STD 7 CAPA

Republic of Botswana
UPPER PRIMARY TEACHER’S GUIDE
FOR
CREATIVE & PERFORMING ARTS
SYLLABUS
STANDARD SEVEN
Curriculum Development Division

Department of Curriculum Development & Evaluation
Ministry of Education
Contents
Acknowledgements ii
Introduction iii
Module Unit Topic Page

1.1.1 Hygiene in the home 1
1.1 Health and safety
1 Health and safety 1.1.2 Safety and first aid 3
1.2 Food and nutrition 1.2.1 Malnutrition 8
2.1 Drawing 2.1.1 Art elements and distance 12
2 Communication 2.2 Painting 2.2.1 Colour scheme 17
2.3 Media 2.3.1 Advertising 19
3.1.1 Sprints 21
3.1 Track and field events
3.1.2 Throws 24
3.2 Creative dance 3.2.1 Dance elements 31
3.3 Gymnastics 3.3.1 Gymnastic movements 36
Composing and 3.4 Ball Games 3.4.1 Net/wall/racquet games 41
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performing 3.5 Music of Botswana 3.5.1 Modern musical instruments 60
3.6 Pitch 3.6.1 Stave 65
3.7.1 Notes 68
3.7 Time and rhythm
3.7.2 Tempo markings and dynamics 70
3.8 Dramatisation 3.8.1 Music and dance in drama 72
4.1 Needs and wants 4.1.1 Productivity 75
4.2 Product design 4.2.1 Design process 77
4.3 Two-dimensional crafts 4.3.1 Batik 82
4.4 Three-dimensional crafts 4.4.1 Body ornaments 85
4.5.1 Carving 87
4.5 Sculpture
4.5.2 Construction 90
4.6.1 Textile fibres 92
4.6.2 Sewing machine 94
4.6 Clothing and textiles
Design and 4.6.3 Knitting 101
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production 4.6.4 Creative textiles 105
4.7.1 Structures 109
4.7 Technology
4.7.2 Mechanisms - gears 117
4.8.1 Craft materials 123
4.8.2 Measuring and marking out tools 125
Materials and making 4.8.3 Holding tools 128
4.8
processes 4.8.4 Cutting and shaping tools 130
4.8.5 Joining and forming tools 133
4.8.6 Finishing 136
5.1.1 Businesses ideas 138
5 Entrepreneurship 5.1 Entrepreneurial skills
5.1.2 Market research 142
Acknowledgements
The material in this Teacher’s Guide has been developed with the assistance of the
following officers:
Kittrananden PEO II Design & Technology CDD/CD&E

Vencatachellapathee
Jacob kebalebile PEO II Physical Education CDD/CD&E
Seoketso Edith Marata PEO II Art CDD/CD&E
Gaotewe Phuthego PEO II Home Economics CDD/CD&E
Chawada Chakalisa PEO II Home Economics CDD/CD&E
Kobina Dadzeasah PEO II Business Studies CDD/CD&E
Daniel T. Mogami SEO Music CDD/CD&E
The Department of Curriculum Development and Evaluation wishes to thank them for
their valuable contributions in putting this document together for the benefit of both
teachers and learners of Upper Primary School Education. Our gratitude is also
extended to taskforce members who edited the content and made invaluable
suggestions to the Teacher’s Guide.
Introduction
Creative and Performing Arts is a subject that draws its content from Art and Craft,
Business Studies, Design & Technology, Drama, Dance, Home Economics, Music, and
Physical Education. The Teacher’s Guide seeks to help teachers understand the
contents of standard 7 Creative and Performing Arts syllabus so that they are effective
in carrying out instructional activities. The document provides information about the
topic areas of each module, suggesting teaching and learning activities to be carried out
to achieve the objectives of the syllabus. The Teacher’s Guide also provides details of
resources to be used to support teaching and learning activities. The document further
suggests activities that could be assigned to the learners to determine the extent to
which the learners have acquired desired knowledge, skills and attitudes. A glossary of
key terms used in the syllabus is also provided.
ii
The Teacher’s Guide is not meant to be prescriptive and as such teachers should design
activities for their classes and use other support materials to facilitate learning. It should
be used in conjunction with the syllabus.
iii
MODULE 1- HEALTH AND SAFETY
UNIT 1.1: HYGIENE AND SAFETY
TOPIC AND LEARNING OBJECTIVES

1.1.1 Hygiene in the home
Learners should be able to:
1.1.1.1 discuss different ways of disposing waste.
1.1.1.2 explain the importance of keeping the home and surroundings clean.
CONTENT
Introduction
Proper waste disposal should be taken into consideration in every household. This will
ensure maintenance of a healthy environment. Methods of waste disposal include:
burning, burying, re-cycling, re-using and decomposing. Apart from keeping the
surroundings clean there are other important reasons for removing waste such as to:
• prevent illnesses and the spread of diseases.
• make the home look attractive and pleasant to live in.
• make equipment and furniture last long.
• eliminate household pests from breeding and living in the home and its
surroundings.
• minimize and prevent accidents in and around the home.
• prevent pollution.
• avoid contamination of water.
SUGGESTED TEACHING AND LEARNING ACTIVITIES

Cut pictures from magazines showing different types of waste and classify them
according to methods of waste disposal.
Make a collage called ‘clean homes’.
SUPPORT MATERIALS
⇒ Paper, scissors, magazines, manila and glue.
GLOSSARY
Environment - Everything in our surrounding such as land, vegetation, air,
water.
Healthy environment - An environment free from substances that cause pollution.
Pollution - Contamination of the environment by waste products.
Waste - Anything that is no longer considered useful.
Waste disposal - Removal of waste to keep surrounding clean.
ASSESSMENT
List four reasons for proper waste disposal.
List tools and materials that are no longer considered useful.
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UNIT 1.1: HYGIENE AND SAFETY

1.1.2 Safety and first aid
1.1.2.1 state ways of avoiding common hazards in the school and at home.
1.1.2.2 follow simple safety precautions.
1.1.2.3 work safely with a range of materials, tools, equipment, instruments and
implements.
1.1.2.4 store materials, tools, equipment, instruments and implements safely.
1.1.2.5 describe ways of treating poisons.
1.1.2.6 discuss the uses of triangular bandages.
1.1.2.7 demonstrate the making of reef knot.
1.1.2.8 demonstrate the bandaging of hand, foot and knee.
1.1.2.9 demonstrate the use of a sling.
1.1.2.10 list advantages of using bandages and slings.
CONTENT
Recap standard 5 and 6 Teacher’s Guide on safety and first aid. The standard 7
Teachers Guide is a continuation and will address safety and first aid issues pertaining
to poisons and bandaging. Accidents are never planned. In an emergency situation it is
important that every person has some knowledge of what to do while waiting for a
doctor or ambulance. First aid is immediate care given in an emergency situation while
waiting for a doctor or ambulance.
A. Poisons
Poisons are solids or liquid substances or gases which when taken into the body in
sufficient quantities will be harmful. Poison can enter the body through: breathing,
the skin and the mouth.
(i) Poisoning through breathing

This can come in the form of gas poisoning e.g. Carbon Monoxide.
What to do
1. Remove the victim from the source of poison, if possible; otherwise call
the rescue squad.
2. If the victim is in a closed room, garage, or other small space, take a deep
breath and hold it before entering. Quickly turn off the source of the
poisonous gas (engine, or stove) and pull the victim outside or to
a place where there is fresh air.
3. Loosen the victims’ tight clothing and clear the airway.
4. If the victim has stopped breathing give artificial respiration (this includes
mouth to mouth resuscitation and any other modern items used to
restore breathe).
5. Immediately transfer victim to hospital.
(ii) Poisoning through the skin
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It can be caused by corrosive chemicals, poisonous plants and flowers which
when coming in contact with the skin can cause an allergy e.g. swelling,
itching,
redness, blisters, burning sensation. Insect bites and snakebites are also
poisoning that are inflicted through the skin.
NB: Care should be taken in mouth to mouth resuscitation to avoid further

complications. Absolute hygiene should be practised during mouth
to mouth resuscitation.
What to do
1. Remove clothing of the affected part if necessary.
2. Flush the affected skin with clean water.
3. Continue to wash with soap and water for at least 5 minutes.
4. Transfer the victim to hospital.
iii) Poisoning by insects, e.g. ants, bees, wasps

What to do
1. If the sting is still in the skin remove it.
2. Rest the affected part.
3. Apply a cold compress to reduce the pain and swelling.
Snake bite
What to do
1. Lay the casualty down and reassure him/her.
2. Wash wound well with soap and water clearing away any venom that
remains on the skin near the wound.
3. Cover the wound with a clean dressing.
4. Immobilize injured part using constrictive bandage, in a lowered position
keeping the involved area below the level of the victim’s body.
5. Arrange for urgent transfer to hospital, with the dead snake if possible.
6. Should the casualty show signs of failing breathe, or should the breathing
stop, then apply artificial respiration.
7. Should the casualty become unconscious, turn him into the recovery
position and maintain a clear airway.
(iv) Poisoning through the mouth

This could be caused by poisonous berries, plants, tablets, medicines,
mushrooms, decomposed food or corrosive substances. When you take
corrosive poison by mouth it can cause burns around the lips, inside the mouth
and along the digestive passages. Other signs of corrosive poisoning are;
severe pain, burning sensation on the affected areas and white patches on the
tongue which appear like tarnish.
What to do if the patient is conscious

1. Dilute the poison by giving milk or water
2. Induce vomiting (this step is not suitable for corrosive poisoning)
3. Do not leave the patient alone.
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4. Transfer patient to the hospital, and take the swallowed medicine
containers with you.
NB: Do not induce vomiting if:

1. A victim has burns around the lips and mouth.
2. A victims’ breath smells paraffin or petrol
3. Information on the container cautions against it.
4. Patient is unconscious
5. Patient has convulsions
6. Patient is exhausted.
(v) Paraffin poisoning and related petroleum products

If these are taken by mouth, they cause chemical pneumonia. These products
may be identified by their characteristic odour.
A person who has swallowed paraffin shows the following signs:

1. Rapid shallow breathing.
2. Coughing.
3. High body temperature.
4. Smells of paraffin.
What to do
1. Do not induce vomiting.
2. Dilute the paraffin by giving milk.
3. Immediately send the patient to the hospital.
B. Bandaging
(i) Triangular bandage
A triangular bandage can be made or improvised. It is used :
1. for immobilizing fractures.
2. to keep dressing in place.
3. as a sling.
Making a triangular bandage

1. Cut 50cm square of plain fabric (clean white cloth)
2. Fold the fabric diagonally and cut along the fold as illustrated below.
Point
Fo
ld
de
lin
Si
e
50 cm Base
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(ii) Reef knot
The bandage should be tied in a reef knot which does not slip. A reef knot is
flat and neat. It is also easy to untie.
1 2 3
To tie a reef knot:

• Pass the right-hand end over and under the left-hand end.
• Bring the two ends together.
• Pass the left-hand end over and under the right-hand end.
• Draw the ends tight.
• It makes no difference whether the first crossing is tied left-over-right or
right-over-left as long as the second crossing is tied opposite to the first
crossing.
How to bandage a hand
1 2 3 4 5
1. Place the hand on a fully open triangular bandage with the point away
from the patient.
2. Fold the point over the hand.
3. Bring the ends over and round the wrist.
4. Cross them and tie over the point.
5. Bring the point down the knot and pin it.
How to bandage a foot
1 2 3 4 5
1. Place the foot on a fully open triangular bandage with the point away from
the patient.
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2. Fold the point over the instep.
3. Bring the ends over and round the ankle.
4. Cross them and tie over the point.
5. Bring the point down the knot and pin it.
How to bandage an elbow or knee
1 2 3
1. Lay the point on the back of the arm or back of the thigh with the middle
of the base on the limb below the joint.
2. Carry the ends round the joint (not too tight).
3. Bring the joint down over and tie the knot and pin it.
iii) Slings
This is used for injuries to collar bone and hand.
1. Place the patient’s forearm across the chest so that the fingers point
towards the injured shoulder, and the palm of the hand on the chest.
2. Lay an open bandage over the forearm with one end over the hand.
3. Steady the limb and tuck the base of the bandage well under the hand,
forearm and elbow.
4. Bring the lower end under the bent elbow and up around the back to
uninjured shoulder.
5. Tie both ends together in the hollow above the collarbone.
6. Tuck the point in between the forearm and the bandage in front, making a
fold.
7. Turn this fold backwards over the lower part of the arm and pin it.
The arm sling

This is used for injuries of ribs, upper arm and forearm
1. Support the forearm and place the bandage over the front of the body
bringing the upper end round the neck and well over the injured shoulder.
2. Move the injured arm on the bandage with the hand slightly higher than
the elbow.
3. Bring the lower end up over the forearm and tie a reef knot in front of the
shoulder of the injured side.
4. Turn the corner at the elbow forward and pin it.
5. Fold in the edges.
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6. Leave the fingertips exposed so that the circulation may be tested.
Improvised Slings
Turn of the bottom edge of the coat and pin it to the opposite lapel, use belts,
braces, neckties or tapes.

