The prevention of spreading HIV in case of an accident 

11.3 Unsafe acts 

11.4 Good workshop practices 

433 

[±10] 

[±10] 

TOTAL: 300

ALGEMEEN 

Beantwoord al die vrae. 

Aantal vrae: 13 

Totaal: 300 

Tyd: 3 uur 

TECHINIKA (ELEKTRIES) HG 

VRAAG 1 ELEKTRIESE WISSELSTROOMTEORIE 

• Verstaan serie- en parallelresonansie (Kurwes) 

• Definisies 

• Berekeninge: 

(a) Serie RLC 

(b) Parallel resonante RLC-kring 

(c) Kombinasie GS- en WS-berekeninge 

434 

Punte ± 50 

Gewigswaarde 17% 

VRAAG 2 EEN- EN DRIEFASIGE WISSELSTROOMSTELSELS 

• Voordele van driefasige stelsel. 

• Bewys d.m.v. fasordiagram 

• Verstaan drywingsfaktor-verbetering 

• Berekenings 

(a) Spanning- en Stroomwaardes 

Wiskundig (Aktiewe en reaktiewe waardes) 

(b) Stroomwaardes deur meting 

Punte ± 35 


VRAAG 3 TRANSFORMATORS 

• Berekening: Spanning, stroom en drywingswaardes – lynwaardes en fasewaardes 

• Vergelyking tussen tipe transformators 

• Voor- en nadele van tipe transformators 

• Veiligheidsmaatreëls van stroomtransformator 

• Sketse: Instrumenttransformators, outotransformator 

Punte ± 30 

Gewigswaarde 10%

VRAAG 4 WISSELSTROOMMOTORS 

• Aansitters 

(a) Veiligheidsmeganismes 

(b) Metodes om aansitstroom te beperk. 

• Berekenings: frekwensie, Rotor en Sinchrone spoed, glip, drywing en stroomwaardes 

• Sketse 

• Opwekking van roterende magneet diagramme veld 

• Kapasitormotors se kringdiagram 

Punte ± 30 


VRAAG 5 HALFGELEIERS 

Sketse * Werking van ŉ BSG 

Diagramme * Werking van ŉ FET 

* Simbole van halfgeleiers 

* Transistor as ŉ skakelaar 

Verskil vergelyking tussen komponente 

VRAAG 6 VERSTERKERS 

435 

Punte ± 20 


Sketse / Diagramme * Spanningswaardes tydens aan- en afskakeling van transistor 

* Frekwensiekurwes 

* Darlington-paar 

* Druk-trek-versterker 

* Laslyn 

* Klasse van versterking 

Berekening: Desibel 

Laslynkoördinate 

Punte ± 20 


VRAAG 7 SKAKEL- EN BEHEERKINGE 

Sketse / Diagramme * Regulator 

* Lampdemping 

* Transistor as ŉ skakelaar 

Gereguleerde kragbron (teorie) 

VRAAG 8 OSSILLATORS 

• Teorie oor kristalbeheerde Hartley-ossillator 

• Skets / Diagram LC-ossillator 

• Hartley-ossillator 

Punte 20 


Punte 15 

Gewigswaarde 5%

• Diagramme / Vergelyker 

Multivibtators 

• Eienskappe In- en Uitsetkurwes 

Bewys: 

VRAAG 9 OPERASIONELE VERSTERKERS 

• De Morgan se Wette 

• Vereenvoudig Boole-algebra 

Diagramme: Halfoptellers 

RS-Grendels 

Ontwerp: Waarheidstabel 

Boole-algebra 

Vereenvoudiging 

Logikabaan 

436 

Punte 10 


VRAAG 10 REKENAARBEGINSELS 

VRAAG 11 MEETINSTRUMENTE 

Skets * Blokdiagram van digitale meetsinstrument 

* Een wattmeter-metode 

Gebruike van: ossilloskoop 

multimeter 

• Voorkoming van beserings 

• Stappe van behandeling 

• HIV 

VRAAG 12 VEILIGHEID 

VRAAG 13 PRAKTIES 

• Batterylaaier / Kragbron 

• Multimeter gebruike (Toets van komponente) 

Punte ± 35 

Gewigswaarde 11,6 % 

Punte 15 


Punte 10 


Punte 10 

Gewigswaarde 3%

TIME: 3 hours 

MARKS: 200 

TECHNIKA (ELECTRICAL) SG 

QUESTION 1 


1.1 Calculations on parallel and series circuits including phasor diagrams. Complex RLC 

circuits included. 

[±45] 

QUESTION 2 

ONE- AND THREE-PHASE SYSTEMS 

2.1 STAR DELTA illustrations with values 

2.2 Three-phase delta-connected motor calculations 

QUESTION 3 

TRANSFORMERS 

3.1 Principle of operation of a transformer 

3.2 Coupling of three-phase delta-star AC motors 

3.3 Cooling of transformers 

3.4 STAR DELTA Transformer calculations 

3.5 Eddy current and hysteresis losses 

QUESTION 4 

AC MOTORS 

4.1 Advantages and disadvantages of AC motors 

4.2 Isolation testing of motors 

4.3 No volt coils 

4.4 Split-phase motors. Capacitor starter motor principle of operation 

4.5 Direction of rotation 

4.6 The effect of supply frequency and poles on the speed of a motor 

4.7 The connection of a star and delta motor to supply 

4.8 Direct on-line starter 

QUESTION 5 

SEMI-CONDUCTORS 

5.1 The TRIAC diagrams, waveforms and principle of operation 

5.2 The NPN transistor diagrams, waveforms and principle of operation 

437 

[±10] 

[±20] 

[±30] 

[10]

QUESTION 6 

AMPLIFIERS 

6.1 Class C amplification. Principle of operation and waveforms 

6.2 Common emitter amplifier, diagrams, waveforms and principle of operation 

6.3 RD-coupled amplifier, diagrams, waveforms and principle of operation 

6.4 Class B amplifier, diagrams, waveforms and principle of operation 

QUESTION 7 

SWITCHING & CONTROL CIRCUITS 

7.1 The SCR, diagrams, waveforms and principle of operation 

7.2 Shunt voltage regulation, diagrams, waveforms and principle of operation 

7.3 ZENER voltage regulation, diagrams, waveforms and principle of operation 

QUESTION 8 

OPERATIONAL AMPLIFIERS 

8.1 Inverter amplifier, diagrams, waveforms and principle of operation 

8.2 Voltage follower, diagrams, waveforms and principle of operation 

8.3 Indeal Op Amp characteristics 

8.4 Symbols and pin connections of the Op Amp 

QUESTION 9 

OSCILLATORS 

9.1 Hartley oscillator, diagrams, waveforms and principle of operation 

9.2 Colpitts oscillator, diagrams, waveforms and principle of operation 

438 

[±22] 

[±15] 

[±10] 

[±10] 

TOTAL: 200

TIME: 3 hours 

MARKS: 300 

TECHNIKA (ELECTRONICS) HG 

QUESTION 1 


1.1 Calculations on parallel and multi-element series circuits including phasor diagrams 

1.2 Resonance 

1.3 Impedance matching 

QUESTION 2 

SEMICONDUCTOR DEVICES 

2.1 Identify electronic components from a given diagram 

2.2 UJT / SCR applications and Thyristor characteristic curves 

2.3 CMOS application 

QUESTION 3 

AMPLIFIERS 

3.1 Calculations on Re, Rc and Rb, base and collector current and voltages, gain of an 

amplifier given. 

3.2 Op-amp – Diagram and calculations / RF Amplifier applications. 

QUESTION 4 


439 

[±30] 

[±40] 

[±40] 

4.1 Application of Control Circuits. 

4.2 Explanation on a given electronic circuit – out of contemporary magazines e.g. Elektor 

and Practical electronics Magazine 

4.3 Clipping and clamping circuits 

4.4 Explain any electronic experiment / project not mentioned in the question paper. 

[±45] 

QUESTION 5 

OSCILLATORS 

5.1 Application of Oscillator circuits 

5.2 Oscillating frequency calculations 

5.3 Negative feedback applications 

QUESTION 6 


6.1 Determine a truth table from a given logic circuit. 

6.2 Simplify Boolean expressions. 

6.3 Design a logic circuit from a given scenario. 

6.4 Add two binary numbers. 

6.5 Application of full adder circuits (calculate two binary numbers). 

[±18] 

[±50]

QUESTION 7 

INFORMATION TRANSFER 

7.1 Illustrate the operation of transmitter circuits. 

7.2 Fibre optic cables, including advantages, disadvantages and interfacing requirements 

7.3 Block diagrams on fibre optic and microwave telephonic communication systems 

[±30] 

QUESTION 8 

MEASURING INSTRUMENTS 

8.1 Operation and application of Oscilloscope / Digital Multimeter 

8.2 Analog-meter reading assessment 

8.3 CRO calculations 

8.4 Multimeter readings 

QUESTION 9 


9.1 Measuring instrument precautions 

9.2 General workshop safety and housekeeping rules 

9.3 NOSA 

9.4 Applications of fire extinguishers 

9.5 Aids /HIV awareness 

9.6 Safety Awareness 

440 

[±25] 

[±17] 

TOTAL MARKS [300]

TIME: 3 hours 

MARKS: 200 

IMPORTANT: 

ELECTRONICS SG 

• Guidelines cover the entire syllabus. 

• There are 9 compulsory questions, giving a total of 200 marks. 

• A formula sheet is provided. 

• When calculating, formulae and units of the Quantity to be calculated, must be clearly 

written. 

• Diagrams and sketches must be large, properly labelled and must be neat. 

QUESTION 1 


• Calculations of series and parallel RLC circuits and drawing of phasor diagrams. 

• Calculations of Resonance frequency in a series and parallel RLC circuits. 

• Calculations of reactive power, apparent power and true power in both the series and the 

parallel RLC circuits. 

• Definition of terms e.g. Impedance, power factor, phase angle etc. 

• Effects of power factor. 

• Calculations Q factor. 

• Calculations of Dynamic impedance. 

[± 40] 

QUESTION 2 

THREE PHASE ALTERNATING CURRENT SYSTEMS 

• Calculations of phase currents, line currents, phase voltages and line voltages in a three 

phase star connected system and a three phase delta connected system. 

• Calculations of True power, apparent power and reactive power. 

• Diagrams showing a three phase star connected system and three phase delta connected 

system. 

• Three-phase half wave rectification. 

• Three-phase full wave rectification. 

[± 15] 

441

QUESTION 3 

SEMI CONDUCTORS 

• Junction transistor connected in the common emitter, common base and common collector 

configurations and their properties. 

• Operating principles and block diagrams of biased PNP and NPN transistors. 

• Transistor operating as a switch and as an amplifier. 

• SCR-equivalent circuit using two transistors. 

• Characteristic curve of the SCR. 

• Transistor used as a variable resistor. 

• Symbol of electronic components. 

• Calculations of Emitter, Base and collector currents. 

[± 17] 

QUESTION 4 

AMPLIFIERS 

• Neatly labelled diagrams and operation of RC coupled amplifier, Radio frequency amplifier 

and push pull amplifier. 

• Transistor amplifier biasing with both collector and emitter feedback. 

• Transistor amplifier biasing with collector feedback. 

• Conditions resulting when inadequate biasing is provided. 

[± 30] 

QUESTION 5 


• A neatly labelled circuit diagram and brief description of how the speed of a motor is 

controlled by a thyristor. 

• Simple Zener diode regulator circuit. 

• Shunt and series regulators using transistors. 

• Circuit diagram and the basic operation of a bistable multivibrator. 

• Block diagram of power supply showing all the stages. 

• Input and output waveforms of each block diagram in the power supplies. 

• Operation of each block diagram in the power supply circuits. 

QUESTION 6 

• Neatly, labelled circuit diagram and brief description of the crystal controlled oscillator, 

hartley oscillator and inductive coupled oscillator. 

• Explaining piezo-electrical effect and mechanical vibration with reference to crystal. 

442 

[± 30] 

[± 13]

QUESTION 7 

COMPUTER SERVICES 

* Symbols of logic gates. 

* Boolean expression of logic gates. 

* E. Truth table of logic gates. 

* Equivalent circuits of logic gates. 

* Drawing of the logic circuits using the Boolean algebra. 

* Proving of the Boolean equations using the Boolean rules. 

* Block diagrams of half and full adder circuits. 

* Truth tables of half and full adder circuits. 

QUESTION 8 

ELECTRONIC APPARATUS 

* A neatly, labelled block diagram of an oscilloscope. 

* Calculations using the oscilloscope. 

* A neatly, labelled block diagrams of FM and AM receivers. 

* A neatly, labelled block diagrams of FM and AM transmitters. 

* Workshop rules 

* Safety equipments used in workshops. 

* HIV / AIDS related questions. 

* Emergency centres. 

QUESTION 9 

OCCUPATIONAL SAFETY PRECAUTIONS 

443 

[± 30] 

[± 15]

TECHNIKA (MEGANIES) HG EN SG 

Geen keusevrae word gegee nie. Leerders moet ALLE vrae beantwoord. 

Bedryfshuishouding 

Sillabus verwys (2.1 tot 2.2.4). 

• Hierdie gedeelte moet volledig bestudeer word. 

Gereedskap 

Sillabus verwys (3.1 tot 3.3). 

• Oppervlakafwerking 

• Teoretiese begrippe ten opsigte van: Draaiwerk en Freeswerk 

• Presisiemeetgereedskap: Moet kan verwys na – sinusstaaf, maatblokke, wysertoetser, 

afmerktafel (slegs HG) 

Materiaal 

Sillabus verwys (4.1 tot 4.5) 

• Ysterkoolstofewewigsdiagram 

• Makro- en mikrostrukture van staal 

• Standaardtoetse wat op staal uitgevoer kan word 

• Gasse 

- Wet van Charles 

- Wet van Boyle 

- Berekeninge 

• Organiese Chemie: Gebruike en eienskappe van Alkane, Alkene en Alkyne 

Passings en grensstelsels 

Sillabus verwys (5) 

• Interpreteer van tabelle 

Statika 

Sillabus verwys (6.1.1 tot 6.1.4) 

• Veelhoek van kragte: Grafiese sowel as Wiskundige oplossings (Slegs HG) 

• Ewewig van starre liggame 

- Voorwaardes vir ewewig 

- Bereken die reaksie van die steunpunt. (Balk onder die invloed van 3 kragte 

maksimum) (Slegs HG) 

444

• Spanning en vormverandering 

- Young se Elastisiteitsmodules 

- Hooke se wet 

- Spanning-vormveranderinggrafieke 

- Berekeninge van: 

* spanning in ’n veer wat saamgedruk of getrek word 

* spanning in klinknaels (Afskuifspanning) 

* spanning in staalkabels asook trekstange 

• Wrywing 

- Beweging van ’n voorwerp of op of af teen ’n hellende vlak met ’n krag wat 

teen ’n hoek inwerk (Berekeninge slegs vir HG) 

Dinamika 

Sillabus verwys (6.2.1 tot 6.5) 

• Arbeid: alle moontlike berekeninge – verband tussen draaimoment, traagheidsmoment 

en hoekversnelling 

• Kinematika: Berekening van lineêre en hoekversnelling (Slegs HG) 

• Newton se bewegingswette 

• Massa en momentum (begripsomskrywing) 

• Energie 

- Potensiële en Kinetiese energie (definieer en kan bereken) 

• Diodes en transistors 

• Oordra van beweging 

- Berekeninge ten opsigte van: 

* V-bandaandrywing 

* Reguittandratte 

* Voor en nadele van V-band en rataandrywing 

* Droëvlakwrywingskoppelaar - enkelplaat 

º Werking kan beskryf en uitleg kan teken 

* Werkbeginsels van: 

º Kruiskoppelings 

º Spye 

* Drywing (berekeninge) 

º Aangeduide drywing 

º Remdrywing (Proneyrem kan teken) 

º Meganiese rendement 

* Hitte 

º Chemiese ontbranding van brandstof 

* Gasse 

º Druk-volumeverwantskappe 

º Gemiddelde effektiewe druk 

* Hidroulika 

º Skets van vloeidiagramme 

445

TIME: 3 hours 

MARKS: 150 

FORMAT 

- All questions are compulsory. 

- The paper is divided into TWO sections 

TRAVEL AND TOURISM 

- Section A 

Will consist of short questions, i.e. multiple-choice. True or false, match Column A to 

Column B. 

This section will cover all work done in the Learning Programme. 

- Section B 

This section will consist of longer, discussion type questions. Calculations are also 

included in this section. 

NB: There will be an essay type question included in ALL examination papers. As this 

question is COMPULSORY, learners are encouraged to answer in as much detail as 

they can. Please advise learners on the correct format for essay questions. 

Essays count for between 15 and 20 marks. 

LEARNING PROGRAMME – WORK THAT MUST BE COVERED IN GR. 12 

1 Basic calculations 

- know the major currency 

- know the European Union (use/not use the Euro) 

- know the abbreviations of forex 

- know DST – where it is used, where not 

- how DST is calculated 

- how to calculate time differences 

- calculate flying time 

air 

- abbreviations of timetables bus 

car rental 

- how to interpret itineraries 

- map work – time zones and forex 

- terminology 

2 Technology 

- know the global distribution systems 

- know the central reservation systems 

- SAAFARI'S name has changed to ATRAXIS 

- know the abbreviations 

- know the different systems 

- terminology 

3 Global Perspective of Tourism 

- know and identify the icon, country popular activity 

- know how to interpret statistics, graphs and information 

- service excellence – work to learn 

- seasons in SA (high season, etc.) 

446

- safety and security – what to know 

- addressing a traveller and handle situations/problems 

- map work – icons - where on the map? 

- terminology 

4 Ecotourism 

- Transfrontier Parks (get it from District facilitator) 

- Transfrontier Parks (GLTP and Kgalagadi, Ais-Ais, Maloti) 

- terminology used 

- know how the concept work and maps 

- advantages and disadvantages 

- four role players 

5 Regional tourist markets 

- know SADC countries and their capital cities. 

- discuss famous tourist attractions in each country 

- identify the countries on a map, with capital cities and most famous tourist 

attractions 

- know the different types of tourists 

- terminology used (systems, etc.) 

- maps of countries interpret 

- baggage allowances and insurances 

- timetables and fare structures – read and calculate 

- budgets – how to compile a budget 

6. Workplace experience 

- how to compile a CV 

- how to apply for a job 

- how to write a introduction letter 

- how to fill in an attendance register and an application form 

- to verbalise experience 

447

GUIDELINES FOR TSHIVENDA 

1 st LANGUAGE HG 

PAPER 1 

KHETHEKANYO YA A 

THOLOKANYONDIVHO 

MBUDZISO 1 

Mbudziso iyi ndi ya u vhala na u pfesesa (comprehension) yone i na maraga dza (30) HG. 

Zwenezwo matshundeni a fanela u gudiswa u fhindula ya lushaka ulwu nga vhudalo. 

• Mutshundeni kha vhale mbudziso dzothe u thoma nga ntha. 

• Musi vho no fhedza u vhala mbudziso, kha vha vhale mafhungo e vha newa nga 

vhuronwane. Zwenezwo vha tshi khou vhala, kha vha lingedze u fhindula dzila 

mbudziso muhumbuloni nahone vha songo fhindulela bambirini. 

• Zwino-ha, matshundeni kha fhindule mbudziso nga nthihi nga nthihi. Musi a tshi 

nwala a lingedze u shumisa maipfi awe ene mune hu si o newa-ho lini. 

Mbudziso dzi anzela-ho u da ndi hedzi: 

(a) Thoho ya mafhungo 

(b) Thalutshedzo ya mipfi o swifhandzwaho. 

Vhunga tshipida itshi tshi na maraga dza 30, matshudeni a songo tshi fhindula nga u 

tavhaya kha shumise minete dza 30. 

Khethekanyo ya B i na maraga dza 

KHETHEKANYO YA B 

SAMARI KANA MANWELEDZO 

MBUDZISO 2 

• Mutshudeni u tea u nwala samari nga maipfio tiwaho. A songo pfukisa muelo 

wa maipfi o newaho. 

• Mutshudeni u tea u nwala samari nga maipfi awe, a songo kopolola ayo are 

mafhungoni. 

448 

(10)

KHETHEKANYO YA C 

LUAMBO 

MBUDZISO 3 

Khethekanyo iyi i na maraga dza [60]. 

Mbudziso ya u thoma i na maraga dza 10 khakhethekanyoni iyi. Khethekanyo iyi yo 

khethekanywa ya bva zwipida zwiraru. Ndi zwi tevhelaho: 

(1) Tshanduko dza mibvumo. Maraga dza hone ndi (4) 

A. Matshudeni vha tea u gudiswa u ri tshanduko dza mibvumo ndi mini 

nahone dzo disa hani na u dzi nwala nga Tshivenda tsho tambaho. 

B. Maitimatikedzi kana mitshila ya maiti 

Maraga dza hone ndi 

Afha matshudeni vha ta u gudiswa maitimatikedzi na tshaka dzao uri vha 

kone u nwala mafhungoni a pfalaho ngao. 

C. Mafhambanyi kana mabulazwithihi. 


Afha matshudeni vha tea u gudiswa mafhambanyi kana mabulazwithihi e 

mafhungoni a pfalaho. 

MBUDZISO 4 

Maraga dza hone ndi (10) 

Mbudziso iyi i na zwipida zwiraru hezwi: 

A. Nyambahunzhi 

Vhagudiswa vha tea u gudiswa nyambahunzhi dzi mafhungoni a pfalaho. 

Maraga dza hone ndi (3) kana (4) 

B. Makateli 

Makateli maraga dza hone ndi 

Vhagudiswa vha tea u gudiswa makateli musi e mafhungoni na 

thalutshedzo dzao. 

C. Matanganyi 


Matshundeni vha tea u gudiswa matanganyi u ri vha kone u a shumisa 

mafhungoni kwao. 

449 

(3) 

(4) 

(3) 

(3)

MBUDZISO 5 


Mbudziso iyi i na zwipida zwiraru zwi tevhelaho: 

A. Madzinambumbano 


Vhagudiswa vha tea u nwala madzinambumbano e mafhungoni a pfalaho na 

tshivhumbeo tshao. 

B. Mabulafhethu 

One a ana maraga 

Vhagudiswa vha tea u gudiswa mabulafhethu na uri a nwaliswa hani 

mafhungoni na tshivhumbei tshao. 

C. Manyanyu na maaravhi 

Manyanyu na maaravhi a na maraga dza 

Vhagudiswa vha tea u gudiswa manyanyu na maaravhi e mafhungoni a 

pfalaho. 