Allow learners to identify common hazards in their environment.
Make a sample of a triangular bandage using a clean plain fabric.
Demonstrate how to;
- make a reef knot.
- bandage a hand /foot using a triangular bandage.
- bandage an elbow/knee.
- use a sling.
SUPPORT MATERIALS
⇒ Plain cotton fabric, triangular bandage, scissors.
GLOSSARY
Poison - A substance that causes illness, injury, or death if taken into the body or
produced within the body.
Flush - To run cold water on the affected area.
Sling - A piece of cloth loosely hang from the neck in order to support a
broken
or injured arm.
Hazard - Something which could be dangerous to you, your health or safety.
ASSESSMENT
What is a poison?
How can poison enter the body?
What are the uses of an open bandage?
Where is the arm sling used?
What items can be used as improvised slings?
Demonstrate how to make a reef knot.
Explain how to apply first aid to someone who has taken a poison.
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UNIT 1.2 FOOD AND NUTRITION

1.2.1 Malnutrition
1.2.1.1 explain malnutrition.
1.2.1.2 discuss causes, signs, treatment and prevention of marasmus and
kwashiorkor.
1.2.1.3 state the functions and sources of calcium, phosphorous and iron.
1.2.1.4 state the functions, sources and deficiency diseases of vitamin A, B complex,
C and D.
1.2.1.5 prepare a balanced meal.
CONTENT
Malnutrition
Malnutrition is the condition that occurs when a person's body receives unbalanced
nutrients (under malnutrition and over-malnutrition). The condition may result from
inadequate or too much nutrients, digestive difficulties, absorption problems, or other
medical conditions.
Incidence and risk factors of malnutrition

Malnutrition may be mild enough to show no symptoms. However, in some cases it
may be so severe that the damage done is irreversible, even though the individual
survives.
Causes of malnutrition
Malnutrition can occur because of the lack of a single vitamin in the diet, or it can be
because a person isn't getting enough food. Starvation is a form of malnutrition.
Malnutrition also occurs when adequate nutrients are consumed in the diet, but one or
more nutrients are not digested or absorbed properly.
Worldwide, malnutrition continues to be a significant problem, especially among

children who cannot fend adequately for themselves. Poverty, natural disasters,
political problems, even epidemics and war all contribute to conditions of malnutrition.
Developing and developing countries are both affected.
Treatment of malnutrition
Restore lost body nutrients.
Eat a balanced diet.
Correct any micronutrient and macronutrient deficiencies.
Prevention of malnutrition
Prevention of malnutrition in children starts with an emphasis on good parental care
and nutrition.
Food supplementation programmes.
Kwashiorkor and marasmus are two diseases that are closely associated with
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malnutrition. These diseases mainly affect children.
A. Kwashiorkor
Causes
• Inadequate intake of protein.
Signs and symptoms

• Thinning and loss of hair.
• Hair changes colour to reddish brown.
• Dry, scaling and pale skin.
• Big stomach.
• Failure to grow normally Child with kwashiorkor
• Swelling of feet and legs (edema).
• Irritable and weak.
NB: Severe cases of edema may lead to severe emaciation. If the condition is not
relieved in time by an improved diet, the child dies. Mental deficiency – the brain
of the child grows very fast in the first two years and an acute shortage of food
may adversely affect the growth of the brain. The child’s growth may be retarded
depending on the degree of deficiency.
B. Marasmus
Causes
• Inadequate intake of food especially
carbohydrates and proteins.
Signs and symptoms

• Loss of weight (being under weight).
• Thin muscles.
• Wrinkled skin.
• Thin limbs. Child with marasmus
NB: Both children and adults can suffer from marasmus. This disorder is
common where people do not have enough to eat i.e. poverty stricken areas.
NUTRIENTS AND THEIR DEFICIENCY DISEASES

Name of Nutrient Main Sources Functions in the Body Results of
in the Diet Deficiency
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Vitamin A Dark green • Keeps the retina of the • Night blindness
(Retinol) vegetables, carrots, eyes healthy. • Retarded growth
spinach, paw-paw, • Keeps mucus • Reduced
avocado, pear, membrane healthy. resistance to
yellow maize, • Promote growth in disease
cheese, milk, oily children
fish, egg, fortified, • Increase ability to see
margarine, in deem light.
tomatoes, liver. • Keeps the skin healthy.
NUTRIENTS AND THEIR DEFICIENCY DISEASES

Name of Nutrient Main Sources in Functions in the Body Results of Deficiency
the Diet
Vitamin B Complex
Vitamin B1 Whole grain • Helps the body release • Retarded growth
(Thiamine) products, offal, egg energy. in children.
yolk, beans, meat • Helps the body keep • Loss of appetite.
and fish. the nervous system • Body gets tired
healthy. easily.
• Beri beri.
Vitamin B 2 Green vegetables, • Promotes healthy eyes. • Mouth sores and

(Riboflavin) nuts, milk and • Helps the body release swollen tongue.
dairy products, energy from food. • Weakness and
kidneys, liver and fatigue.
eggs. • Cheilosis.
Vitamin C Citrus fruits, • Essential for absorption • Retarded growth.

(Ascorbic Acid) cabbage, most of Iron. • Slow healing of
green vegetable, • Protects body against wounds and
guavas, berries, cold. broken bones.
pineapples, • Keeps skin healthy • Sore gums and
fortified fruit juices • Prevents scurvy mouth.
• Needed to make • Lowered
connective tissue resistance to
especially for scar disease.
tissue, bones and teeth • Scurvy.
• Prevents muscular
fatigue
Vitamin D Oily fish, Egg yolk, • Formation of strong • Rickets

liver, sunlight. bones and teeth.
• Helps the body to
absorb calcium.
Calcium Milk, cheese, hard • For strong bones and • Malformation of
water, canned fish, teeth. bones
cabbage, eggs. • Helps in blood clotting.
• For the normal
functioning of muscles
and nerves.
Phosphorus Milk, cheese, nuts, • Constituent of cell • Malformation of

meat, fish and eggs, membrane bones
vegetables • Control and release of
energy
• Transports salty acids
• Build bones and teeth
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Iron Liver, kidney, • It forms the blood. • Anaemia
heart, eggs,
vegetables,
potatoes and dried
fruits
EXAMPLES OF BALANCED MEAL

• Fried egg and • Beef stew • Seswaa • Macaroni cheese
bacon • Boiled rice • Stiff mealie meal porridge • Coleslaw salad
• Baked beans • Green salad • Dried bean leaves relish • Mosukojane tea
• Plain scones • Lemonade • Morula drink
• Hot chocolate
• Apple

Plan and prepare a balanced meal.
Plan a protein rich meal suitable for a child suffering from kwashiorkor.
SUPPORT MATERIALS
⇒ Cooking utensils
⇒ Recipe books
⇒ Reference books
GLOSSARY
Malnutrition - A condition that arises because of incorrect or inadequate intake
of
nutrients in the body.
Kwashiorkor - A disease caused by inadequate intake of protein in the body.
Marasmus - A disease caused by inadequate intake of food or starvation.
Balanced meal - A meal containing all the nutrients in their correct proportions.
ASSESSMENT
What are the causes of malnutrition?
Define the following terms:
- kwashiorkor
- marasmus
What are the signs of kwashiorkor?
What are the signs of marasmus?
List the deficiency diseases for the following vitamins and minerals: Vitamin A,
Vitamin B1 and B2, Vitamin C, Calcium, Phosphorus and Iron.
Plan a balanced meal.
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MODULE 2 - COMMUNICATION
UNIT 2.1 DRAWING

2.1.1 Art elements and distance
2.1.1.1 state art elements as line, shape, texture, colour, space and value.
2.1.1.2 discuss art principles as contrast, movement and pattern.
2.1.1.3 explore the use of art elements and principles in drawing.
2.1.1.4 create a composition using art elements and principles.
2.1.1.5 analyse art elements and principles in a given artwork.
CONTENT
Art elements
Art elements are parts that could be combined to make artwork. These are lines, shapes,
textures, colours, space and value. The art elements could also be used to suggest
distance.
Line
Line is an element of art that refers to the mark or path made by a moving tool on
surfaces. There are different tools that are used in drawing lines. These can be either
natural or man-made such as crayons, pencils, pen and ink, pastels, charcoal, finger,
paws, twigs, hooves. Lines could be used in varied ways such as to create texture,
crosshatching for shading and pattern.
What lines can express

Lines can be used to communicate or express
ideas and feelings. Zigzag and diagonal lines
could be used to express action or movement
such as sliding or falling of structures. Vertical
and horizontal lines could be used to express
stability, peace and quietness.
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Shape
Shape is an element of art that refers to the area
enclosed by line. There are two types of shapes
namely geometric or freeform.
Texture
Texture is an element of art that refers to the look or feel of a surface or the surface
quality of an object. In two-dimensional artworks, artists create the sense of texture
using other art elements such as value and colour. In three-dimensional artworks
texture is both visual and tactile, that is we can see and feel it.
Colour
Colour is an element of art that refers to the way something looks like when struck by
light. The colour is seen because light waves are reflected from objects to your eyes.
Light from the sun is a combination of all colours. When light passes through a prism,
it is bent and separated into bands of colour called the colour spectrum. A rainbow is a
natural example of a spectrum.
Space
Space is an element of art
that refers to the area around
or between objects and
shapes.
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Value
Value is an element of art that refers to the lightness
and darkness of an object. It depends on how much
light the surface reflects. A surface would show a
dark value if little light is reflected and a light value
if a lot of light is reflected.
Art principles
The art principles are the guidelines used to create artwork. They help in organising the
artwork. These are such as contrast, movement and pattern.
Pattern
Pattern refers to a design created by repetition of art elements such as line, shape and
colour. When the art elements are repeated with sufficient regularity pattern is created.
There are two main types of pattern and these are planned and random pattern. In an
artwork pattern is either used to decorate a surface or help to unify and organise the various
parts. There are pattern in the natural and man-made environment.
Natural patterns
Man made patterns
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Movement
Movement refers to the path our eyes follow as we look at a work of art. The repeating
lines in the picture cause our eyes to move across the page creating visual movement.
Contrast
The art principle of contrast refers to things that appear distinctively different from one
another. Contrast in a work of art could be created by using dark and light colours, big and
small shapes, smooth and rough textures and thin and thick lines.