MBUDZISO 6 

Mbudziso iyi i na maraga dza (10) 

Yo khethekanywa ya bva zwipida hezwi: 

A. Mirero 

Mirero i na maraga dza 

Afha vhagudiswa vha tea u gudiswa thalutshedzo dza mirero, pfanywa dza 

mirero na u nwala mirero i re na thalutshedzo dzo newaho na u i shumisa 


B. Maidioma kana maambele 


Vhagudiswa vha tea u gudiswa u ri maidioma kana maambele ndi mini na u 

nwala thalutshedzo dzao na u a shumisa mafhungoni a pfalaho. 

C. Mamudi 


Vhagudiswa vha tea u gudiswa u nwala tshaka dza mamudi na khanedza 

dza hone dzi mafhungoni kwao. 

D. Figara dza muambo kana kuvhidzele kwa zwithu 


Vhagudiswa vha tea u gudiswa tshaka dza muambo na u dzi shumisa 

mafhungoni kwao. Kuvhidzele kwa zwthu ndi hune vhagudiswa vha tea u 

toredza maipfi o teaho afho hu re na gake. 

450 

(4) 

(3) 

(3) 

(3) 

(4) 

(3) 

(4)

MBUDZISO 7 

I na maraga dza (20) 

Yo khethekanywa ya bva zwipida zwivhili zwi tevhelaho: 

A. Zwiga zwa u vhala na malederedanzi 


Matshudeni vha tea u divha zwiga zwothe zwa u vhala na u nwala Tshivenda. 

B. Tshivenda tsho tambaho 


Afha vhagudiswa vha tea u khakhulula maipfi o khakheaho vha a nwala nga 

Tshivenda tsho tambaho. 

N.B. ZWIGA ZWINE VHA TEA U ZWI TEVHELA U RI VHAGUDISWA VHA PHASE 

TSHIVENDA ZWAVHUDI NDI HEZWI: 

(i) Kha vha funze nga silabasi 

(ii) Kha vha shumise bugu yo tiwaho 

(iii) Kha vha shumise study guide tshi no pfi “Denzhe”. 

(iv) Vhone sa mudededzi vha sumbedze lufuno na mafulufulu kha vhagidiswa vhavho. 

(v) Vhagudiswa kha vha newe ndowedzo na tshunwa haya duvha linwe na linwe 

!!!Ri vha tamela mashudu mavhuya !!! 

NDAA! 

451 

MARAGAGUTE = HG: 100 

(10) 

(10)

TSUMBA MUSHUMO YA TSHIVENDA 

MUHASHO WA PFUNZO WA GAUTENG 

TSHITIFIKHETHI TSHA MATIRIKI 

BAMMBIRI LAVHUVHILI GIREIDI YA NTHA 


VHURENDI 

MBUDZISO 1 

• Thirendo tsha u thoma ndi tshi songo randelwaho. 

• Tshi bva kha bugu inwe na inwe ya vhurendi. 

• Tshirendo itsho tshi na maraga dza (10) 

MBUDZISO 2 

• Vhagudi vha tea u nanga zwirendo zwivhili kha zina vha newa. 

• Tshinwe na tshinwe tshina maraga dza (15) 

DIRAMA 


MBUDZISO 3 

• Afha Vhagudi vha tea u naga mbudziso nthihi ya u toolola kana ya vhubudziso 

vhutuku. 

• Maraga kha mbudziso iyi ndi (30) 


NGANEA 

MBUDZISO 3 

• Vhagudi afha vha tea u naga mbudziso nthihi ya u toolola kana ya vhubudziso 

vhutuku. 


452 

Mbudziso dzothe dzo tangana ndi: 100

MAANEA 


PRIMARY LANGUAGE HG PAPER 3 


MBUDZISO 1 

• Thoho dza rathi dza maanea hune matshudeni vha tou nanga nthihi fhedzi. 

• Maraga ndi 

• Matshudeni vha khou tea u naga thoho nthihi ya maanea vha nwala masiatari 

mavhili fhedzi 

MARAGA = HG: [50] 


MBUDZISO 2 

2.1 Vhurifhi ha tshiofisi kana ha vhukonani 

• Afha hu na u nanga ha u ri matshudeni vha toda u nwala nga vhurifhi vhufhio. 

• Matshudeni vha tea u gudiswa tshaka dzothe dza marifhi u ri a nwaliswa hani. 


2.2 Memorandamu, diari, muvhigo, adzhenda, khungedzelo 

• Matshundeni vha tea u nanga tshithihi vha nwala ngatsho nahone vha dadze 

siatari lithihi fhedzi. 

• Rine vhadededzi ri tea u vha gudisa u ri izwo zwothe zwi nwaliswa hani. 


2.3 Memos, messages, posters, CV, e-mail, advert 

• Matshundeni vha tea u nwala kana u nanga thoho nthihi i ne vha tea u dadza 




• Vhagudiswa vha si vha tshifhinga tshothe vha ita mushumo wa Phothifolio. 

• Manwalwa (Maanea mapfufhi na malapfu) 

• Manwala ndi bugu mbili fhedzi. 

• FOLKORE (DZA MAKHULUKUKU) NA NGANEAPFUFHI (MMBWA YA LA 

INWE A I NONI). Maraga afha kha bugu idzi mbili ndi (30) 

• Mbudziso afha ndi ya u toolola kana ya vhubudziso vhutuku. 

453 

(40) 

(20) 

(20) 

(10) 

MARAGA DZO FHELELA DZOTHE NDI: 120


1 st LANGUAGE HG 

PAPER 1 



MBUDZISO 1 

Mbudziso iyi ndi ya u vhala na u pfesesa (comprehension) yone i na maraga dza (25) SG. 

Zwenezwo matshundeni a fanela u gudiswa u fhindula ya lushaka ulwu nga vhudalo. 

• Mutshundeni kha vhale mbudziso dzothe u thoma nga ntha. 

• Musi vho no fhedza u vhala mbudziso, kha vha vhale mafhungo e vha newa nga 

vhuronwane. Zwenezwo vha tshi khou vhala, kha vha lingedze u fhindula dzila 

mbudziso muhumbuloni nahone vha songo fhindulela bambirini. 

• Zwino-ha, matshundeni kha fhindule mbudziso nga nthihi nga nthihi. Musi a tshi 

nwala a lingedze u shumisa maipfi awe ene mune hu si o newa-ho lini. 

Mbudziso dzi anzela-ho u da ndi hedzi: 

(a) Thoho ya mafhungo 

(b) Thalutshedzo ya mipfi o swifhandzwaho. 

Vhunga tshipida itshi tshi na maraga dza 25, matshudeni a songo tshi fhindula nga u 

tavhaya kha shumise minete dza 25. 

Khethekanyo ya B i na maraga dza 


SAMARI KANA MANWELEDZO 

MBUDZISO 2 

• Mutshudeni u tea u nwala samari nga maipfi o tiwaho. A songo pfukisa muelo 

wa maipfi o newaho. 

• Mutshudeni u tea u nwala samari nga maipfi awe, a songo kopolola ayo are 

mafhungoni. 

454 

(10)


LUAMBO 

MBUDZISO 3 

Khethekanyo iyi i na maraga dza [40] 

Mbudziso ya u thoma i na maraga dza 10 khakhethekanyo iyi. Khethekanyo iyi yo 

khethekanya ya bva zwipida zwiraru. Ndi hezwi: 

(1) Tshanduko dza mibvumo. Maraga dza hone ndi (4) 

A. Matshudeni vha tea u gudiswa u ri tshanduko dza mibvumo ndi mini nahone 

dzo disa hani na u dzi nwala nga tshivenda tsho tambaho. 

B. Maitimatikedzi kana mitshila ya maiti 


Afha matshudeni vha tea u gudiswa maitimatikedzi na tshaka dzao u ri 

vha kone u nwala mafhungoni a pfalaho ngao. 

C. Mafhambanyi kana mabulazwithihi. 


Afha matshudeni vha tea u gudiswa mafhambanyi kana mabulazwithihi e 


MBUDZISO 4 



A. Nyambahunzhi 

Vhagudiswa vha tea u gudiswa nyambahunzhi dzi mafhungoni a pfalaho. 

Maraga dza hone ndi (3) kana (4) 

B. Makateli 

Makateli maraga dza hone ndi 

Vhagudiswa vha tea u gudiswa makateli musi e mafhungoni na 

thalutshedzo dzao. 

C. Matanganyi 


Matshundeni vha tea u gudiswa matanganyi u ri vha kone u a shumisa 

mafhungoni kwao. 

455 

(3) 

(4) 

(3) 

(3)

MBUDZISO 5 



A. Madzinambumbano 


Vhagudiswa vha tea u nwala madzinambumbano e mafhungoni a pfalaho na 

tshivhumbeo tshao. 

B. Mabulafhethu 

One a ana maraga 

Vhagudiswa vha tea u gudiswa mabulafhethu na uri a nwaliswa hani 

mafhungoni na tshivhumbei tshao. 

C. Manyanyu na maaravhi a na maraga dza (3) 

Vhagudiswa vha tea u gudiswa manyanyu na maaravhi e mafhungoni a 

pfalaho. 

MBUDZISO 6 

Mbudziso iyi i na maraga dza (10) 

Yo khethekanywa ya bva zwipida hezwi: 

A. Mirero 

Mirero i na maraga dza 

Afha vhagudiswa vha tea u gudiswa thalutshedzo dza mirero, pfanywa dza 

mirero na u nwala mirero i re na thalutshedzo dzo newaho na u i shumisa 


B. Maidioma kana maambele 


Vhagudiswa vha tea u gudiswa u ri maidioma kana maambele ndi mini na u 

nwala thalutshedzo dzao na u a shumisa mafhungoni a pfalaho. 

C. Mamudi 


Vhagudiswa vha tea u gudiswa u nwala tshaka dza mamudi na khanedza 

dza hone dzi mafhungoni kwao. 

D. Figara dza muambo kana kuvhidzele kwa zwithu 


Vhagudiswa vha tea u gudiswa tshaka dza muambo na u dzi shumisa 

mafhungoni kwao. Kuvhidzele kwa zwthu ndi hune vhagudiswa vha tea u 

toredza maipfi o teaho afho hu re na gake. 

456 

(4) 

(3) 

(3) 

(4) 

(3) 

(4)

MBUDZISO 7 

I na maraga dza (20) 

Yo khethekanywa ya bva zwipida zwivhili hezwi: 

A. Zwiga zwa u vhala na malederedanzi 


Matshudeni vha tea u divha zwiga zwothe zwa u vhala na u nwala Tshivenda. 

B. Tshivenda tsho tambaho 


Afha vdhagudiswa vha tea u khakhulula maipfi o khakheaho vha a nwala 

nga Tshivenda tsho tambaho. 

N.B. ZWIGA ZWINE VHA TEA U ZWI TEVHELA URI VHAGUDISWA VHA PHASE 

TSHIVENDA ZWAVHUDI NDI HEZWI: 

(i) Kha vha funze nga silabasi 

(ii) Kha vha shumise bugu yo tiwaho 

(iii) Kha vha shumise study guide tshi no pfi “Denzhe”. 

(iv) Vhone sa mudededzi vha sumbedze lufuno na mafulufulu kha vhagidiswa vhavho. 

(v) Vhagudiswa kha vha newe ndowedzo na tshunwa haya duvha linwe na linwe 

!!!Ri vha tamela mashudu mavhuya !!! 

NDAA! 

457 

MARAGAGUTE = HG: 75 

(10) 

(10)

TSHUMBA MUSHUMO YA TSHIVENDA 

MUHASHO W PFUNZO WA GAUTENG 

TSHITIFIKHETHI TSHA MATIRIKI 

BAAMBIRI LAVHUVHILI GIREIDI YO LINGANELAHO 


VHURENDI 

MBUDZISO 1 

• Vhagudi vha anga kha zwirendo zwina zwe vha newa. 

• Zwirendo izwo vha zwo randelwaho. 

• Vhagudi vha tea u fhindula mbudziso mbili fhedzi. 

• Inwe na inwe i na maraga dza (12½) 

• Mbudziso dzo fhelela dzi tea u vha na (25) 

DIRAMA 


MBUDZISO 2 

• Mbudziso afha dzi vha mbili. 

• Afha mugudi u tea u naga mbudziso nthihi ya u toolola kana ya vhubudziso 

vhutuku. 



NGANEA 

MBUDZISO 3 

• Mbudziso afha dzi vha dzi mbili fhedzi. 

• Mugudi afha u tea u naga mbudziso nthihi ya u toolola kana ya vhubudziso 

vhutuku. 


458 

Mbudziso dzothe dzo tangana ndi: 75

MAANEA 


1ST LANGUAGE SG PAPER 3 


MBUDZISO 1 

• Thoho dza rathi dza maanea hune matshudeni vha tou nanga nthihi fhedzi. 


• Matshudeni vha khou tea u naga thoho nthihi ya maanea vha nwala masiatari 

mavhili fhedzi 

MARAGA = SG: [30] 


MBUDZISO 2 

2.1 Vhurifhi ha tshiofisi kana ha vhukonani 

• Afha hu na u nanga ha u ri matshudeni vha toda u nwala nga vhurifhi vhufhio. 

• Matshudeni vha tea u gudiswa tshaka dzothe dza marifhi u ri na nwaliswa hani. 


2.2 Memorandamu, diari, muvhigo, adzhenda, khungedzelo 

• Matshundeni vha tea u nanga tshithihi vha nwala ngatsho nahone vha dadze 


• Rine vhadededzi ri tea u vha gudisa u ri izwo zwothe zwi nwaliswa hani. 


2.3 Memos, messages, posters, CV, e-mail, advert 

• Matshundeni vha tea u nwala kana u nanga thoho nthihi i ne vha tea u dadza 




• Vhagudiswa vha si vha tshifhinga tshothe vha ita mushumo wa Phothifolio. 

• Manwalwa (Maanea mapfufhi na malapfu) 

• Manwala ndi bugu mbili fhedzi. 

• FOLKORE (DZA MAKHULUKUKU) NA NGANEAPFUFHI (MMBWA YA LA 

INWE A I NONI). Maraga afha kha bugu idzi mbili ndi (20) 

• Mbudziso afha ndi ya u toolola kana ya vhubudziso vhutuku. 

• Vhagudi vha nga kha di shumisa guidi ntswaya "Creative Writing" maawalwa 

459 

(30) 

(15) 

(15) 

(10) 

MARAGA DZO FHELELA DZOTHE NDI: 80

THOGOMELANI ZWI TEVHELAHO: 

TSHIVENDA LUAMBO LWA U ENGEDZEDZA 

BAMMBIRI LA U RANGA 

GIREIDI YA NTHA 

• Bammbiri ili li na khethekanyo dza A, B na C. 

• Hu fhindilwa mbudziso dzothe. 



Vhagudiswa vha do newa tshipida tsha u vhala na u pfesesa. Ndivho ya luambo 

khathihi na vhokoni ha u pfesesa. 


SAMARI 

Vhukoni na u nweledza mafhungo vhu lingwa kha itshi tshipida. Vhagudiswa ha newa 

mafhungo a u vhala na u pfesesa. Vhagudiswa vha lavhelelwa u vhala vha pfesesa uri 

vha do kona u nweledza mafhungo e vha newa. 


LUAMBO 

Zwipida zwa nguduluambo zwi tea u dzhielwa nzhele. Vhaguduswa kha vha gudiswe 

tshumiso ya zwipida zwa luambo ngomu luamboni (Functional language) 

Vhagudiswa vha songo funzwa tshivhumbeo tsha maipfi fhedzi kha vha funzwe uri 

maipfi aya a shumaho kana fhungoni. Vhagudiswa vha songo gudiswe u rwela 

ngomani thalutshedzo dza thinwaipfi dzo fhambananaho fhedzi kha vha gudiswa u 

shumisa idzo mafhungoni a opfalaho. 

Hu thogomelwe zwipida zwi tevhelaho: 

• Madzina – thithilidzo na thukhufhadzo dza madzina. 

• Maiti – Mitshila ya maiti. 

• Mamudi – a kha thenda na khanedza. 

• Maidioma – Tshumiso ya maidioma mafhungoni. 

• Mirero – a mafhungoni 

• Makateli – Tshumiso kha mafhungoni 

• Figara dza muambo – Dzi mafhungoni a pfalaho. 

Na swinaevho zwinzhi zwi songo buliwaho afha. 

460 

Maraga: 35 

Maraga: 10 

Maraga: 35 

GUMOFULU: 80



BAMMBIRI LA VHURARU 

GIREIDI YA NTHA 


• Hu fhindulwe mbudziso nthihi kha khethekanyo in’we na in’we. 


MAANEA 

Vhagudiswa vha tea u nanga thoho nthihi kha dza rathi dzo newaho. Maanea avho a 

tea u vha na maipfi a 250 u ya kha 350 kana vha tea u dadza masiatari mavhili. 

Zwithu zwine zwa lavhelelwa ndi zwi tehelaho: 

• Tshivhumbeo: 

Maanea a tea uri a vhe na tshivhumbeo. 

Tshivhumbeo tsha maanea ndi tshi re afha fhasi. 

Mathomele / Mvulatswinga 

Aya ndi one marangaphanda a maanea. 

Mutumbu 

Afha ndi hone tshivhindini tsha mafhungo. 

Mugudiswa u tea u ri vhuodza nga vhudalo mafhungo awe 

Phendelo / Mafhedzele 

Mugudiswa u vha a tshi khou pendele kana u vhina mafhungo awe 

• LUAMBO 

Luambo lu tea u kunga lu dovhe lu tambe. 

Lu dovhe hafhu lu pfesesee. 

• VHUNGOMU 

Mafhungo a tea u elena na thoho. Mugudiswa u tea u bveledza mihumbulo yawe nga 

ndila yo dziaho. 

• MUPELETO 

Luambo lu tea u nwala nga ndila yo teaho. 

Tswayo dzi tevhedzwe. 

Maraga: 40 


Vhagudiswa vha tea u nanga thoho nthihi kha tharu. Mbudziso idzo tharu dzi do bva 

kha dzi tevhelaho: 

• Tshaka dzothe dza marifhi 

• Mufhindulano 

• Tshipitshi 

• Muvhigo 

461 

Maraga: 20




• Adzhenda 

• Maanbiwa a mutangano 

• Thambo dza tshiofisi 

• Thelegiramu 

• Khunguwedzo 

• Cv. 

• Memorandamu 

462 

Maraga: 20 

Gumofulu: 80



BAMMBIRI LA VHURARU 

GIREIDI YO LINGANELAHO 


• Hu fhindulwe mbudziso nthihi kha khethekanyo in’we na in’we. 


MAANEA 

Vhagudiswa vha tea u nanga thoho nthihi kha dza rathi dzo newaho. Maanea avho a 

tea u vha na maipfi a 250 u ya kha 350 kana vha tea u dadza masiatari mavhili. 

Zwithu zwine zwa lavhelelwa ndi zwi tehelaho: 

• Tshivhumbeo: 

Maanea a tea uri a vhe na tshivumbeo. 

Tshivhumbeo tsha maanea ndi tshi re afha fhasi. 

Mathomele / Mvulatswinga 

Aya ndi one marangaphanda a maanea. 

Mutumbu 

Afha ndi hone tshivhindini tsha mafhungo. 

Mugudiswa u tea u ri vhundza nga vhudalo mafhungo awe 

Phendelo / Mafhedzele 

Mugudiswa u vha a tshi khou pendele kana u vhina mafhungo awe 

• LUAMBO 

Luambo lu tea u kunga lu dovhe lu tambe. 

Lu dovhe hafhu lu pfesesee. 

• VHUNGOMU 

Mafhungo a tea u elena na thoho. Mugudiswa u tea u bveledza mihumbulo yawe nga 

ndila yo dziaho. 

• MUPELETO 

Luambo lu tea u nwala nga ndila yo teaho. 

Tswayo dzi tevhedzwe. 

Maraga: 40 




• Tshaka dzothe dza marifhi 

• Mufhindulano 

• Tshipitshi 

• Muvhigo 

463 

Maraga: 20




• Adzhenda 

• Maanbiwa a mutangano 

• Thambo dza tshiofisi 

• Thelegiramu 

• Khunguwedzo 

• Cv. 


464 

Maraga: 20 

Gumofulu: 80



BAMMBIRI LA U RANGA 

GIREIDI YO LINGANELAHO 


• Hu fhindulwa mbudziso dzothe. 



Vhagudiswa vha tea u kona u vhala khathihi na u pfesesa luambo. Vhagudiswa vha 

vha hanelwa mafhungo ane vha doea uri vha fhindula mbudziso dzo livhanaho na zwe 

vha vhala. Vhukoni ha u vhala na u pfesesa ndi hone hune ha vha hu tshi khou lingiwa. 


SAMARI 

Samari ndi manweledzo a mafhungo malapfu. Vhagudiswa vha tea u kona u nweledza 

mafhungo e vha newa. Vha do newa tshipida tsha u vhala na u pfesesa vha do 

konaha u tshi nweledza. 


LUAMBO 

Iyi ndi khethekanyo yo livhanaho na ngudaluambo. Vhagudiswa vha lavhelelea u kona 

u shumisa zwipida zwo fhambananaho zwa luambo mafhungoni a pfalaho. 

• Vhagudiswa vha songo gudiswa tshivhumbeo tsha maipfi 

• Vhagudiswa vha songo gudiswa u rwela ngomani thalutshedzo dza thinwaipfi 

dzo fhambanaho. 

• Kha vha gudiswa u shumisa thinwaipfi idzo dzi mafhungoni. 

• Vhagudiswsa vha tea u kona u shumisa zwipida kana maipfi o fhambanaho e 


kha hu thongomelwe zwipida zwothe zwa muambo kana luambo. 

Tsumbo: - Maiti – Mitshila ya maiti yo shumiswa mafhungoni a pfalaho. 

465 

Maraga: 35 

Maraga: 10 

Maraga: 35 

GUMOFULU: 80

TYPING 

1. Accuracy cannot be stressed enough. 

2. The formats of documents are important, in order to earn marks for display. 

3. Manuscript signs form an important part of the question paper. Del, stet and 

trs signs are marked as accuracy errors. 

4. The numbering and headings of main and subparagraphs are important. 

5. The number of continuation pages is centre, six line spaces from the top of 

the page, followed by two line spaces. 

6. A minimum speed of 35 w.p.m. is required for the speed test, as well as for 

production typing. 