Describe elements and principles of art.
Discuss the various ways of using art elements in an artwork.
Discuss the various ways of using art principles in an artwork.
Experiment with the art elements of line, shape, texture, colour, space and value to
create principles movement, pattern and contrast.
Create a composition using art elements and principles.
SUPPORT MATERIALS
⇒ Chalk charcoal, pencils, pastels, crayons, rubbers, skins, papers (variety), erasers,
money clip etc.
GLOSSARY
Experiment - To explore the possibilities and alternatives of media and
topic/theme. (This would be an idea that one has in mind).
Composition - An arrangement of parts in a work of art. These are lines, shapes,
and colours and are usually arranged according to the art
principles such as pattern, balance and emphasis.
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ASSESSMENT
Describe the various ways of using art elements and principles in an artwork.
Differentiate between art elements and principles.
Analyse how the varied elements and principles have been used in a given piece of
artwork.
Create an artwork that shows pattern, movement and contrast.
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UNIT 2.2: PAINTING

2.2.1 Colour schemes
2.2.1.1 explain a colour scheme.
2.2.1.2 explain tertiary, monochromatic, complimentary, neutral, warm and cool
colours.
2.2.1.3 recognise the use of colour schemes from works of art.
2.2.1.4 explore with colour schemes in painting.
2.2.1.5 create a composition using a chosen colour scheme.
CONTENT
Colour Scheme
A colour scheme is a plan for arranging or organising colours. Unplanned colours cannot
create an appealing work of art. Monochromatic and complimentary colours are examples
of the colour schemes.
Tertiary Colours
Tertiary or intermediate colours are created by mixing a primary colour with secondary
colour.
• Red and orange make red-orange
• Red and violet make red-violet
• Blue and violet make blue violet
• Blue and green make blue-green
Monochromatic Colours
Monochrome means one colour. A monochromatic colour scheme is a colour that uses
only one colour and the values, tints and shades of that colour.
Complimentary Colours
Complimentary colours are colours opposite one another on the colour wheel. They create
the strongest contrast when put next to each other. In a colour wheel red is opposite green,
violet is opposite yellow and blue is opposite orange.
Neutral Colours
The colours that do not appear in the spectrum such as black, white, brown, and grey are
called neutral colours.
Warm and Cool Colours

Warm and cool colours are used together to create different effects in painting. Warm
colours remind us of warm things and cool colours of cool things. The use of dark and light
tones also gives the illusion of depth or space and distance in a composition.

Discuss the colour scheme, tertiary, monochromatic, complementary, neutral, warm
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and cool colours.
Experiment with different colour schemes.
Create composition using a colour scheme of your choice.
SUPPORT MATERIALS
⇒ Paints, brushes, pallets, pallet knifes, paper, boards, sticks, feathers, leaves, barks,
toothbrushes, and visual aids of works that has the illusion of space and distance.
GLOSSARY
Technique - Working skillfully with materials.
Experiment - To explore the possibilities and limitations of media and
topic/theme (This would be an idea that one has in mind).
Composition - An arrangement of parts in a work of art. These are lines, shapes,
and colours and are usually arranged according to the art principles
such as pattern, balance and emphasis.
ASSESSMENT
Describe the various ways of creating the illusion of space and distance in an
artwork.
Differentiate between foreground and background.
Analyse a given piece of artwork.
Analyse the use of colour schemes a given piece of artwork.
Create a composition using a colour scheme.
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UNIT 2.3 MEDIA

2.3.1 Advertising
2.3.1.1 explain advertising.
2.3.1.2 state the purpose of advertising.
2.3.1.3 list main types of advertising media.
2.3.1.4 suggest factors to consider in choosing an advertising media.
2.3.1.5 design and produce an advertisement for a chosen product.
CONTENT
Introduction
Just as information can be passed by letters through the post office, we can also pass
information by advertising through various means such as the radio, television,
newspapers, magazines, etc. (advertising media). The information about products we
hear on the radio or see on television is advertisement. The teacher should explain
advertising as a means of passing information to the general public by businesses,
individuals, government and other organisations. The teacher should use anyone of the
learners who have something to sell as an example to emphasise this point.
Use different advertisements either from newspapers or developed in class to explain

the purpose of advertising as to inform, remind and persuade the public.
An advertisement which informs the public provides information. That advertisement

may carry a message such as ‘Don’t spread the virus, use condoms, abstain from sex if
you are not married and be faithful’.
An advertisement may be made with the sole aim of persuading the public to buy a
particular product. Such advertisement may carry messages which sound very
convincing. When you read or hear the advertising message you feel being compelled
to buy the product. They may contain messages such as ‘a simple pair of jeans could
signal the day to day uniform of the Chief Executive Officer’, ‘a pair of jeans is a must
have for the open mind’, Nokia N series is made for everything you are.
Some advertisements only try to draw people attention to a product which they seem to
be forgetting. It tries to tell potential customers that the product is still important to
them. An advertisement which is meant to remind potential consumers about a product
has messages such as ‘milk is still the best food drink for babies’, ‘next time you want a
car Toyota is there for you’.
The following advertising media should be discussed. Television. radio, newspapers,

magazines, posters and leaflets.
Explain to learners why a particular medium for advertising is chosen to advertise a

particular product. The following can be explored:
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• Cost of using the medium
• The size of the market
• The nature of the product
• The people being targeted
In designing an advertisement you must do the following:

• Appeal to various senses
• Use bright colour to attract attention
• Use clear layout
• Select the appropriate medium
• Choose short and crisp message

Teacher reads some newspaper advertisements to the class.
Class discussion of the messages carried in the advertisements.
Learners suggest reasons why some advertisements are said to be informative while
others are persuasive.
Learners practise using persuasive language.
Discuss different media of advertising with the class.
Learners cut and paste advertisements from newspapers and magazines.
Learners listen to advertisements on the radio and act them out.
The class chooses a product and produce an advertisement for it.
SUPPORT MATERIALS
⇒ Newspapers, magazines and other print materials containing advertisements.
⇒ Manila paper
⇒ Radio
⇒ Tape recorder
GLOSSARY
Media of advertising - The channels which are used for advertising. For
example, television, radio, newspapers, magazines, etc.
ASSESSMENT
Differentiate between advertising and advertisement.
List three types of advertising media.
Why would you choose a television instead of newspaper to advertise a product?
Why do some manufacturers use famous people to advertise their product?
Choose a product and produce an advertisement for it.
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MODULE 3 - COMPOSING AND PERFORMING
UNIT 3.1 TRACK AND FIELD EVENTS

3.1.1 Sprints
3.1.1.1 explain 4x100m and 4x400m relay as sprints.
3.1.1.2 explain visual and non-visual methods of baton exchange.
3.1.1.3 perform visual and non-visual methods of baton exchange.
3.1.1.4 apply rules and techniques in relays.
3.1.1.5 demonstrate the 4x100m and 4x400m relays.
3.1.1.6 differentiate between bunch, medium and elongated starts.
3.1.1.7 differentiate between the drop, running through the tape and shoulder shrug
finish.
3.1.1.8 perform all starts and finishes for sprints.
CONTENT
Introduction
A relay is a race in which an athlete runs at high speed and passes the baton to the next
athlete. It is a team race of 4 athletes, each running equal distance. There are two
types of relays – 4 x 100m relay and 4 x 400m relay.
Relays employ two types of baton pass: The non-visual (blind) pass and the visual
pass.
In the 4 x 100m relay, each runner runs 100m – keeping the same lane throughout the
race, and the athletes pass the baton while sprinting at top speed. A non-visual or blind
method of baton pass is used. This means that the baton receiver does not look back or
turn and reach back for the baton.
Exchange Zones
There are three 20m change over zones in 4 x100m relay.
2nd Exchange 1st Exchange
3rd Exchange Start/Finish
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Before each exchange zone is a 10 m acceleration zone. The rules of the event permit
the baton receiver to accelerate within the 10 m acceleration zone but the baton must be
exchanged within the 20m change-over zone.
Accelerationּ
Takeover Zone 10 m
Zone 20 m
In the 4 x 400m relay, lanes are kept by the first runner, and the second runner keeps
the lane in the first bend only. There are no change-over zones in the 4 x 400m relay.
The baton receiver looks back and reaches for the baton. The receiver concentrates on
taking the baton out of the carrier’s hand, rather than being given the baton. The visual
method of passing the baton is used.
Techniques of baton exchange

There are two fundamental baton exchange techniques used for passing the baton.
These are the upsweep technique and downsweep technique.
The upsweep technique

• The carrier passes the baton with an upward-
pushing motion.
• The receiver grips the baton between the “V”
formed by the fingers and thumb of the receiving
hand.
The downsweep technique

• The carrier passes the baton with a downward,
forward-pushing motion on to the platform provided
by the hand of baton receiver, who reaches back,
palm facing downwards, to grip the upper one third
(1/3) of the baton.
• The forward push of the baton is emphasized by the
incoming runner.
Relay starts
The relay races are started from a crouch position. The crouch start has three types,
namely; bunch start, medium start and elongated/extended start.
The bunch start

In bunch the knee of the hind leg is in line with the toes of the grounded foot. This
type of start is suitable for short athletes.
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The medium start
In the medium start, the knee of the hind leg is in line with the arch of the grounded
foot. This is suitable for medium height athletes.
The elongated/ extended start

In the elongated start the knee of the hind leg is in line with the heel of the grounded
foot. This start is suitable for tall athletes.
Finishes
There are three types of finishing a race namely drop finish, running through the tape
and shrug finish.
Drop finish
In the drop finish the athlete leans forward or drops the upper body/torso as he/she
reaches the finishing line.
Running through the tape

In running through the tape the athlete runs through the tape in any body position.
Shrug finish
The athlete shrugs the shoulder forward as he/she crosses the finishing line.

Warm up first before any major activity
Teams file up. The runner runs around the cones, touches second runner who
repeats the sequence and joins the line at the back. The team to complete first is the
winner.
Shuttle Relay with Baton Exchange.
• Choose teams and then split each team into 2 groups (A&B). Groups A & B
face each other 20 – 25m apart. The first athlete from Group A sprints to pass a
baton to the first athlete of group B, who sprints back to pass the baton to the
second athlete of Group A. The race is over when all athletes in a team have
changed sides.
Groups may practice other alternative activities for relays.
Apply rules and techniques for relay races.
Demonstrate proper ways of relay running techniques on baton exchange.
Identify starts and exchange/acceleration zones for 4x100m relay.
Perform all relay running phases for sprints.
List ways of starting and finishing the relay races.
SUPPORT MATERIALS
⇒ Starting pistol, cones, whistle, lime and rope.
GLOSSARY
Acceleration zone - An area where an outgoing runner builds speed/gathers
momentum
before receiving the baton.
Baton exchange - An incoming runner handing over the baton to the outgoing
runner.
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Exchange zone - Also referred to as change over zone. It is an area where the
baton is handed over by the incoming runner to the outgoing runner.
Non-visual - Also referred to as blind pass. It is where a receiver receives the
baton not looking at the incoming runner. It is used in the
4x100m relay.
Visual pass - This is where a receiver receives the baton while looking at
incoming runner. It is used in the 4x400m relay.

3.1.2 Throws
3.1.2.1 name one throwing event.
3.1.2.2 demonstrate proper ways of executing the selected throw.
3.1.2.3 apply rules and techniques for the selected throw.
3.1.2.4 recognise the throwing sector for the selected throw.
CONTENT
Throws refer to field events such as shot put, discus and javelin. These events have
rules and throwing sectors used during execution. The events have different techniques
and styles.
Shot put
Shot put is one example of a throwing event, however, it is not thrown but put, hence
the name. Shot put is executed from a circle with an angle sector of 40 degrees. The
circle is bounded by a band of steel. The modern shot put event features the glide and
rotational technique. The glide technique is more popular and is considered the easier
technique to perform. Therefore it is important to introduce glide technique first. The
rotational technique is based on the movement pattern used in the discus throw, hence
its name discus throw. Teach this technique only after the glide technique has been
mastered, and also after you have taught the rotational throw in the discus throw.
Rules of shot put

Start from a stationary position.
Put the shot from the shoulder with one hand only.
Shot must touch or be close to the neck or chin.
Do not take the shot from behind the shoulders.
A put is invalid if the athlete touches the ground outside the circle, top of the iron
band, stop-board or circle with any part of the body after starting to throw.
Do not leave the circle until the shot has touched the ground.
Leave from behind the circle.
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Shot put circle
Shot put phases

The Hold
• The shot is placed where the fingers meet the palm of the hand.
• The thumb and little finger support and guide the shot.
• The shot is placed against the neck under the jaw bone underneath the ear.
The Stance
• Stand at the back of the circle, facing the opposite direction.
• Right leg is slightly ahead of the left, body weight on the right leg.
• Keep eyes focused on a focal point in the back of the circle, with non-throwing arm
and shoulder held back.
The Turn
This phase of shot put brings about the two techniques of putting the shot:
Glide technique
In preparation for the glide technique the athlete:
• stands at the rear of the circle with the back towards the direction of throw.
• weight is on the right leg, and the athlete’s line of vision is directly to the rear.
• holds the shot under the chin.
• left arm is extended and pointed backwards.
In the glide the athlete:

• flexes the right leg and lowers the upper body close to horizontal in preparation for
the backward shift (glide) across the circle.
• left leg is kicked backward, and simultaneously the right leg drives the athlete
toward the centre of the circle.
• upper body stays in its lowered position.
• pulls the right leg in under the body and places the left foot in position at the front
of the circle.
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• upper body is still inclined toward the rear of the circle.
In putting the shot, the athlete begins the action by applying force from the ground in
the following sequence; legs, hips, chest and finally throwing arm.
Glide technique
Rotational technique/discus throw

• A right-handed thrower first winds up by rotating the shoulders and shot toward the
right.
• The athlete then rotates toward the left in discus style by pivoting on the balls of
both feet.
• Continuing to pivot, the athlete pushes toward the end of the circle.
• The athlete places the right foot in the centre of the circle and with additional
rotation positions the left foot at the front of the circle. The right leg is flexed and
the left leg is extended toward the front of the shot put circle.
• The athlete begins the final action in the rotary technique just like an athlete using
glide. Force is applied from the ground up in the sequence – legs, hips, chest, and
throwing arm.
Rotational technique
The difference between the glide and the rotary technique is the additional rotation that
is included in the rotary technique.
The Release
Feet and hips are turned to the left side of the circle.
The head faces back of the circle.
Body weight is over right leg, and the right and left legs are bent.
Recovery
After a well-balanced throw, recovery will happen naturally and throwers will have the
following range of options:
• To stand and watch the shot land.
• To slightly lower the body and quickly reverse the foot positions.
• To rotate around the left foot to the centre of the circle.
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Discus
Just like shot put, it is thrown from a circle and must land within the marked sector.
The discus is a piece of wood or other suitable material with a smooth metal rim
Rules of discus
If there are less than eight competitors, each will generally have six trials, otherwise
competitors usually have three trials each and the best eight can have three further
throws.
Throwing must commence from a stationary position.
Leave the circle from behind once the discus has landed.
If the thrower touches either any top part of the ring bounding the circle or ground
is not valid.
Measuring for each throw is from the nearest mark made by the discus.
Distances are rounded off to the nearest 0.01m below the distances measured.
Discus circle
The hold
Place the left hand under the discus for support.
Place the right hand on top of the discus.
Spread the fingers evenly but not stretched.
The first joint of the fingers curling over the rim of the discus.
The Stance
Fig a & b a b c d e
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• Adopt a shoulder width stance and perform preliminary swings.
• Keep everything very long to provide maximum possible radius on the discus.
• Body weight in the middle of the stance.
• Aim for chin over knee over toe on the left leg.
The Turn
Fig c & d
• As the right foot leaves the ground the weight must be over the left leg.
• Discus kept high and relaxed, trailing behind the hips.
• Swing the right foot wide of the left foot into the centre of the circle.
Fig e
• On grounding the right foot pivots on the ball of the foot.
• Keep the left foot low and fast.
f g h i
Fig f
• Discus held high and back.
• Keep the shoulders level and balanced.
• As the right foot lands aim for a chin over knee over toe on the right leg.
• Keep the left foot low and fast.
The Release
Fig g
• Real power position is at the moment the left foot makes contact with the ground.
• Left arm points in direction of the throw.
• Right foot pivots.
• Left side of the body is braced.
• Drive the right hip forward.
Fig h
• Right hip has been driven forward - note the "bow" position.
• The right arm is long and relaxed ready to strike.
• Left side kept firm and braced.
Fig i
• The right arm comes through fast and last.
• The release angle (angle between the horizontal and the right arm) for the discus
has to take into consideration aerodynamic lift and drag. The optimum angle for the
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discus is about 35 degrees.
• Left foot is kept grounded until well after the discus is released.
Recovery/Follow through
The right hip drives through as the bent legs drive upward and the weight shifts to the
left leg. The throwing arm is whipped through by this powerful leg/trunk action.
Javelin
Javelin is another example of throws with a different throwing sector and similar rules
to other throws. Javelin is thrown from behind an arc and must land within the
throwing sector.
Rules for javelin

If there are less than eight competitors, each will generally have six trials, otherwise
competitors usually have three trials each and the best eight can have three further
throws.
Hold the implement at the grip.
Throw from the shoulder or upper part of the throwing arm and may not be slung or
hurled.
A throw is valid only if the tip touches the ground before any other part of the
javelin.
Do not turn away from the throwing sector until the javelin has landed.
Do not leave the delivery area until the javelin has landed and must leave from
behind the arc.
Measuring is done immediately after each throw from where the javelin has struck
the ground with its tip.
As in discus, round off the measurements to the nearest even unit of 0.01m.
30 - 36m
Landing
4m
29˚
Runway Sector
Javelin throwing sector
Basic techniques
Working from right to left in the above standing throw picture sequence:
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• The chin-knee-toe position should be adopted with the weight over the rear leg.
• Hips are forward.
• The feet should be in line with the throwing direction.
• The throwing arm held parallel to the ground, long and relaxed with the palm
uppermost.
• The rear leg drives the hips to the front, transferring the weight from right to left
leg.
• The arm is brought in fast and last.
• The elbow should be kept high and close to the head, with the javelin being thrown
over the top of the head.

Team ball-throwing competition.
• Two teams of athletes stand on lines 20 metres apart – with a ball placed on the
ground at the centre from both teams. Each team throws balls at the ball in the
centre, attempting to drive the ball over their opponent’s line. Allow one-
handed and two-handed throws from the head only.
Two handed throw.
• While sitting the athlete uses both hands to throw the ball from behind the head.
The activity forces the athlete to lean back and pull the ball vigorously over the
head. It helps the athlete to experiment the stretch and pull action of the muscles
of the chest and shoulders.
Accuracy
• The athlete will run from the runway to throw at different targets within the
sector.
SUPPORT MATERIALS
⇒ Shot put, javelin, discus and tennis balls.
ASSESSMENT
Throw any given implement at given distances.
Measure individual and peer throws.
Demonstrate basic techniques for each throw.
Identify different types of throws.
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UNIT 3.2 CREATIVE DANCE

3.2.1 Dance elements
3.2.1.1 recall dance elements as shape, speed, pathways, size, levels, directions and
relationships.
3.2.1.2 differentiate between body, space, effort awareness and relationships.
3.2.1.3 perform all selected dance elements with competence.
3.2.1.4 use all selected dance elements to create a dance.
3.2.1.5 demonstrate proper beginning and ending in a dance.
3.2.2.1 use personal and general space efficiently.

3.2.2.2 respond to a variety of stimuli with a range of movements.
3.2.2.3 design and make costumes for a particular dance.
3.2.2.4 appreciate the use of sound in dance.
3.2.2.5 use feedback from peers to improve performance.
3.2.2.6 evaluate performance by comparing and contrasting.
CONTENT
This topic aims to encourage learners to express their ideas in movements. It gives
them the chance to think, cooperate with and relate well to their environment and
peers. Dance is about the subjective, the body is an instrument of expression and
performance is about the presentation of the self. It is about reviewing one’s personal
contribution of physical and technical skills, imagination, creativity and level of
understanding. It is about making public ideas and feelings. Creative dance at this level
will focus on elements of dance such as levels, shape, direction and pathways. There
will be a discussion on aspects of body movements such as body awareness and space
awareness. These aspects will help learners when responding to different stimuli and
when performing such that learners are able to utilise available space efficiently and are
aware of what their bodies are doing and where and how the movements are performed.
Dance elements
These are movements that make up a dance. These include level, shape, speed,
pathways, size, relationship and direction.
Level: Height of the body as you dance e.g. low, medium, high.
Shape: Kind of movement made, i.e. how the movement looks – e.g. angular,
twisted, round.
Speed: Time taken to perform a movement.
Pathways: Imaginary lines left behind a movement. They are the floor patterns
of travel e.g. the pathway of body gesture, the pathway of transitional
movements that are made between one shape and another – zigzag,
curved, diagonal movement pattern.
Size: Large, medium or small. Manipulating movement so that they are
larger or smaller than normal. It creates visual interest.
Relationship: Moving alone or with a partner in a group at the same time (unison)
or leading and others follow (canon).
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Direction: Forward, backward and sideways.
The difference between body, space, effort awareness and

relationships
All human movement will have certain things in common. It will be concerned with:
• The body • Qualities of movement
• Actions • Space and relationships
In creative dances, there is movement. This movement can be defined in these terms by
asking;
What parts of the body are involved? (Body awareness) – whole body, shoulders,
back, fingers, eyes, etc.
What action – rising, turning, stretching, walking, etc.
What is the quality of the action? (Effort awareness) – how you move: fast, slow
light, strong, staccato, weighty, flowing, etc. Attitude towards the action.
Where does it go in the space? (Space awareness) – up, down, forwards, etc.
through a variety of body actions.
We can also observe relationships between one part of the body and another and
between partners, groups, objects and the surrounding environment.
Body awareness
Body refers to the actual size, shape and weight of a person or performer. Awareness
refers to what the body does during dancing. In body awareness, children have a range
of well-managed actions. They can manipulate actions according to given or self-
selected tasks. They can pick up movements by watching others and repeat a short
sequence fluently. They can describe and explain the sequence to others. Children
understand the body as an instrument of performance and expression. They can also
understand the need for good posture, control and management of energy and the need
for skill acquisition.
Space awareness
Refers to where the body moves into space. This may be either personal or general
space. By personal space we mean the space around you whilst general space refers to
the space in the environment you will be using. In dance the movement of the body
makes the space visible and therefore communicable.
Effort awareness
This is the amount of energy, force or power which enables you to feel the difference
when making actions in dance.
Creating a dance (Stimuli)

In creating dance, children can also think of the stimuli which will guide them to form
up their dances. The children will have to come up with an idea which could result in
dance formation.
In creation and on finding the stimuli, dance will provide the opportunity for pupils to:
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• share, explore and consider ideas, feelings and experiences.
• examine and interpret form
• order, emphasize and search for meaning in form
• formulate and express response to the environment in a communicable form.
This will be for them to create form, to become aware of the relationship between form
and function, to become aware and develop aesthetic appreciation of form. In creating
dances, use the following steps to come up with your dance:
1. Have an idea 2. Experiment

(Stimulus) ּand improvise
6. Evaluate 3. Select theּbest
5. Perform 4. Organise structure
Costumes for dance

Costumes are types of clothing that performers put on when performing. These differ
according to the type of dances. E.g. costume for traditional dances will differ from that
of ballroom dances and other modern dances. It is important to put on the right type of
clothes for a dance.
The use of sound in dance

In dance movement, music or melody, or other sounds help to set the mood and give
structure by helping performers or dancers to recognize beginnings, middles and
endings of dances. These are perceived through the use of senses such as feeling,
hearing and percussions. This would need concentration on the sounds, imagining what
is happening and what you are hearing. The idea will be interpreted through body
actions or movements. Percussions may be used effectively to develop a sense of
rhythm. It can also be used to suggest movement qualities. Music presents such a rich
and varied source for setting mood and style that it is inevitably used as the most
frequent stimulus for dance.
33
Taking weight on various parts of the body in accordance with sound.
Leading with other body parts. Transferring weight onto other body parts adding
jumps, turns, travel and changing body shapes.
Quantify on using simple actions such as side, close step, gesture, step and waltz.
Create and demonstrate a movement sequence in response to drums beating, hand
clapping, matlhoa.
Work with a partner to imitate natural sounds made by rain, thunder and wind.
Individually or/and as groups perform some of the following movements; skipping,
jogging, brisk walking, push ups, rolling, jumping, twisting, leaning, galloping,
swinging, dropping stretches (body side, arms, legs, neck), running, aerobics and
marimba.
In a group of three, demonstrate how you can move the body to depict jungle
animals, baby farm animals and different types of transport.
In groups, agree on a piece of music. Create and demonstrate a short sequence that
enables you to show rhythm and timing. Incorporate all the elements of
composition (space, dynamics, rhythm, timing and relationships).
In a group of four, find a theme that you would like to explore through dance. Plan
your concept in regard to music, costume, dance style, movement steps, turns and
jumps, floor formations and relationships.
Explain the difference between personal and general space.
Each learner is expected to finally evaluate their compositions using a set of criteria
such as comparing and contrasting.
SUPPORT MATERIALS
⇒ Drums, sticks, rattles, shakers, beads, empty cans, whistles, traditional dance attires,
magazines with creative dance movements, skipping ropes, hoops, radio tapes and
video cassettes.
GLOSSARY
Body awareness - What the body does or bodily activities such as being still,
swinging, stopping.
Choreography - Coordination of movement.
Costumes - The attire that pupils are using in performing dances.
Dance element - Those movements that make up a dance
Effort awareness - The way the body moves such as shapes and levels. The
position of the body e.g. squatting, bending, upright,
sustained, sudden and jerky movements.
Elements - Any movement that makes up a dance. Examples include
shapes, directions, pathways and levels.
Evaluate - To provide feedback on an activity observed or seen.
Percussions - Hit, shaken or scratched musical instrument.
Social skills - Skills of working or acting together with others such as
cooperation, obedience and interpersonal skills.
Space awareness - Where the body moves in relation to space such as moving
in large or small shapes.
Speed - Time taken to perform a movement.
Staccato - Detached movement that is not smoothly coordinated.
Stimuli - Something that arouses the mind, spirit, or incites activity.
34
ASSESSMENT
Identify and perform elements of dance.
Explain the difference between body, space effort awareness and relationships.
Use all selected dance elements to create a dance.
Demonstrate proper beginning and ending in a dance.
Demonstrate different aspects of body movements.
Demonstrate a variety of patterns as you dance in small groups.
Make patterns and formations as they dance.
35
UNIT 3.3 GYMNASTICS