7. There are eight questions in the second question paper. 

7.1 A table without vertical headings 

7.2 Financial statements without encasements 

7.3 A letter and testimonial on a letterhead with a continuation page 

7.4 The rest of the syllabus will be examined, except for envelopes and 

forms. 

466

URDU 

Prescribed text selected from Urdukee Theesree: Sindh Text Book Board 

1. Hamd 

2. Khuda Kee Shaan 

3. Acche Bhai 

4. Naath 

5. Maa 

6. Kuwa aur Lomree 

7. Saree Duniya 

8. Ek Chottee Bachee 

1. Rehmat-e-Aalim [S.A.W] 

2. Hazrat Usman-e-Ganee 

3. Eid-ul-Adha 

4. Hajj 

5. Tandurustee Hazaar Neimath 

6. Hazrat Khdija [R.A] 

7. Moohabath Ka Phegaam 

8. Hazrat Aboobaker [R.A] 

9. Hazrat Fathima Zehra [R.A] 

10. Hazrat Ayesha [R.A] 

1. Farz Shanasi 

2. Hamdardi 

3. Hum ek hei 

POETRY 

PROSE 

DRAMA 

467

WELDING AND METALWORKING SG 

SECTION A 

QUESTION 1 

This question is compulsory and consists of THREE sections covering the entire 

syllabus. 

1.1 20 statements are made and learners have to indicate whether they are TRUE 

or FALSE. (20) 

1.2 10 statements are made with the correct answer to be chosen out of 

FOUR possible answers between brackets. (10) 

1.3 Mix and match – the correct answer should be chosen from Column B and 

placed with the statement made in Column A (10 questions asked). (10) 

SECTION B 

Candidates must answer any FOUR questions from this section. 

QUESTION 2 

Consists of a line diagram of a simple supported framework, carrying THREE vertical 

point loads, from which the following calculations have to be done. 

2.1 Learners are asked to calculate the left and right reactions of the framework. 

(8) 

2.2 A forces diagram must be drawn to a given scale. (12) 

2.3 In this section the learners are asked to copy and complete a given table in 

their answer books indicating the magnitude and nature of the forces. (14) 

2.4 The candidates are asked to draw the space diagram of the framework and 

indicate the nature of the forces. (6) 

NOTE: The candidates are NOT expected to draw the space diagram 

to a certain scale. 

QUESTION 3 

Comprises a simple supported beam carrying TWO vertical point loads. The 

following calculations are asked: 

3.1 Left and right reactions on the beam (8) 

3.2 The bending moments at each given point (6) 

468

3.3 The shear forces at each given point (8) 

3.4 Drawing of the bending moment diagram to a given scale (8) 

3.5 Drawing of the shear force diagram to a given scale (10) 

QUESTION 4 

Covers stress and strain calculations as well as theory 

4.1 Calculations on various stress and strain changes (18) 

4.2 Further calculations on this section of the syllabus (6) 

4.3 In this section, candidates must explain ONE testing method to detect a 

defective weld (6) 

4.4 Theory relating to stress and strain (7) 

4.5 Definition of welding term (3) 

QUESTION 5 

This question is divided into TWO subsections, viz. 

5.1 Various calculations concerning a cone frustum. The candidates are expected 

to solve the problems by using a specified method of calculation (e.g. sin, 

cos, tan or ratio). (29) 

5.2 Consists of a cantilever with two vertical point loads as well as a distributed 

load. Here only calculations such as bending moments and shear forces are 

used. (11) 

QUESTION 6 

Cost calculations as well as trade theory from different sections of the syllabus 

6.1 Cost calculations to the value of a given table are asked be copied and 

completed in the answer books. (24) 

6.2 Theory (3) 




PLEASE NOTE THAT ONLY THE FIRST FIVE QUESTIONS IN THE 

CANDIDATES’ ANSWER BOOKS WILL BE MARKED IF MORE THAN THE 

REQUIRED QUESTIONS ARE ANSWERED. 

469

SWEIS EN METAALBEWERKING SG 

AFDELING A 

VRAAG 1 

Hierdie vraag is verpligtend en bestaan uit DRIE afdelings wat strek oor die hele 

sillabus. 

1.1 20 stellings word gemaak en leerders moet aandui of dit WAAR of ONWAAR 

is. (20) 

1.2 10 stellings met die korrekte antwoord wat gekies moet word uit VIER 

moontlike antwoorde tussen hakies. (10) 

1.3 Meng en pas – die korrekte antwoord moet uit Kolom B gekies word en gepas 

word by die konsepte wat in Kolom A voorkom (10 vrae word gevra). (10) 

AFDELING B 

Kandidate kan enige VIER vrae uit hierdie afdeling beantwoord. 

VRAAG 2 

Bestaan uit ’n lyndiagram van ’n enkelvoudige ondersteunde raamwerk met DRIE 

vertikale puntbelastings van waar die volgende berekeninge gedoen moet word. 

2.1 Leerders word gevra om die linker en regter reaksies op die raamwerk te 

bereken. (8) 

2.2 Die kragtediagram moet volgens ’n gegewe skaal geteken word. (12) 

2.3 In hierdie afdeling word leerders versoek om ’n tabel oor te teken in hulle 

antwoordboeke wat die aard en omvang van die kragte bereken. (14) 

2.4 Die kandidate moet ’n ruimtediagram van die raamwerk teken om die aard van 

die kragte aan te dui. (6) 

LW: Daar word NIE van die kandidate verwag om die ruimtediagram volgens ’n 

spesifieke skaal te teken nie. 

VRAAG 3 

Bestaan uit ’n eenvoudig ondersteunde balk wat TWEE vertikale puntbelastings dra. 

Die volgende berekening word gevra: 

3.1 Linker- en regterreaksies van die balk (8) 

3.2 Die buigmomente by elke gegewe punt (6) 

470

3.3 Die skuifkragte by elke punt (8) 

3.4 Teken van die buigmomentdiagram volgens ’n gegewe skaal (8) 

3.5 Teken van die skuifkragtediagram volgens ’n gegewe skaal (10) 

VRAAG 4 

Hierdie vraag handel oor spanning en vormverandering, asook teorie. 

4.1 Berekeninge oor verskeie spanning en vormveranderings (18) 

4.2 Verdere berekeninge oor hierdie afdeling van die sillabus (6) 

4.3 Kandidate moet EEN toetsmetode beskryf om sweisdefekte op te spoor (6) 

4.4 Teorie oor spanning en vormverandering (7) 

4.5 Definisie van ’n sweisterm (3) 

VRAAG 5 

Hierdie vraag bestaan uit TWEE onderafdelings, naamlik: 

5.1 verskeie berekeninge oor ’n gegewe afgeknotte keël. Die kandidate moet die 

probleme oplos volgens ’n spesifieke berekeningsmetode (bv. sin, cos, tan of 

driehoekverhouding) (29) 

5.2 Bestaan uit ’n kantelbalk wat twee vertikale puntbelastings, asook ’n 

verspreide belasting het. Hier word slegs berekeninge soos buigmomente en 

skuifkragte gevra. (11) 

VRAAG 6 

Kosteberekenings, asook vakteorie vanuit die onderskeie afdelings van die sillabus. 

6.1 Kosteberekenings word gevra aan die hand van ’n gegewe tabel wat in die 

antwoordboeke oorgeteken en voltooi moet word. 

6.2 Teorie 

6.3 Teorie 

6.4 Teorie 

6.5 Teorie 

NEEM ASSEBLIEF KENNIS DAT SLEGS DIE EERSTE VYF VRAE WAT 

BEANTWOORD IS, GEMERK SAL WORD, INDIEN DIE KANDIDAAT MEER AS 

DIE VOORGESKREWE VRAE BEANTWOORD. 

471

GENERAL 

WOODWORK SG 

PAPER 1 

DRAWING 

• The examination paper consists of FOUR questions. 

• All questions are COMPULSORY. 

The following methods of projection are applicable: 

Isometric drawings 

(a) Objects or parts thereof, with or without circles and curves 

(b) Exploded views of joints 

First-angle orthographic projection 

(a) Axis of the object parallel to the main projection planes, with and 

without sections 

(b) Axis of the object inclined to a main projector plane, with and 

without sections 

(c) Auxiliary views at 30°, 45° or 60° to the vertical plane 

Third-angle orthographic projection 

(d) Axis of the object parallel to the main projection plane, without 

sections 

[100] 

472

GENERAL: 

WOODWORK SG 

PAPER 2 

THEORY 

• All the questions are compulsory. 

• Sketches may be used to illustrate answers. 

QUESTION 1 

Short questions set on the whole syllabus (30) 

QUESTION 2 

Timbers 

Conversion method 

Commercial forms and grading (40) 

QUESTION 3 

• Hand tools 

• Machine tools (50) 

QUESTION 4 

• Construction and woodworking joints (40) 

QUESTION 5 

• Design 

• Preservation 

• Finishing (40) 

[200] 

200 ÷ 2 = 100 

473

WOODWORKING SG 

Generally, learners lose marks due to negligent mistakes like not labelling their 

drawing, presenting untidy work, presenting poor quality of linework due to blunt lead 

pencils. 

It is important for learners to learn using the 0.5 clutch pencil for their drawings since 

the quality of linework is much more presentable. They must have good erasers as 

well. Educators need to start allocating marks for the quality of work presented in 

terms of linework, captions, attention to detail, etc. 

The following are common problems: 

1. Learners write their names in the title blocks instead of their examination 

numbers. 

2. Learners battle with: 

a. Theory of machines: 

i. safety precautions when using machines 

ii. how to take care of machines 

b. General safety in the workshop 

c. The roof truss, sections thereof and quantity list 

d. Drawing the sections as required- especially confusing the door and the 

window 

e. Correct numbering of answers 

f. Furniture 

Basically the whole syllabus must be covered in detail and start training the learners 

to understand how their work is being marked; this would assist learners to learn to 

pay attention to specifications and detail. 

474

XITSONGA PRIMARY LANGUAGE HG 

PAPER 1 

A. Maphepha lama ma avanyisiwile hi swiyenge swinharhu hileswaku Xiyenge xa 

A; Xiyenge xa B na, Xiyenge xa C 

1. XIYENGE XA A (Xikambela-ntwisiso) 

1.1 Vakamberiwa va vutisiwa swivutiso mayelana na leswi ku nga ta va ku 

vulavuriwa hi swona endzimaneni leyi va nga ta va va nyikiwe yona. 

1.2 Switvutiso swa kona swi tala ku teka xiyima lexi: Cana ku vulavuriwa hi mani? 

U endla yini? Eka mani? Kwihi? Hikokwalaho ka yini? Rini? Xiki Xana a ku 

bula vanhu vangani ethekisini xana? 

1.3 Vakamberiwa a va tirhise marito ya vona loko va hlamula swivutiso. Va nga 

tirhisa marito kumbe swivulwa swa xikambela ntwisiso ntsena loko va 

komberiwile ku tshaha endzimaneni, xik. Seketela nhlamulo ya wena hi ku 

tshaha endzimaneni leyi. 

1.4 Loko vakamberiwa va komberiwile ku tsala: ‘Ina / E-e’; ‘I ntiyiso / A hi ntiyiso’; 

‘Hi swona / A hi swona’; ‘Ndza amukela / Ndza bakanya’; ‘Ndza seketela / 

Ndza landzula’; ‘Ndza pfumela / Ndza kaneta’; va nga pfanganiseli – 

pfanganiseli maveketelo (format) lama. A va xiye nakambe leswaku rito ‘Ee’ 

(Yes) a ri fani na rito ‘E-e’ (No). Maletere lama ‘i’ na ‘j’ ma na tinhloko. 