3.3.1 Gymnastic movements
3.3.1.1 differentiate between static and dynamic balances.
3.3.1.2 demonstrate travelling and balancing with improved qualities.
3.3.1.3 use selected apparatus to perform gymnastic movements.
3.3.1.4 show techniques of/in unison, canon, mirroring and matching with a partner.
3.3.1.5 observe and copy a partner.
3.3.1.6 evaluate performance by comparing and describing.
CONTENT
Gymnastics at this level will still be rhythmic and learners are encouraged to fully
explore their bodies in terms of movement. They should be exposed to elementary
movements that will enhance their movement vocabulary and competence. The content
below can be used to teach gymnastics at this level;
Balance
This involves a set position for a few seconds to show strength, flexibility and stability.
There are two types of balances; static balance and dynamic balance.
Static balance
Static balance means at rest or equilibrium. A stationary gymnast is a gymnast in
equilibrium. A gymnast’s centre of gravity is at rest at this point. The centre of gravity
is the ‘weight centre’ or the average position of the gymnast’s weight distribution. The
centre of gravity is around the navel. This involves maintaining a desired shape in a
stationary position such as in headstand and handstands. Thus not changing in a state of
balance. Examples of static balance are illustrated in the next page.
Arabesque
Raise your rear leg, toe pointed and keep your head up, arms stretched sideways.
Shoulder stand
Raise your legs and hips to a vertical position, point your toes and provide support with
your hands.
Tripod balance
Place the hands, shoulder-width apart, on the mat. The head is placed on the mat to
make the third point of a triangle with equal sides. The balance is done on the roof of
the forehead, not the crown of the head. Raise the hips and place the knees, one at a
time, on the elbows. Balance.
Head stand
Raise your first leg and place your hands shoulder-width apart, on the floor. Kick the
second leg to a vertical position so that the legs are together and the body is in a
36
straight line. The supporter should stand to the side to avoid being kicked in the face.
Handstand
Raise your first leg and place your hands shoulder-width apart, on the floor. Kick the
second leg to a vertical position so that the legs are together and the body is in a
straight line. The supporter should stand to the side to avoid being kicked in the face.
Arabesque
Headstand Handstand
Shoulder stand Tripod balance
Dynamic balance
Dynamic balance is when an athlete maintains an on-balance position, while moving,
starting or stopping. Dynamic balance occurs in weight transference, jumping,
throwing, catching and all forms of travel. The following are examples of dynamic
balances:
Forward roll
Squat and place the hands, shoulder-width apart, on the mat. Tuck the chin to the chest,
bend the arms and raise the hips. The back of the head touches the mat and continues to
roll onto the feet to a stand.
1 2 3 4 5 6 7
Forward roll
Backward roll
Begin in a squat position. Hands begin on the mat, but as the backward roll starts, they
37
move upward to the shoulders, fingers pointing back and palms up. The chin is tucked.
Hands reach back and are placed on the mat beside the head, under the shoulders. As
the hips come over the head, the hands push off the floor. Remain tucked, never
allowing the knees to touch the mat, and land on the feet.
Cartwheel
When performing this move, visualize the spokes of a wheel. The cartwheel is
performed to either side (usually there is a preference).
• Stand with the right side to the mat. The legs are spread slightly more than
shoulder-width apart and arms are overhead.
• Bend sideways, placing the right hand (straight arm) on the mat, and at the same
time raise the left leg up, followed by the right, as the left hand goes down onto the
mat.
• The left foot follows, and then the right foot arrives.
• As the feet are landing, the hands are coming off the mat.
• As with a wheel, the spokes (hands and feet) move in a straight line and hit the
floor in an even count.
The following are some of the techniques in gymnastics: unison, canon, mirroring and
matching with a partner.
Unison
“In unison” means that the gymnastic movement takes place at the same time in a
group and there are four possibilities of presenting unison.
Unison: all performing the same movements at the same time.
Unison with complementary movements: this implies that movement in a group is

occurring at the same time but that parts of the group are not using identical
movements. To complement means to fill out or make more of.
Unison with contrasting movements: this suggests that all movements take place at
the same time yet the smaller groups within the total group are performing
contrasted movement patterns.
Unison with background and foreground: this implies that one part of the group
takes on the principal role while the rest of the group moves as a background, while
the foreground presents the whole motif (motivation).
Canon
“In canon” means that one part is followed by another. The actual amount of time that
one part of the group is in front of another can be varied. It also means performing
something in turns, repeatedly.
Mirroring
Copying actions and movements face to face.
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Matching
Copying actions and movements of a partner the way they are.
Use of apparatus
In use of apparatus, pupils will be encouraged to fully explore their bodies in terms of
movement over and under apparatus. They should be performing elementary
movements which lead to tumbling, somersaulting over benches and landing on mats.
Benches
At this stage the elements of extra height from the ground are added and the surface
area on which the balance is performed is reduced. Benches can be used either side up
if the surface area needs to be even further reduced for more able pupils.
Vaulting boxes
The box tops themselves can be used as just one section height and then the height of
the box can be gradually increased for the more competent and able pupils.

Practicing balancing on different parts of the body, such as rolls.
Design and demonstrate movement sequences of traveling with improved qualities
in groups.
Show the techniques of unison, canon, mirroring and matching with a partner.
In groups find theme that you will like to explore through gymnastics and show up
the sequence.
Plan a sequence of gymnastic movements with pathways and directions.
Differentiate between unison and canon movements.
Perform tumbling skills in isolation and sequence.
Evaluate personal and peer performance by describing.
Travelling through the air from floor or apparatus, concentrating on elevation, body
shape and direction.
SUPPORT MATERIALS
⇒ Gymnastics mats, skipping ropes, hoops and benches.
GLOSSARY
Dynamic balances - When an athlete maintains an on-balance position, while
moving, starting or stopping.
Static balances - Is when the body weight is supported by lower body
parts; upper arms or head such as feet/knee or bottoms with
the shoulders above the point of support.
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ASSESSMENT
Identify games which have chasing and running with varied speed and pathways.
Jump low and make turn half, quarter and full turns.
Straddle jump.
Cat-leap and jump with a partner in unison.
Partner jump over the rope in unison/canon.
Travel with your partner touching and not touching as in walking, running,
jumping, skipping etc.
Run from point A – B and be still when required.
Join hands with your partner and travel together with a partner.
Perform a wheelbarrow.
Balance while moving with a beanbag on the head.
Perform forward and backward rolls in a straight line.
Perform a cartwheel.
Move with weight on others e.g. carry each other on your backs i.e. Back to back
like tea/coffee game.
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UNIT 3.4 BALL GAMES

3.4.1 Net/wall/racquet games
3.4.1.1 identify net/wall/racquet games as: table tennis, badminton and volleyball.
3.4.1.2 identify sending and receiving skills for the selected game.
3.4.1.3 perform sending and receiving skills for the selected games.
3.4.1.4 demonstrate proper stand/grip or hold and stance for the selected game.
3.4.1.5 recognise court dimensions and positions for the selected game.
3.4.1.6 demonstrate proper hand-eye coordination in the selected game.
3.4.1.7 identify pieces of equipment used for playing the selected game.
3.4.1.8 demonstrate offensive and defensive techniques in a game situation.
3.4.1.9 apply rules and techniques in a modified game.
CONTENT
Net/Wall/Racquet games are those games that are played on a rectangular court which
is divided into two equal playing territories by means of a net. Each player/team stay in
their own playing territory throughout the game and is not allowed to enter or step into
the other’s territory. The games are played by hitting the ball across the net using
racquets.
Table tennis
Table tennis is an indoor game. It is played by using a racquet and a very small round
ball. The unique thing about the game is that it is played on a table. Table tennis, like
other net/wall/racquet games, is a non-contact game. This means that the opponents do
not touch each other – each team is on their own side of the court. Players or teams try
to send the ball over the net into the diagonal court using different types of strokes/hits
to score a point.
Equipment used in table tennis

Any type of clothing allowing freedom of movement and comfort is acceptable.
Rubber-soled shoes that facilitate safe side-to-side movements should be won.
Racquet/bat
The racket may be of any size, shape or weight but the table
shall be flat and rigid. A side of the blade used for striking the
ball shall be covered with either pimpled rubber, with pimples
facing outwards having a total thickness including adhesive of
not more than 2mm, or sandwich rubber, with pimples inwards
or outwards, having a total thickness including adhesive of more Racquet/bat
than 4mm.
The ball
The ball is small, celluloid, spherical, white or orange in colour.
It has a diameter of 40 mm and weights 2.7 g. Ball
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Net and its support
The net is lightweight. It is stretched taut across the centre of the table and attached to
the outside by vertical standards. The top of the net should be 15.3cm above table and
extend to the attached posts (15.3cm) outside of the sidelines.
Table tennis table
Table tennis table

The table should be constructed of 1.9 cm material, usually plywood or particle board,
and be 2.74m in length and 1.52m in width. The playing surface should be dark
(usually green) and non-reflecting and should lie on a horizontal place 76cm above the
floor. The sidelines and endlines are white and should be 1.3 to 1.9 cm wide. The
centerline is also white, but only 3mm wide.
How the game is played

The game is played in singles, doubles and mixed doubles.
Service
A good service is delivered by projecting the ball from the free (non-serving) hand,
which must start from above playing surface.
Scoring
A point is scored by the side that makes the last successful return prior to the end of a
rally. An unsuccessful return occurs whenever the ball is missed, struck with the side of
a racquet blade having an illegal surface, hit off the table, sent into the net, or hit onto
the player’s own half of court on the return. Failure to make a good serve also scores a
point for the opponent unless it is a let, or a player’s free hand touches the playing
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surface while the ball is in play.
Singles game
Where a game is played by one player against one opponent.
Doubles game
The game is played by two players both sides. The pair who has the right to serve first
five services in any game decides which partner shall serve, and the opposing pair
decides similarly who will receive first.
Fundamental skills and techniques used in table tennis