1.5 Matsalele Ya Xitsonga lexi ringanisiweke (standardized) ma 

2. XIYENGE XA B (Nkomiso) 

2.1 Vakamberiwa va fanele ku twisisa ndzimana (xitori) leyi va yi hlayaka, loko swi 

endleka va fanele ku yi hlaya kambirhi. 

2.2 Mhaka ya nkoka leyi va faneleke ku yi xiya hi leyi: Xana ku vulavuriwa hi 

mani? U endla yini? Ekamani? Kwihi? Rini? Xana xivangelo incini? Xana 

swi helele kwihi? 

2.3 Loko ku komberiwile ntsengo wa marito, a ma kombiwe emakumu ka nkomiso 

endzeni ka swiangi swa xikwere, xiki. [74 wa marito] 

2.4 Nkomiso wu fanele ku tsariwa hi marito ya mukamberiwa. 

2.5 Vakamberiwa va fanele ku tshika ku tirhisaimabumabumeri; maengeteri; 

swivulavulelo; swivuriso; swiga-ririmi na swikhavisa ririmi hinkwaswo. 

2.6 Vakamberiwa va nga hlamuli nkomiso hi tipharagirafu, ku laveka pharagifu 

yin’we ntsena. Vanga tirhisi marito ya ndzimana. 

2.7 Vakamberiwa va fanele ku tirhisa Xitsonga lexi ringanisiweke. 

475

3. XIYENGE XA C (Ririmi) 

3.1 Vakamberiwa va nga rhanga hi ku hlaya swivutiso va nga si hlaya ndzimana. 

Leswi swi va pfuna ku twisisa leswaku ‘moya’ wu ba wu ya kwihi. 

3.2 Leswi swi talaka ku vutisiwa laha i ririmi, xiki ntivo-marito; mavumbele ya 

swivulwa; swiga-ririmi; swikhavisa ririmi; swihluvi swa mbulavulo (ngopfungopfu: 

vamavizweni; mafana-peletwa; mabumabumeri; masivi; maengeteri); 

minkarhi na marhavi ya riendli; ntsongahato na vundhawu bya maviti; 

mapfuneta-maendli, sw. sw. 

3.3 Eka mofoloji na le ka xifonetiki ku ta vutisiwa matirhisele, xiki 

(a) Tsala leswaku nhloko leyintsanana yi vuriwa yini. 

(b) Tirhisa nhlamulo leyi u yi tsaleke eka (a) laha henhla u vumba swivulwa 

swimbirhi swo ka swi nga fani hi tinhlamuselo. 

(c) Xana loko hi vu ‘vh’ [v] eka rito ‘vhiki’ hi tirhisa swirho swihi? 

3.4 Vakamberiwa va nga tirhisi marito ya ndzimana loko va tsala swivulwa. 

3.5 Vakamberiwa a va fanelanga ku hlanganisa kumbe ku hambanisa kumbe ku 

tsemelela marito kumbe ku tirhisa maletere lamakulu na mimfungho hi ndlela 

yo hoxeka. 

3.6 Loko va komberiwe ku vumba swivulwa, va fanele ku sungula xivulwa hi letere 

lerikulu; va nga cinci rito leri va nga nyikiwa rona; va fanele ku vekela hiko (.) 

emakumu ka xivulwa, va tlhela va khwatihata rito leri va ri tirhisaka exivulweni. 

3.6.1 Va nga nyiki nhlamuselo ya rito matshan’wini yo tsala swivulwa. 

3.6.2 Vanga tsali swivulwa swo koma swo ka swi nga twali, xiki ‘Ndzi rhandza 

mavele’. Ku antswa leswi: ‘Mavele ya kala nan’waka emasin’wini hikuva 

mpfula a yi nanga na wona mapa ma ta durha. 

3.7 Tinhlamuselo ta marito ku ya na leswi ku vulavuriwaka hi swona (context) swi 

laveka ngopfu. 

3.8 Vakamberiwa va fanele va nga tsemeleli marito; va tirhisa maletere lamakulu 

na mimfungo hi mfanelo. 

3.9 Vakamberiwa, ngopfu-ngopfu va le madorobeni va nga tirhisi marito yo 

kucetela hi tindzima tin’wana, xiki mavidla=masirha; arifini= enkosini; 

tipampiri=maphepha; ku dobelela = ku rholela; - leta = - xwela; mafulufulu = 

nkhinkhi; a va tweleli = a va yingisi; yimelela hi famba = suka u yima hi famba, 

na swinw. na swinw. 

3.9.1 Va fanele va tirhisa Xitsonga lexi ringanisiweke. 

476

XIVUTISO XA 4 (Ndzulamiso / Editing) 

4.1 Vakamberiwa va fanele ku rhanga va hlaya ndzimana kumbe swivulwa va nga 

si tsala ndzulamiso. 

4.2 Eka xiyenge lexi, ku tala ku kamberiwa leswi landzelaka: matirhiselo ya 

mimfungho na matsalelo ya marito. 

4.3 Swileriso hinkwaswo eka swiyenge hinkwaswo swi fanele ku hlayiwa swi tlhela 

swi landzeleriwa. 

5. SWIN’WANA NA SWIN’WANA 

5.1 Hinkwaswo leswi tsariweke laha henhla a hi silabasi’, swo va swiletelo ntsena 

(guidelines). Silabasi yi fanele yi landzeleriwa yi dyondziwa hi xitalo. 

5.2 A swi yili ku kuma swivutiso swo fana na leswi: 

(i) Xana ndhawu leyi mufundhisi a yimaka eka yona loko a dyondzisa 

(chumayela) yi vuriwa yini? 

(ii) Tsala mavito ya tintiho / tinguva / masiku ya vhiki / tinhweti ta lembe / 

swakudya swa Xitsonga, na swin na swin. 

5.3 Leswo mofoloji na xifonetiki a swa ha kamberiwi exikambelweni i lunya. 

5.3.1 Lexi xi nga cinca eka mofoloji na xifonetiki i mavutiselo ya swivutiso, xik 

matshan’wini yo: Komba leswi vumbeke rito ‘exiyindlwanini’ hi ri: 

Vumba xivulwa xo twala hi rito “exiyindlwanini? Kambe a swi 

bihanga ku tiva leswaku rito ‘exiyindlwanini’ ri vumbe hi swiaki 

leswi landzelaka: 

(i) xirhangi xa xirhangi = ‘e’ (xa vundhawu). 

(ii) xirhangi=’xi - ‘ na ‘yi-‘ (xo komba ntlawa) 

(iii) Rimitsu = ‘- ndlu-‘ (ro khoma rito) 

(iv) n’okelano = ‘lu + a’ “w’ 

(v) ndzhundzhuluko = ‘w’ (xo vumba nomohato) 

(vi) xilandzi = ‘-ini’ (xo vumba vundhawo) 

5.3.2 Matshan’wini yo: Tsala rito ‘xikolo’ hi matsalele ya xifenetiki’, hi ri: 

Xana ku humelela yini enon’weni loko ku twarisiwa xitatisi ‘x’ [5] 

Nhlamulo = Meno ya khumbana, kasi moya wu huma hi ku manyiwa. 

(2) 

477

XITSONGA PRIMARY LANGUAGE SG PAPER 1 

A. Maphepha lama ma avanyisiwile hi swiyenge swinharhu. 

B. Vakamberiwa va fanele ku hlaya swileriso hinkwaswo hi vukheta va tlhela va 

swi landzelela. 

C. Vakamberiwa va fanele ku tirhisa Xitsonga lexi ringanisiweke. 

D. Tinomboro leti tirhisiweke eka phepha leri, ti nga cinciwi loko se ku tsariwa 

tinhlamulo. 

1. XIYENGE XA A (Xikambela-ntwisiso) 

1.1 Vakamberiwa va vutisiwa swivutiso mayelana na leswi ku nga ta va ku 

vulavuriwa hi swona endzimaneni leyi va nga ta va va nyikiwe yona. 

1.2 Switvutiso swa kona swi tala ku teka xiyimo lexi: Xana ku vulavuriwa hi mani? 

U endla yini? Eka mani? Kwihi? Hikokwalaho ka yini? Rini? Xik. Xana vito 

rin/wana ra Mabutho i mani? 

1.3 Vakamberiwa va fanela va tirhisa marito ya vona loko va hlamula swivutiso. 

Va nga tirhisa marito kumbe swivulwa swa le ndzimaneni ntsena loko va 

komberiwile ku tshaha endzimaneni. 

1.4 Loko vakamberiwa va vutisiwile xivutiso lexi lavaka: ‘Ina / E-e’; ‘I ntiyiso / A hi 

ntiyiso’; ‘Hi swona / A hi swona, sweswo-sweswo, va fanele ku endla leswi va 

komberiweke swona, va nga pfanganiseli. 


2. XIYENGE XA B (Nkomiso) 

2.1 Vakamberiwa va fanele ku twisisa ndzimana (xitori) leyi va yi hlayaka, loko swi 

endleka va fanele ku yi hlaya kambirhi. 

2.2 Loko va hlaya ndzimana, a va xiye leswaku ku vulavuriwa hi mani; u endla 

yini; eka mani, kwihi, rini, xana xivangelo incini, xana swi helela kwihi? 

2.3 Loko ku komberiwile ntsengo wa marito, ma fanele ku kombiwa emakumu ka 

nkomiso endzeni ka swiangi swa xikwere, xik. [42]. 

2.4 Nkomiso wu fanele ku tsariwa hi marito ya mukamberiwa. 

2.5 Vakamberiwa va nga tirhisi mabumabumeri; maengeteri; swivulavulelo; 

swivuriso; swikhavisa ririmi hinkwaso. 

2.6 Vakamberiwa va nga hlamuli nkomiso hi tipharagirafu, ku laveka pharagirafu 

yin’we ntsena, naswona va nga tirhisi marito lama nga ka ndzimana. 

2.7 Ku fanele ku tsariwa hi Xitsonga lexi ringanisiweke. 

478

3. XIYENGE XA C (Ririmi) 

3.1 Vakamberiwa va nga rhanga hi ku hlaya swivutiso va nga si hlaya ndzimana. 

3.2 Leswi swi lalaka ku vutisiwa laha i ririmi, xik. ntivo-marito; mahlanganisi; 

mavumbele ya swivulwa; swiga-ririmi; swikhavisa ririmi; swihluvi swa 

mbulavulo (vamavizweni; mafana-peletwa, mabumabumeri, masivi, maendli, 

maengeteri, maencisi, maviti), ntsongahato, vunyingi, nandzulo/mpfumelo, na 

swin’wana leswi kombiweke eka silabasi. 

3.3 Eka mofoloji na xifonetiki ku ta vutisiwa matirhisele ya marito, xik. A ku nga 

komberiwi mavumbele ya rito ‘xinhlokwana’, kambe ku ta komberiwa swivulwa 

leswi nga ta komba tinhlamuselo to hambana ta rito ‘chloko’. 

3.3.1 Eka xifonetiki ku nga vutisiwa leswi moya wu humisaka xiswona 

enon’weni loko ku vuriwa xitatisi ‘b’ [b] eka rito ‘bana’. 

3.4 Vakamberiwa va nga hlanganisi kumbe ku hambanisa kumbe ku tsemelela 

marito kumbe ku tirhisa maletere lamakulu na mimfungho hi ndlela yo hoxeka. 

3.4.1 Lokova komberiwe ku vumba xivulwa, va fanele ku sungula xivulwa 

hi lotere lerikulu, va khwatihata rito leri va faneleke ku ri tirhisa, va nga ri cinci, 

ivi va vekela hiko (.) emakumu ka xivulwa. 

3.5 Vakamberiwa va nga nyiki nhlamuselo ya rito matshan’wini yo vumba xivulwa. 


XIVUTISO XA 4 (Ndzulamiso / Editing). 

4.1 Vakamberiwa va fanele ku rhanga va hlaya ndzimana kumbe swivulwa va 

twisisa va nga si tsala ndzulamiso wa kona. 

4.2 Eka xiyenge lexi, ku tala ku kamberiwa leswi landzelaka: matirhiselo ya 

mimfungho na matsalelo ya marito. 

4.3 Futa ri phyamisa nhlamulo. 

4.4 Swileriso hinkwaswo eka swiyenge leswi nga laha henhla swi fanele ku 

hlayiwa swi tlhela swi landzeleriwa. 

4.5 Hinkwawo leswi tsariweke laha henhla a hi silabasi, swo van swiletelo ntsena 

(guidelines). Silabasi yi fanele yi landzeleriwa yi dyondziwa hi xitalo. 

4.6 Madyondzele lamanene ya ndzulamiso (editing) i ku dzumbela ku wu pfuxeta 

hi ku wu tsala, ku nga ri ku bula hi wona ntsena 

479

XITSONGA MHLAWULO WA LE HENHLA (HG) 

RIRIMI RA LE KAYA (HOME LANGUAGE) 

PAPER 2 

- Vadyondzi wa ta kamberiwa ehenhla ka tibuku tinharhu leti avanyisiweke hi 

swiyenge / swikatsa leswi landzelaka. 

Xiyenge xa A: Buku 1 : Xikolokolo nguvu ya pitori hi 

J.M. Magaisa 

Ehansi ka xiyenge lexi vadyondzi va BOHEKA ku hlamula xivutiso xa 1 lexi ku 

nga xitlhokovetselo lexi nga hlawusiwangiki leswaku xi dyondzisiwa (unseen 

poem) Timaraka [10] 

- Xivutiso xa 2 eka Xiyenge xa A xi avanyisiwe fi swivutiso swa mune leswi 

vadyondzi / vakamberiwa va faneleke ku hlamula SWIMBIRHI ntsena eka 

xona. Leswi i switlhokovetselo leswi nga enawini ku dyondzisiwa (Prescribed 

poems) 

Hlaya Circular 99/1999 ku tiva switlhokovetselo leswi hlawuriweke. 

Xiyenga xa B: Buku 2: Cinlovo xa le Mahlweni madlayisa Torha 

Yiyenge lexi xi ni swivutiso swimbirhi ku nga swivutiso swo koma (contextual) na 

Xitsalwana (essay) 

- Mudyondzi / Mukamberiwa u fanele ku hlawula Xivutiso xinwe a hlamula xona. 

480 

Timaraka [30] 

Xiyenge xa C Buku 3: Ntsendzeleki 

Xiyenge lexi xi ni swivutiso swimbirhi leswi mudyondzi a nga ta hlawula eka swona. 

Mudyondzi u fanele ku tsundzuka leswaku loko a hlamule xitsalwana eka Xiyenge xa 

B, u BOHEKA ku hlamula swivutiso swo koma eka Xiyenge xa C. Loko a hlamule 

swivutiso swo koma eka B u boheka ku hlamula Xitsalwana eka C. 

NB. Xiyaxiya: 1. F.E.T. Language Standardisation Policy 

Date of Implementation July 2001 

2. Circular 99/1999

XITSONGA MHLAWULO WA LE XIKARHI (SG) 

RIRIMI RA LE KAYA (HOME LANGUAGE) 

PAPER 2 

- Vadyondzi va ta kamberiwa ehenhla ka tibuku tinharhu leti 

avanyhisiweke hi swiyenge leswi landzelaka 

Xiyenge xa A: Buku 1: Xikolokolo Nguvu ya Pitori hi J.M. Magaisa 

Ehansi ka xiyenge lexi vadyondzi va fanele ku hlamula swivutiso swimbirhi 

ntsena ehenhla ka mune leswi i switlhokovetselo leswi nga enawini ku 

dyondzising (Prescribed Poems) 

Xiyenge Xa B: Buku 2: Xihlovo xa le Mahlweni Madlayisa Torha 

Xiyenge lexi xi ni swivutiso swimbirhi ku nga swivutiso swo koma 

(contextual) na xitsalwana (essay) 

481 

TIMARAKA 12½X2= [25] 

- Mudyondzi / mukamberiwa u fanele ku hlawula xivutiso xin’we a 

hlomula xona 

TIMARAKA [25] 

Xiyenge Xa C: Buku 3: Ntsendzeleki 

Xiyenge lexi xi ni swivutiso swimbirhi leswi mudyondzi a nga ta hlawula eka 

swona. Mudyondzi u fanele ku tsundzuka leswaku loko a hlamule 

xitsalwana eka Xiyenga Xa B; u BOHEKA ku hlamula swivutiso swo koma 

eka Xiyenge Xa C. Loko u hlamule swivutiso swo koma eka B u boheka ku 

hlamula Xitsalwana eka C. 

Xiyaxiya 1. FET Language Standardisation policy 

Date of Implementation July 2001 

2 Circular 99/1999 or Circular 52/ 

TIMARAKA: 75 

NKARHI: 2 WA TIAWARA

XITSONGA PRIMARY LANGUAGE HG 

PAPER 3 

A. Maphepha lama ma avanyisiwile hi swiyenge swinharhu. Eka Xiyenge xa A, u 

hlamula xivutiso xin’we (Xitsalwana); eka Xiyenge xa B, u hlamula swivutiso 

swinharhu (Papila na swimbirhi eka Obichwari / “CV’ / Ajenda / Timinete / 

Memorandamu / Dayari / ‘Fax’, na sw. na sw.); eka Xiyenge xa C, ku na 

swivutiso eka tibuku timbirhi: ‘Xa mina i tinyeleti’ na ‘Ntlhontlho’ kambe wena u 

hlawula yin’we ntsena ivi u hlamula swivutiso ehenhleni ka yona ntsena. 

1. XIYENGE XA A (Xitsalwana). 

1.1 Vakamberiwa va fanele ku hlaya tinhloko-mhaka hi vukheta kutani va hlawula 

leyi va yi twisisaka swinene, leyi va nga ta va na mahungu yo ya vula hi yona. 

Va nga pfi va huma eka nhloko-mhaka. 

1.2 Xitsalwana xi fanele xi va na nhloko-mhaka, yi tlhela yi khwatihatiwa. 

1.3 Xitsalwana xi fanele ku avanyisiwa hi tipharagirafu; pharagirafu yin’wana na 

yin’wana yi va na hungu ro karhi kumbe ku engetela swin’wana eka hungu ro 

karhi. 

1.4 Swikhavisa ririmi, fenya, na xitayili xo nyanyula muhlayi, swi tlakusa xiyimo xa 

xitsalwana. 

1.5 Vakamberiwa va fanele ku tirhisa Xitsonga lexi ringanisiweke (standardized). 

1.6 Vakamberiwa va nga cinci nhloko-mhaka leyi va nga nyikiwa yona. Xiki Loku 

u komberiwile ku hlamusela leswi swi nga endliwaka ku herisa ‘HIV/AIDS’, u 

nga hi hlamuseli hi leswi swi vangaka ‘HIV/AIDS’. 

2. XIYENGE XA B (Papila) 

2.1 Vakamberiwa va fanele ku dyondza swivumbeko (format) swa tinxaka 

hinkwato ta mapapila, xiki ra bindzu; ra xikaya; na ro tsalela vatinyuziphepha. 

2.1.1 Xivumbeko xi katsa adirese; khodi, siku; xiloso; mahetelelo; vito ra 

mutsari; nsayini; nhloko-mhaka (eka ra bindzu). 

2.2 Papila ri fanele ku avanyisiwa hi tipharagirafu. 

2.3 Papila ra xikaya ri nga khavisiwa hi swikhavisa ririmi, kambe ra bindzu a ri 

khavisiwi, ko kongomiwa nhloko-mhaka ku tlhela ku tirhisiwa ririmi ro olova, ro 

twisiseka. 

2.4 Ku fanele ku tirhisiwa Xitsonga lexi ringanisiweke. 

482

3. XIYENGE XA C (Swihungwana / mintsheketo) 

3.1 Vakamberiwa va fanele ku hlaya no dyondza switori / mintsheketo leswi / leyi 

va hlawuleriweke ku swi / yi dyondza. 

3.2 Nkarhi wun’wana ku nga tshahiwa ebukwini (xitori / ntsheketo), kambe 

swivutiso swi khumba xitori hinkwaxo kumbe ntsheketo hinkwawo. 

3.3 Eka xiyenge lexi, ku kamberiwa vundzeni na ririmi. 

3.4 Vakamberiwa va hlaya swilerisa va tlhela va swi landzelela. 

3.5 Eka mintsheketo, ku fanele ku dyondziwa swihlawulekisi swa kana, xik. Xana 

hi ri yini loko hi sungula ku tsheketa? Xana ku tsheketiwa hi nkarhi wihi? 

sweswo-sweswo. 

3.6 Eka swihungwana, ku fanele ku dyandziwa swimunhuhatwa; ntlimbo; xitori, na 

dyondzo. 

483

XITSONGA - NHLAWULO WA LE XIKARHI (SG) 

RIRIMI RA LE KAYA (HOME LANGUAGE (PAPER 3) 

- Vadyondzi va ta kamberiwa ehenhla ka swiyenge swinharhu. 

Xiyenge xa A i switsalwana, laha mukamberiwa a faneleke ku hlawula xitsalwana 

xin’we eka ntlhanu. 

Xiyenge Xa B - Xi ni swivutiso swimbirhi ku nga Xivutiso xa 2 na 3. 

484 

TIMARAKA: 30 

- Laha mukamberiwa u fanele ku hlamula xivutiso xin’we eka xivutiso 2 na xivutiso 

xa 3. 

TIMARAKA: 30 

Xiyenge Xa C - i matsalwa (4th Genre) ku nga MINTSHEKETO hi F. Rikhotso -Xa 

mina i Tinyeleti na Swirungulwana hi WR Chauke - Ntlhontfho. 

- Laha mukanberiwa u fanele ku hlawula buku yin’we,kutani a hlamula xivutiso 

Xin’we ntsena eka yona 

TIMARAKA: 20 

NTSENGO LINKWAWO: [80]

XITSONGA HG AND SG 

PAPER 1 

ADDITIONAL LANGUAGE 

XIYENGE XA A 

Eka maphepha lama nga ta tsariwa ku nga ya Swikambelo ni a supplementary, 

machudeni ya fane ku langutela leswi landzelaka. 

Eka xiyenge xa A I laha ku nga ni zikambela-ntwisiso swo hambana-hambana: ku 

hlaya ndzimar leyi landselaka hi swivutiso, kumbe ku ziya-ziy cartoon/xifaniso leswi 

nga n’wangulano lowu landzelaka hi swivutiso 

TIMARAKA: (35) 

XIYENGE XA B 

Nkomiso wu ta vutisiwa hi ndlela leyi ndzimana yi faneleke ku komisiwa hi nhlayo wa 

mavito lama lave-kaka. 