There are different types of skills and techniques used in table tennis.
1. The Grip
Forehand grip
In the forehand grip the short handle of the racquet is gripped very closely to the
blade, with the blade itself partially held in the hand and the forefinger and thumb
bracing opposite sides of the blade. Rotate the top of the racquet toward the body
(upward) to obtain a stronger forehand.
Backhand grip
The backhand grip is the same as for the forehand, except that the side of the
thumb rests on the back of the blade.
Penhold grip
Because the same blade surface is almost always used for
all shots, the grip position remains unchanged unless the
racquet is deliberately rotated between rallies in order to
use the striking surface on the other side of the blade.
Shakehands grip
The racquet is grasped as if shaking hands with it. The
wrist should not be bent, but rather the forearm is rotated
to adjust the angle of the racquet face.
Points to remember
Do not grip the racquet too tightly – relax.
Hold the wrist firmly and rotate the forearm as needed to obtain the correct
blade angle.
Whenever possible, face to the side when making forehand and backhand shots
in order to move forward when striking the ball.
Constantly check the racquet head, making sure that it is not dropped because
the wrist is bent.
Regularly check the thumb and index finger to keep them in the proper place.
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2. Footwork and Stance
Proper stance and footwork in serving or receiving are just as important in learning
table tennis as they are in tennis and badminton.
Ready Position
The feet are spaced well apart – knees slightly bent.
The body is pushed slightly forward and the weight of the
body is carried on the balls of the feet.
The eyes are kept on the ball.
The racquet should be parallel to the ground, pointing
towards the table.
3. Stroke Techniques
Push shot or half volley

The push shot is the basic defensive shot when using either a forehand or
backhand stroke
It is accomplished by meeting the ball as it touches the table and gently hitting
it back over the net with the racquet – which lifts and carries it forward at the
same time.
The racquet can be turned to either side and the shot angled to mislead the
opponent.
It can be played with either forehand or backhand stroke.
Forehand top-spin shot

This is a basic offensive drive shot.
It is played by striking the ball vigorously with an upward, forward motion.
The ball should be struck in front of and to the right side of the body when it is
at or just past its maximum bounce.
The racquet is tilted forward at the point of contact with the ball.
The upward motion imparts the over spin.
This shot is best played on deep/high bouncing returns.
As skill and accuracy are required, learn to shift body weight forward to add
power to the shot.
Forehand and backhand loop shots

Loop shots begin with the knees bent and the racquet pointing downward and
below tabletop height.
A long, high, looping, striking or grazing of the ball when it is dropping.
Backhand drive
The backhand drive is similar to the forehand drive, except that it is often
shorter because the arm may cross in front of the body if not turned sideways.
The ball is hit preferably on the rising part of the bounce.
The racquet is held with the thumb supporting the blade, and a snap of the
wrist is used at contact.
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Forehand chop
This is primarily a defensive stroke.
It is executed with a hatchet-chopping motion.
The stroke starts from nearly shoulder height, hitting forward with the top of
the racquet blade tilted back away from the ball.
The stroke is finished with arm fully extended in front of the body.
Backhand chop
The backhand chop also requires that the racquet be tilted backward.
It is like forehand chop, except that it is a shorter stroke and employs stronger
use of the forearm wrist.
The stroke is started at about chest height and ends at about waist-height.
The shot requires a great deal of practice to acquire a worthwhile degree of
control and accuracy.
The stroke starts from nearly shoulder height, hitting forward with the top of
the racquet blade tilted back away from the ball.
The stroke is finished with arm fully extended in front of the body.
Points to remember
Make your opponent guess what stroke you will make.
Check your opponent’s weakness and work toward strengthening yours.
Practice spins for control and accuracy.
If shots are hitting the net too often, try an upward, lifting motion instead of a
straight-forward swing.
In a drive, be sure to follow through.
Vary your serves and returns.
Always strive to perfect form.

Practice bouncing the ball up and down on the forehand, backhand, and alternate
sides of the racquet/bat. When practicing, vary distances and heights.
Practice hitting the ball off a wall from various distances, as well as having two
students volley back and forth in the air without table.
Practice/perform the grip and simple courtesy serve (hitting the dropped ball as it
bounces up from the table).
Perform the ready position and forehand and backhand racquet/bat position – hit the
ball to cross the net at least eight times consecutively.
Practice the offensive and defensive shots.
Play a game situation to cover all the skills and techniques learned.
Match students of equal ability for game play. In large groups, for time rather than
points.
SUPPORT MATERIALS
⇒ Table tennis tables, bats/racquets, balls, nets and supports.
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GLOSSARY
Backhand - Hitting the ball with back of hand facing the direction of
movement.
Blade - The racquet face minus any covering.
Block - A quick return performed by holding the racquet directly in the
ball’s path soon after it bounces.
Chop - Hitting the ball downward on the back of the ball, giving the ball a
backspin. Used primarily on defence when not close to the table.
Drive - Giving a stroke topspin by turning the racket slightly forward as the
ball is hit, hitting the ball with a closed racket face.
Forehand - Hitting the ball with the back of the hand turned toward the body.
Let - Occurs when the ball strikes the top of net and falls into the correct
service court; also if a ball breaks or if a player is interfered with by
an official or spectator.
Receiver - The player to whom the ball is played.
Server - The player who puts the ball into play.
ASSESSMENT
Perform sending and receiving skills for table tennis.
State basic rules for table tennis.
Demonstrate proper stance/grip for table tennis.
Demonstrate proper hand-eye coordination for table tennis.
CONTENT
Badminton
Badminton is played indoors where the wind and other wind elements will not affect
the shuttle. It is played on a rectangular court divided into two by a net, so that each
player/team remain in their respective playing territory throughout, hence it is classified
as a non-contact game. The players/teams hit the shuttlecock back and forth over the
net, with the aim of forcing the opponent(s) to either fail to return the shuttle, hit the
shuttle outside the court, or miss the shuttle so that it falls within their court, thereby
scoring a point.
Equipment used in badminton

Suitable clothing, which allows free movement and rubber soled-shoes is all that is
required by a badminton player in terms of clothing. Other equipment and facilities
include the racket, shuttlecock, the badminton court, the net and its support.
Shuttlecock
(Plastic)
Shuttlecock
Racket (Feathers)
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Racket
The racket can be made of wood, aluminium or metal. The racket can be strung with
either nylon or gut.
Shuttlecock
The shuttlecock, usually called shuttle or bird is made from goose feathers that are
placed in a leather-covered cork head.
Badminton court, net and posts

The official badminton court is 13.40m long. The doubles court is 6.09m wide, whereas
the singles court is 5.18m wide. The net is 1.52m at the centre and 1.55m at the posts.
An illustration of a badminton court is shown below.
Badminton court

The game of badminton is played in singles, doubles and mixed doubles.
Singles
The game of singles demands a great deal of determination, hustle, quick reactions and
patience. The serving court for singles is bounded by the centre line, the singles
sideline, and the back boundary line of the court. The server must stand within this
court, feet not touching any lines, and serve diagonally over the net into the opponent’s
singles service court in order to have a legal serve.
Doubles/mixed doubles
Doubles is a more complex game than singles. It is faster-paced and demands
considerable strategy and cohesive teamwork for partners to be effective. It is offense
oriented, which means that attacking, energy-consuming strokes are used most of the
time. The serving court for doubles is bounded by the short service line, the centerline,
the doubles sideline, and the long service line for doubles. The server must stand within
this court, feet not touching any lines, and serve diagonally over the net into the
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opponent’s doubles service court in order to have a legal serve.
Serving
The server has to serve diagonally across the net into the opposite serving box and
within the required lines. The shuttle must always cross the short service line but the
doubles sideline is out in singles and the singles long service line is out in doubles.
When serving, the head of the server’s racket has to be pointing downwards when the
shuttle is hit and the shuttle must be below the server’s waist when it is hit. The action
of the service must be continuous and the server’s feet must be within the service areas.
Scoring
Points only count for the purposes of scoring if they are scored by the player, or team
who has just served. In both doubles and singles, if you win a point when serving, you
carry on serving but you must swap to the other side of the court to serve diagonally
across. In singles, the opponent also swaps sides to receive the serve, but in doubles the
receiving pair must remain on their particular side of the court and receive the serve
diagonally.
Faults
A point is scored:
if a service is not correct (including the server missing the shuttle)
if the shuttle fails to pass the net, or if it lands outside the boundary of the court, or
touches the roof, ceiling or side walls or touches a person or their clothing.
if a player touches the net or makes contact on the wrong side of the net or if they
deliberately distract a player by shouting, etc.
Let
This is where, for some reason, the point does not count and has to be replayed. It can
be called by the umpire if both server and receiver fault at the same time, the shuttle
gets stuck on the net, the receiver is not ready when the server serves, the shuttle breaks
during play or there is uncertainty about whether a shuttle landed in or out of court.
Setting
Where the scores are level towards the end of a game, the rule of ‘setting’ applies. The
following ‘settings’ can be chosen by the player, or pair, who arrive at the setting point
first. If the score is 13 all, you set to 5 points, if it is 14 all, 3 points, at 9 all (only in
women’s singles) 3 points and at 10 all, 2 points. The game is then played on to further
set stage.
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Fundamental skills and techniques
1. The grip
Forehand grip Backhand grip
Forehand grip
To acquire the proper grip for a forehand stroke, hold the racket by the shaft in
the left hand with the face of the racket perpendicular to the floor, and “shake
hands” with the grip.
Slide your hand down so that the fatty part rests comfortably against the “butt”
of the handle.
There will be a “V” formed by the juncture of your thumb and index finger.
This “V” should be slightly to the left of centre for right-handed players.
Grasp the handle lightly, with fingers spread slightly. The thumb wraps around
the handle on the left side.
Proper thumb placement is vital for stroking proficiently.
When not in the act of stroking the shuttle, your grip should be relaxed and
fairly loose. As you stroke, you will tighten your grip somewhat just enough to
maintain control of the racket. The more forceful the shot, the tighter the grip.
Backhand grip
Move the racket a quarter turn clockwise from the forehand grip, so that your
thumb moves farther behind the racket handle.
2. The ready position

This is the position, or stance a player should assume prior to maneuvering
toward an opponent’s return shot.
Feet should be spread shoulder-width apart or slightly wider, the knees slightly
bent, and body weight on balls of feet, ready for movement in any direction.
3. Service
There are two basic badminton serves: the long serve, which is hit high and deep,
and the short serve, which is hit low and short.
High, deep serve (long)

This is an underhand forehand serve hit high so that the shuttle will land in deep
court, near the backline.
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Starting position
Feet in stride position with left foot in front for right-handed players. Shift
weight to the rear on backswing, then forward as racket comes forward. Both
feet must remain in contact with the court – “stepping” is a fault.
- A full backswing is made with the wrist cocked.
- The wrist is un-cocked just before contact.
Follow through
Shuttle contact is made well in front of the body, not at the side. On the
follow-through of the underhand stroke, the racket carries over the left
shoulder.
Low, short serve

This should be made in such a manner that the shuttle barely clears the net, is on a
downward trajectory the moment it passes over the net, and lands close to the short
line, in the opponent’s court. All basic techniques for the low, short serve – starting
position, body rotation, shift in weight, are the same as for the deep, high serve,
except;
There is a “push” type, accomplished with the wrist remaining almost fully
cocked throughout the serve, with little rotation of the forearm.
The server should attempt to contact the shuttle close to the waist height as
possible to achieve the desired flat trajectory.
4. Clears
These are used as a defensive stroke to allow you time to return to the ready
position and regroup, as you move your opponent as far away from the net as
possible.
Overhead clear
This is usually taken from a backcourt position. From your home base position,
move into a position under and slightly behind the oncoming shuttle. Prepare your
racket for the stroke by bringing it back behind the shoulder into what is called the
“back scratching” position – arm bent, elbow parallel to the floor.
With your racket shoulder now in line with the shuttle, extend the arm to meet the
shuttle at the highest point possible.
At the moment of contact, your forearm rotates outward, and the wrist snaps
quickly, causing the racket head to accelerate and drive the shuttle upward and
outward deep into your opponent’s court. The racket head will be facing slightly
upward at contact
Follow-through with the racket arm crossing your body in the direction of your
non-racket side.
Forehand underhand clear

Usually taken from a forecourt position. When your opponent hits a drop shot
into your forecourt, or close to the net, it forces you to “lift” the shuttle and go
on the defensive.
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As the shuttle is dropping toward your forehand side and in the forecourt area,
from the ready position take a short first step with your non-racket leg and then
a long lunge to the shuttle with the racket leg.
Reach for the shuttle with the wrist slightly cocked and your racket arm in as
high a position as necessary to contact the bird at its highest point possible. At
the moment of contact, rotate your forearm so that the racket is uncocked
explosively up and through the shuttle. The follow-through is in the direction
that you intend the shuttle to travel.
Backhand underhand clear

Change to a backhand grip
As the shuttle is dropping toward your backhand side and in the forecourt area,
from the ready position take a short first step with your non-racket leg and then
a long lunge to the shuttle with the racket leg.
Reach for the shuttle with the wrist slightly cocked and your racket arm in as
high a position as necessary to contact the bird at its highest point possible.
At the moment of contact, rotate your forearm so that the racket is brought
explosively up and through the shuttle.
The follow-through is in the direction that you intend the shuttle to travel.
Attacking clear
Used primarily to drive your
opponent to the backcourt (farthest
point from the net) after s/he has
come very close to the net, and you
think you can “clear” the shuttle Defensive clear
Attacking clear
over his/her racket for a winner.
They are stroked similar to the
clears discussed above except that
the trajectory is lower. This lower
trajectory will cause the shuttle to
reach the floor sooner, and in turn
put your opponent in a very
offensive situation.
There is no backswing to this stroke, but merely a slight push of the shuttle to have
it rebound from the racket and barely clear the net. The force of your push will
depend upon the speed of your opponent’s smash. The harder the smash, the less
the push.
5. Smashes
The smash is the basic offensive shot in badminton. It is a very powerful stroke
that is used primarily for getting the shuttle to land in your opponent’s side of
the court as quickly as possible. However, if the shuttle does not land on his
court and end the volley as expected, it will force him to “lift” the shuttle –
putting him in a very defensive situation. The smash is a shot that can be
tremendously effective.
Body position: Similar to the overhead clear stroke, with one exception: the
racket should be lined up ahead of your racket shoulder, farther ahead than the
contact point of the overhead clear.
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The racket face must be angling downward, as compared with upward for the
overhead clear
Contact the shuttle at the highest point possible. The higher you contact the
shuttle, the greater the angle down to your opponent’s court. The greater the
angle, the greater the chance you have for clearing the net.
Your forearm and wrist will rotate and snap rapidly as the shuttle is contacted.
Follow –through is similar to that for the overhead clear.
6. Blocks
Blocks are used as a defensive stroke in response to an opponent’s smash.
They are used primarily for returning a smash in an emergency situation.
It is best accomplished by trying to get the racket head out in front of your
body and to the shuttle as quickly as possible.
Use the forehand grip.

Get as many shuttles as possible and hit the high deep singles serve. You can
practice serving diagonally if space permits, or you can practice serving straight
across the net using the half court practice/play variation. Hit the shuttle high
enough and hit it deep enough to land in the back alley close to the baseline.
Straight clears across using the half court area. Partners hit continuous clears to
each other, attempting to get the shuttle into the back alley.
Crosscourt clears. Partners hit continuous clears diagonally to each other, working
on distance and accuracy. Each partner attempts to get the shuttle into the back
alley and corner of the singles court.
Side alley clears – Partners hit continuous clears within the side alley boundaries,
working on accuracy and distance.
Straight underhand clears using the half court area. One player hits overhead drops
from the back alley while the partner hits underhand clears from the net area.
Straight smashes using the half court area. One player hits short, underhand clears
while the partner returns them with smashes.
Smash and block drill using the half court area. One player hits a short, high
underhand clear that the partner smashes. The returner attempts to block the smash
and get it over the net shallow in the forecourt.
SUPPORT MATERIALS
⇒ Badminton rackets, shuttlecocks, nets and whistles.
GLOSSARY
Alley - The area on each side of the court that is used for
doubles. Often referred to as the “side alley”.
Back alley - The area between the doubles long service line and the
baseline.
Backcourt - The back third of the court.
Backhand - A stroke made on the non-racket side of the body.
Baseline - The back boundary line of the court.
Bird - Name for the shuttlecock.
Block - A soft shot, used primarily in defense against a smash.
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Intercepting an opponent’s smash and returning it back
over the net.
Centerline - The mid-line separating the service courts.
Clear - A high shot that goes over your opponent’s head and
lands close to the baseline.
Crosscourt - Shot hit diagonally into the opposite court.
Defense - The team or player hitting the shuttle upward (lifting),
usually from an underhand stroke.
Doubles service court - The short, wide area to which the server must serve in
doubles play.
Fault - Any infraction of the rules. It results in the loss of serve
or in a point for the server.
Forecourt - The front area of the court, usually considered to be
between the net and the short service line.
Forehand - Any stroke made on the racket side of the body.
Home-base - The stopping of play due to some type of outside
interference. The point is replayed.
Let - The position in the centre of the court from which the
player can best play any shot hit by the opponent.
The stopping of play due to some type of outside
interference. The point is replayed.
Lifting the shuttle - To stroke the bird underhand and hit it upward.
Long serve - A high, deep serve landing near the long service line in
doubles or back boundary line (baseline) in singles.
Love - The term used to indicate zero in scoring.
Midcourt - The middle third of the court, usually considered to be
between the short service line and the long service line
for doubles.
Overhead - A motion used to strike the shuttle when it is above the
head.
Racket foot or leg - The foot or leg on the same side as the hand holding the
racket.
Ready position - The position a player assumes to be ready to move in any
direction.
Receiver - The player to whom the shuttle is served.
Server - The player who puts the shuttle into play.
Short serve - A serve that barely clears the net and lands just beyond
the short service line.
Shuttlecock (shuttle) - The feathered, plastic, or nylon object that is volleyed
back and forth over the net.
Side out - When a player or team loses the serve.
Smash - An overhead stroke hit downward with great velocity
and angle. The principal attacking stroke in badminton.
Underhand - A stroke that is hit upward when the shuttle has fallen
below shoulder level.
ASSESSMENT
Perform sending and receiving skills for badminton.
State basic rules for badminton.
Demonstrate proper grip for badminton.
53
Demonstrate proper hand-eye coordination for badminton.
CONTENT
Volleyball
Volleyball is an adaptable team sport which may be played by various numbers of
players (from 2-on-2 to 6-on-6); by males, females, with no height adjustment for men,
women, or age group differences; and using a variety of playing surfaces (wood,
rubberized material, sand or grass).
Volleyball is a net game and a rebound sport in which, following the initiation of play
(serve), the ball may not visibly come to rest. Each team is allowed a maximum of
three contacts before the ball is returned across the net. A player may not play the ball
twice in succession.
Equipment
Volleyball is an inexpensive activity. The player equipment is minimal, requiring only
rubber-soled shoes and possibly kneepads. A ball, net and net supports are the only
other equipment necessary. Volleyballs are available in different sizes, weights and
coverings. The recommended covering is either synthetic leather or leather with
molded carcass.
NB: Volleyball size: 210 and 250g. Recommended ball is 210g.
The Court
The court is divided into equal halves separated by a centre line and net. Each half has
a front-court attack area which restricts back row players from attacking or blocking in
that area. There is a serving area in the right back of each half court for determining
where the serve is legally initiated. The boundary lines are considered a part of the
court, thus a ball landing on these lines is considered inbounds. The game can be
played both indoor and outdoor. The illustration of a volleyball court is shown below.
Volleyball court
54
The Net
The net is placed at a fixed height of 2.43metres for men and 2.24metres for women.
These heights may be adjusted for different age groups.

The game of volleyball is played by two teams each having two to six players on a
(9metre square) court- the two courts separated by a net. The primary objective of each
team is to try to hit the ball to the opponent’s side in such a manner as to prevent the
opponent from returning the ball. This is usually accomplished by using a three-hit
combination of a forearm to a setter, followed by a set to an attacker, who spikes the
ball into the opponents’ court.
The opponents attempt to block the ball at the net before it

crosses, dig it if the ball evades the block or pass a non-
forcefully returned ball skillfully making the transition back
onto offence. The continuous cycle repeats until the rally is
terminated, hence either a point is scored or a side-out is Attack line
awarded with the opponents earning the right then to serve.
The sequence is repeated until one team reaches 25 points Net
LF CF RF
with at least 2-point advantage. When there are six players 4 3 2
Attack line
on a side, three are called forwards, and three are called
backs. The three players in the front row are called left
forward (LF), centre forward (CF), and right forward (RF). LB CB RB
5 6 1
The three players in the back row are called left back (LB),
centre back (CB) and right back (RB).
Players need to be in their correct rotational positions until the serve is executed. This
means that players cannot overlap positions from front to back or from side to side.
After the serve, players are allowed to play in a position on or off the courts with one
restriction - back row players cannot leave the floor to hit the ball when in front of the
attack line.
Basic rules
There are many rules which relate to volleyball. Below is a summary of the major
ones.
Any mistake leads to a point to the opposing team.
Servers are only allowed to play the ball with their hands and arms.
All players have to take it in turns to serve and they must do this on a very strict
rotation basis with each player serving in turn and moving round in a clockwise
direction. If a point is won on the service, then the player continues to serve until
the service passes over to the other team.
The serve must go directly over the net and the ball can touch the net but it must
cross it.
A set is won by the team which scores 25 points and with 2- point advantage.
The ball must be hit clearly and not held or thrown.
The first team to win three games wins the match. If the teams are tied at 2-all, the
deciding set (fifth) is played as a tie-break, using the rally point system.
There are a maximum of six substitutes allowed and one or more substitute players
can enter the game only per set in place of a player in the starting line up and can
then only be replaced by the same player.
55
then only be replaced by the same player.
Service
The ball can be served either overhead or underarm and the serve must be made by the
back right hand player who must not step on to the court until after the serve has been
made.
Overhead serve stance

1. Ball tossed in
front of hitting
shoulder
2. Ball tossed
close to body
3. Arm swing
back with
elbow high
4. Hand to ear.
5. Contact with
heel of open
hand
6. Contact at full
extension
Underarm serve stance

1. Stride position
2. Ball at waist
level
3. Shoulders
square to net
4. Eyes on ball
5. Open hitting
hand
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Blocking
This is allowed at the net by up to three players only who are allowed to place their
arms over and above the net.
Volley/Overhead pass
This is a two-handed pass above the forehead. It is the most accurate way of passing the
ball or setting.
Overhead pass stance

1. Stride position
2. Knees and hips
slightly bent
3. Shoulders
square to
target
4. Hands in front
of forehead
5. Form “window”
6. Look through
window at ball
Dig/Forearm pass
Here the ball is controlled using the forearms and the ball is lifted upwards. Its main role is
to prevent the ball from touching the floor. It is also known as the forearm pass.
57
Stance for forearm pass
1. Feet shoulders-
width apart
2. Knees bent
3. Hands must be
joined
4. Forearms parallel
to thighs
5. Back straight
Spike/Smash
This is the shot played at the net by one of the attacking players when the ball is hit
downwards hard and fast into the opponents’ court.
Approach to spike
1. Weight is forward, attacker ready to move.
2. Attacker remains at sideline until beginning approach.
3. Attacker watches setter until ball is set, then focuses on the ball.
4. Attacker waits at attack line until set is half the distance from the setter to the attacker.
Offensive and defensive play
Defensive
The block is a defensive shot which is played very close to the net. Block is used to
counter a forceful attack defensively.
Offensive play
Offensive play in power volleyball is an aggressive play through spike against opponents
to keep them from returning the ball or making a transition to return it aggressively.