XIYENGE XA C 

Eka xiyenge lexi (grammer) swivutiso swi ta vutisiwa hi ndlela leyi nga ya 

communicative approach. 

Swin’wana leswi faneleke ku landzeleriwa hi leswi landelaka. 

• Swihluvi swa mbulavulo 

• Swiwa-ririmi – swivuriso ni swivulavulo, maencisi, mahlari, swisasekisi, 

swihlambanyisi swi ta vutisiwa hi ndlela ya communicative 

• Ku tirhisa marito kumbe ku vumba swivulwa hi marito 

• Ku tirhisa swige-ririmi eka swivulwa 

• Vandhawo 

• Minkarhi leyi nga hundza, sweswi, leyi taka 

• Mahlanganisi 

• Maengeteri 

• Marito-fularha 

• Vamavizweni 

• Maengeteri 

• Mahlayele 

• Vun’we ni vunyingi 


Mahetelele 

Machundeni ma fanele ku twisisa swivutiso y va nge si hlamula swivutiso. Swivutiso 

hinkwa swo swi fanele ku hlamuriwa. 

485

XITSONGA ADDITIONAL LANGUAGE HG AND SG 

PAPER 2 

NDZAWULO YA DYONDZO YA LE GAUTENG 

XITHIFIKETI YA XIKAMBELO XA LE HENHLA 

XITSONGA XA RIRIMI RA VUMBIRHI 

NHLAWULO WA LE HENHLA/NA LE XIKARHI 

PAPILA RA VUMBIRHI 

XIYIMO XA PHEPHA 

PHEPHA RI VUMBIWILE HI SWIYENGE SWA NTLHANU, KU NGA A, B, C, 

DNA E. 

(i) XIYENGE XA A (BUTLHOKOVETSERI) XIKOLOKOLO NGUVA YA 

PITORI. 

(ii) XIYENGE XA B (NTLANGU) XIHLOVO XA LE MAHLWENI 

MADLAYISA TORHA. 

(iii) XIYENGE XA C (HUNGU-TSALWA) NTSENDZELEKI. 

(iv) XIYENGE XA E (NGUWO WA RIXAKA( XA MINA I TINYELETI. 

2. XIYENGE XA A 

XIKOLOKOLO NGUVU YA PITORI : J.M. Magaisa 

Eka butlhokovetseri vadyondzisi va boheka ku dyondzisa vana swilo leswi 

lendzelaka: 

a) Ku tlhontlha xitlhokovetselo 

b) Ku humesa tinhlomuselo to hambana ku ya hi ntila hi ntila. 

c) Mguyelelo wa switwar. 

d) Emakumu ka tsalwa hi nga kuma marilo lama ya helaka hi ku fana. 

Xikombiso: “fana” eka ntila wuri’wana na “fana” eka ntila lowu 

landzelaka. 

e) Matirhiselo ya swivutiso emakumu ka ntila. 

f) Matirhiselo ya swigaririmi xikariwe na swihlwi swa mbulavulo. 

g) Ku humesa kongomela eka tsalva hi ku komisa. 

h) Ku humesa mongo wa xiphato kualomu ka ntlharu kumbe khume wa 

mintila. 

i) Na ku omukela miehleketo leyi n’wana a yi humesa ku ya hi leswi yena 

a swi twisisa loko swi fambelana na tsalwa eka mongo kumbe 

kongomelo. 

486

3. XIYENGA XA B NTLANGU/DRAMA 

XIHLOVO XA LE MAHLWENI MADLAYISA TORHA 

Eka ntlangu hi laha hi bohekaka ku paluxa swihlowulekisi swa rtsalwa. 

a) Mbangu. 

b) Swimunhuhatwa 

- Swimunhuhatwa nkulu 

- Swimunhuhatwa paluxa 

- Ntlimbo wa le handle na wa le ndzeni 

- Kongomelo. 

c) Xivumbeko xa buku leswi yi nga xiswana ehandle va nga si Waya 

tsalwa. 

d) Hlamuselo ya marito ya swimunhuhatwa loko ya ri kona. 

e) Ku boxa swihluvi hinkwaswe swa mbulavulo leswva hlanganaka na 

swona. 

f) Ku boxa na kombe swivulavulelo na swivuriso va ri karhi va humesa 

tinklamuselo. 

g) Na dyondzo leyi va yi kumaka eka tsalwa ra kona. 

h) Na mihlovo leyi nga tirhisiwa eka tsalwa ehandle ka rond na swifaniso 

leswi nga kona. 

4. XIYENGE XA D SWIRUNGULWANA : NTLHONTLHO 

– Eka tsalwa leri hi fanele ku va dyondzisa vadyondzi mavito hinkwavo 

ya swimunhuhatwa leswi va nga hlongona na swona. Vodyondzisiwa 

nambangu leyi swilo leswi swi humelelaka eka yona na tidyondzo leti 

vatikumeka eka tsalwa leri kuya hi ku hambana, hambana ka swona. 

– Ku tlhela ku tirhisiwa swihluvi swa mbulavulo leswi va hlanganaka na 

swona. 

– Va humesa tinklamuselo ta vona erivaleni. 

– Vanga dyondzisiwa ntlangu hi ku hambana hambana ka swimunhuhatwa 

leswi na muntirho ya swona. 

5. XIYENGE XA E MFUVO WA RIXAKA: XA MINA I TINYELETI 

Laha eka tsalwa leri vadyondzesi va fanele vadyondzisa vana leswi 

landzelaka: 

a) Tinxaka ta mintsheketo 

– Mintsheketo ya swikhdwakholwani 

– Mintsheketo ya matimu 

– Mintsheketo xidzi. 

– Mintsheketo ya swihari 

– Mintsheketo dyondzo ya swihari 

– Mintsheketo nhlomuselo ya ntumbuluko wa swiharhi 

– Mintsheketo tinsimu 

487

) Swihlamulekisi swa mintsheketo 

– Mutshuli wa ntsheketo 

– Mutsheketeri 

– Nkarhi wo tsheketa 

6. XIYENGE XA C HUNGU-TSALWA: NTSENDZELEKI 

Vadyondzisi eka hungu-tsalwa hi laha va faneleke ku dyondzisa vana swilo 

leswi landzelaka. 

a) Swihlawulekisi swa tsalwa 

– Mbangu 

– Swimunhuhatwa = Ku hambana ka swona 

– Kongomelo 

– Dyondzo 

– Ntlimbo wa le handle na wa le ndzeni 

b) Eka swimunhuhatwa hi languteriwa ku dyondzisa vana leswaku loko hi 

vulavula hi swimunhuhatwa hi leswaku munhu wa kona hi riwi kuma 

eku sunguleni ka buku ari yena ximunhuhatwa nkulu hi tlhela hi ya n’wi 

kuma ni le makumu ka hari yena ximunhuhatwankulu. 

c) – Hi tlhela eka hungu tsalwa hi hlamusela vana kumbe vadyondzi 

leswaku nifo ra ximunhuhatwa lexi ri vula yimi. 

– Hi marito mariwana vito ra ximunhuhatwa xin’wana na 

xin’wana rima dyondzo ku va a thyiwile vona. 

d) Hi va dyondzisa swihluvi swambulavulo hi marito lawa hi hlanganaka 

na wona. 

e) Hi tlhela hi va byela ku tsala n’wangulana hi swimunhuhatwa leswi va 

nga swi kuma, kumbe va tsala papila va tsalela vanghana va vona 

leswi va nga swi hlaya va tlhela va swidyondza. Hi nga tlhela hi tiyisisa 

leswaku a va swi tirhisi na le ka portfolio ya vona. Ku va nga yi rivali i 

ku vadyondzisa mbulavulo hi yona etlasini. 

f) Marungulela ya ntsheketo 

– Masungulele 

– Swinsin’wana 

– Madlayisetele 

Vadyondzi va fanele vadyondza ku humesa dyondzo ya ntsheketo 

wun’wana na wun’wana hi voxe ku ya hi miehleketo ya vona. 

Na ku dyondza ku yimbelela tinwimu ta kona. 

Eka swiyenge leswi u nyikiweke swona u boheka ku hlamula swiyenge swimbirhi 

ntsena leswi u swi twisisaka. 

488

Eka swiyenge leswi u swi hlamuleke u boheka ku hlamula swivutiso swa swona 

hinkwaswo. 

Matsalelo 

– Vufendze na futa swi ta hunguta timakisi ta mudyondzi. 

– Sungula xiyenge xin’wana na tin’wana eka papila rintshwa 

– Hlamula swivutiso swa wena hi xitsonga xo amukeleka 

– Ntirho wa wena emahetelelwini wu fanekele wa ri na timakisi to ringana 

489 

[80]

XITSONGA HG AND SG ADDITIONAL LANGUAGE 

PAPER 3 

1. Swa fanela leswaku vadyondzisi va hlaya Document ya Language 

Standardisation Policy 2001 na Government Gazette 22615 Volume 434 ku 

katsa na Circular 17/2002 

2. Vadyondzisi na vadyondzi va fanele ku langutela leswi landzelaka eka 

maphepha lama nga ta tsariwa. 

3. Maphepha ya swikambelo ya Second Language Paper 3 ya ni timaraka to 

ringana 80 ku katsa na Supplementary ya kona. Maphepha ya tsariwa tiawara 

timbirhi. 

Xivumbeko xa maphepha ya HG na SG na Supplementary 

XIYENGE XA A 

XIVUTISO XA 1 

Eka xiyenge lexi vadyondzisi va ta languteriwa ku hlamula xivutiso lexi nga ni 

switsalwana swa nthanu swo hambana kutani va hlawula nhloko-mhaka yin’we 

ntsena. Tinhloko-mhaka tin’wana ti ta katsa swifaniso swo karhi leswi mudyondzi a 

nga ta tsala xitsalwana. 

Tinxaka hinkwato ta switsalwana swi fanele ku dyondzisiwa. Xikombiso: Xitsalwana 

xa nhlamuselo, anakanyiwa, ndzungulo na swin’wana 

[40] 

XIYENGE XA B 

Eka Xiyenge lexi vadyondzi va ta languteriwa ku hlamula xivutiso xin’we ntsena eka 

swinharhu leswi va nga ta va va vutisiwile swona. 

Leswi faneleke ku languteriwa hi leswi landzelaka 

• Papila ra xikaya 

• Papila ra ximfumo 

• N’wangulano 

• Xipichi 

• Xiviko 

• Dayari 

• ku rungula buku leyi hlayiweke 

Swiphemu leswi bexiweke laha henhla swi fanele swi tshikeleriwa hinkwaswo 

490 

[20]

XIYENGE XA C 

Eka xiyenge lexi vadyondzi va ta langutela ku hlamula xivutiso xin’we ntsena eka 

swinharhu leswi va nga ta va va vutisiwile. Leswi nga ta vutisiwa swi katsa leswi 

landzelaka 

• Ajenda 


• Xirhambo 

• Matimu ya mufi 

• Xileriso (Instructions] 

Hinkwaswo leswi boxiweke laha henhla swi fanele ku tshikeleriwa. 

A hi xiyaxiyeni nakambe F.E.T Language Standardisation Policy. July 2001 na 

Circular 99/1999 na Circular 52/2002 

491

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