Beginning level
o Running, stretching and explosive sprinting/jumping
Fundamental skills
o Movement skills
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o Lower position
o Shuttle steps
o Forward and backward
Medium position
o Shuttle step
o Run lateral/forward
o Backpedal
Play modified game
o 1 on 1, 2 on 2, 3 on 3
o Small court, half wide front court
o Do slides and stride practices
SUPPORT MATERIALS
⇒ Homemade balls, plastic balls, hula-hoops, bibs, skipping ropes, volleyball balls
and whistle.
GLOSSARY
Attack - Any method used to return the ball across the net in an attempt to
put the opponent at a disadvantage.
Block - The process of intercepting the ball just before or as it crosses
the net. A block may be executed by any front row player.
Dig - An emergency pass, usually used to defend a hard-driven attack.
Fault - An infraction of the rules.
Forearm pass - A pass made off the forearms. Used to play served balls, hard-
driven spikes, or any low ball.
Front court - The playing area in which it is legal to block or attack.
Held ball - A ball that is simultaneously contacted above the net by
opponents and momentarily held upon contact.
Overhand pass - A pass made by contacting the ball above the head with finger
Point - pads.
A point is scored when the receiving team fails to return the ball
Rotation - legally to the opponent’s court.
Shifting of the players clockwise upon gaining the ball from the
Serve - opponents.
The method of putting the ball in play over the net by striking it
Set - with hand.
Side out - The placement of the ball near the net to facilitate attacking.
Side out is when the serving team fails to win a point or plays
Spike - the ball illegally.
A ball hit with topspin and a strong downward force into the
opponents’ court.
ASSESSMENT
Perform sending and receiving skills for volleyball.
State basic rules for volleyball.
Demonstrate proper stand/grip or hold for volleyball.
Demonstrate proper hand-eye coordination in volleyball.
Demonstrate offensive and defensive techniques in volleyball.
59
UNIT 3.5 MUSIC OF BOTSWANA

3.5.1 Modern musical instruments
3.5.1.1 name modern instruments prevalent in Botswana.
3.5.1.2 state instruments mostly used in modern music.
3.5.1.3 classify modern instruments as string, wind and percussion.
3.5.1.4 identify sounds made by each of the modern instruments.
3.5.1.5 play a piece of music using modern instruments.
3.5.1.6 compose a class song with accompaniment.
CONTENT
Modern instruments
Most modern instruments are either electric or acoustic. Electric instruments need
electric power to work and acoustic instruments do not need electric power to work or
produce sound. Modern instruments can be grouped into main families namely strings,
wind and percussions. They come in different shapes and sizes but work the same way.
Some of the modern instruments common in Botswana are: Guitars, keyboards, drum
kits, shakers, trumpets and saxophones. Other modern instruments are steel drums,
violins, flutes, clarinets, piano, trombones, accordions, harmonicas, concertinas,
recorders, panpipes, double bass, harp, cymbals, Conga drums, tambourines, triangles,
xylophones and metallophones.
Percussion instruments
Percussion instruments make sound when you hit, scrape or shake them. Hitting,
shaking or scraping an instrument causes it to vibrate and produce sound waves. In a
drum, for example, some of the waves produced spread down into the hollow part of
the drum where they bounce around and get louder. This is called resonance. They are
either tuned to produced musical notes or un-tuned to produce sound. Some examples
of percussion instruments are shown below:
Tuned percussions Untuned percussions
Rattles
Bass drum Snare drum Metallophon

Chime
Cymbals Tambourine Triangle Xylophone
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String instruments
String instruments produce sound from the vibration of a string. A string will vibrate
when plucked or bowed. A vibrating string makes the air inside the body, or sound box
to vibrate. This makes the whole instrument to vibrate and resonate. Some examples of
string instruments are shown below:
Violin
Guitar
Cello
Harp
Viola
Double Bass
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Wind instruments
Wind instruments produce sound when air is blown into the instrument causing a
column of air inside to vibrate. Air is blown over a hole to make the air vibrate. There
are two types of wind instruments woodwinds and brass. The name woodwind and
brass come from materials used to make the original instruments. Today these
instruments are made from other materials. Some examples of wind instruments are
shown below:
Melodica
Accordion
Harmonica
Recorder
Concertina
Clarinet
Saxophone
Flute
Trumpet Trombone
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Electric and electronic instruments
They use electricity to amplify the sound waves instead of a sound box, or column.
Some use electronic to create the sounds themselves. Some examples of electric and
electronic instruments are shown below:
Electric guitar
Bass guitar
Electronic Keyboard
Synthesizer
Drum machine
63
Activity 1
Listen to different musical instruments and identify the sounds they produce. Discuss
in groups which musical instrument is producing the sound and why you think it is that
particular instrument.
Activity 2
Play some musical instruments to accompany some songs that you know. Divide the
class into groups and give them different instruments to play at the same time.
Activity 3
Use one of the available musical instruments to create your own rhythmic patterns or
melodic patterns. Practice your compositions and present them to class. Organize a
group to perform for the whole school at assembly.
SUPPORT MATERIALS
⇒ CD player or Radio cassette, CDs, Music video tapes or DVDs, modern musical
instruments e.g. guitars and percussion kits.
GLOSSARY
Accompaniment - Playing music while someone sings or plays the main tune.
Percussions - Musical instruments played by hitting, shaking or
scratching.
ASSESSMENT
List four modern instruments prevalent in Botswana.
Classify instruments into strings, wind and percussions.
Listen and identify sounds made by various instruments.
Perform your own composition using an instrument of your choice.
64
UNIT 3.6 PITCH

3.6.1 Stave
3.6.1.1 explain the stave.
3.6.1.2 draw clef signs.
3.6.1.3 draw the treble stave and label its lines and spaces.
3.6.1.4 draw the bass clef and label its lines and spaces.
3.6.1.5 place clef signs correctly on the stave.
3.6.1.6 place notes correctly on the stave.
3.6.1.7 play notes CDEFGABC on an instrument.
3.6.1.8 play songs with notes CDEFGABC on an instrument.
CONTENT
The Stave
A staff is a grid of five horizontal lines with four equal spaces used to write music.
These lines and spaces are numbered from bottom up.
Pitches are named after the first seven letters of the alphabet (A B C D E F G). They
are shown below on a keyboard arrangement.
A clef is a musical symbol placed at the beginning of the staff that determines the letter
names of the lines and spaces. The two main clefs are the treble and the bass:
The Treble Clef

The four inner spaces of the treble clef read upwards spell the word FACE.
The five lines read upwards spell EGBDF which you can remember using the phrase '
E very Good Boy Does Fine '.
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The treble clef is also called the G clef because it starts on the line G.
When drawing this symbol freehand it is easiest to start with the end of
the curve about the G line in the middle of the symbol and end at the
large dot at the bottom of the symbol. When the treble clef is placed on
the staff it is called the treble staff. It is used for all notes above middle
C.
Treble clef
The Bass Clef

The names of the bass clef lines GBDFA can be remembered by the phrase Good Boys
Do Fine Always.
The four inner spaces ACEG by the phrases All Cows Eat.
The bass clef is also called the F clef because the two dots in the clef
symbol lie above and below the horizontal line, associated with the note
F below middle C. When drawing this symbol freehand it is easiest to
start from the large dot and end with the tail at the bottom of the symbol
- after which one adds the two dots on either side of the F line. When Bass clef
the bass clef is placed on the staff it is called a bass stave. It is used for
all notes bellow middle C.
When placing notes with stems on the stave all stems of the notes above the third line
should go downwards and all stems of notes bellow the third line should go upwards.
Stems of notes on the third line should go either upwards or downwards.
Stems facing upwards are always on the right of the note-head and those facing
downwards are on the left of the note-head.

Activity 1
As described above practice drawing the stave and the clef signs. Place the clef signs
properly on the stave. Practice placing the notes learnt on the stave.
Activity 2
Use printed music to play notes CDEFGAB on an instrument of your choice. Use a
variety of instruments for this activity. Play a variety of melodies provided.
66
SUPPORT MATERIALS
⇒ Music manuscripts, pencils and plain paper.
GLOSSARY
Freehand - using your own hands without using any aid
ASSESSMENT
Draw treble and bass clef on the stave.
How many lines and spaces are there on a stave?
Name letters of the alphabet used in music notation.
Label lines and spaces of both treble and bass clefs.
Place clef signs correctly on the staff.
Place notes correctly on the treble and bass clef.
67
UNIT 3.7 TIME AND RHYTHM

3.7.1 Notes
3.7.1.1 identify a semi quaver.
3.7.1.2 state the time value of a semi quaver.
3.7.1.3 draw a semi quaver.
3.7.1.4 demonstrate a combination of crotchets, quaver, minims, semi breves and
semi quavers.
3.7.1.5 create a short rhythmic combination of crotchets, quaver, minims, semi breves
and semi quavers.
3.7.1.6 perform the equivalents of crotchets, quaver, minims, semi breves and semi
quavers in tonic solfa.
CONTENT
Semi quaver
Semi Quaver has two flags and a quaver has only
one flag. It is some times called a 16th note in
relation to the other notes learnt in standard 6. Quaver Semi quaver
It is called a 16th note because there are 16 semi-quavers in a semi-breve which is a

whole note. There are two semi-quavers in one quaver and four semi-quavers in a
crotchet. The semi-quaver is the shortest sound (note) you have learnt so far. It is
shorter than the sounds (notes) learnt in standard 5 and 6.
When drawing a semi- quaver always start with the note head and make sure it is at the
right place on the stave. From the head proceed to draw the stem and remember that the
stem can face either up or down depending on the position of the note-head. If the head
is below the third line of the stave the stem goes up. If the head is above the third line
of the stave the stem goes down. When going up the stem is drawn on the right side of
the note-head and when going down the stem is drawn on the left side of the note-head.
From the stem you can then draw the two flags which should always be the same side
as the note-head.
NOTE REST NAME

Semibreve or whole-note
Minim or half-note
Crotchet or quarter-note
Quaver or eighth-note
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Semi-quaver or sixteenth-not

Activity 1
Use the information above on how to draw a semi-quaver to draw semi-quavers on
different positions of the stave.
Activity 2
Create a rhythmic pattern using some of the notes including a semi-quaver and clap the
rhythmic pattern to the class or teacher.
Activity 3
Clap patterns created by the teacher and those created by other pupils. Use percussive
instruments to perform different rhythmic patterns in activity 2. Identify which sounds
are long and which ones are short in your rhythmic patterns.
Activity 4
Show rhythmic patterns created in activity 2 in tonic sol-fa notation.
Activity 5
Create new tonic sol-fa patterns and change them to staff notation. Perform these newly
created patterns on percussive instruments and clap them.
SUPPORT MATERIALS
⇒ Keyboard, melodica, xylophones, cassettes, marimba, metallophones, drums
ASSESSMENT
State the value of a semi-quaver.
Draw a semi-quaver on the stave.
Place a semi-quaver on a staff.
Circle semi-quavers among the given notes.
Perform a combination of minims, semi-breves, crotchets, quavers and semi-
quavers.
69
UNIT 3.7 TIME AND RHYTHM

3.7.2 Tempo markings and dynamics
3.7.2.1 explain largo, andante and allegro.
3.7.2.2 perform songs showing different tempo markings.
3.7.2.3 describe effects of tempo markings on the mood of a song.
3.7.2.4 draw signs representing gradual change in dynamics.
3.7.2.5 respond to a combination of dynamic signs.
3.7.2.6 describe the effects of dynamics on mood of a song.
3.7.2.7 perform a song showing gradual change in dynamics.
3.7.2.8 describe gradual change in tempo and their effects on mood (accelerando,
rallentando and ritardando).
CONTENT
Fortissimo = Very loud Accelerando = Gradually faster
Forte = Loud Rallentando = Gradually slower
Mezzo-forte = Moderately loud Ritardando = Gradually slower
Piano = Soft Allegro = Fast and lively
Pianissimo = Very soft Andante = A slow walking pace
Mezzo-piano = Moderately soft Moderato = Moderate speed
cresc. Crescendo = Gradually louder Vivace = Lively
dim. Diminuendo = Gradually softer Adagio = Slow
Tempo markings determine the speed of the music. They are placed at beginning of songs
and sections. These help the performer to use appropriate speed to perform the music.
Largo: Slow and broad

Andante: Moderate speed normally described as walking pace
Allegro: Fast and lively
These three tempo markings are just to show that music can be slow, moderate and fast in
speed when performed. The speed of the music is determined looking at the type of music
and the feeling/effects it should have on the listener. Slow tempo markings can therefore
depict a sad and lonely mood. Gradual increase in tempo (accelerando) can create
excitement and gradual decrease in tempo (rallentando or ritardando) can create a feel of
coming to an end or create sadness. Fast tempo creates a happy mood.
Just like tempo markings dynamic marks can create different moods. Performing softly can
give a song a sad mood and performing loudly can give a happy mood. Gradual change in
dynamics (decrescendo or crescendo) creates gradual change in mood also.
70
Activity 1
Perform music given and respond appropriately to slow, moderate and fast tempo
markings on the music. Perform as an individual and as group. Practise performing
gradual changes in tempo.
Activity 2
Place tempo and dynamic markings on a piece of music. This can be on a sheet of
music or being creative as a song is performed by deciding where to be fast and slow
and also when to be loud and soft. Practise drawing signs representing gradual change
in dynamics.
SUPPORT MATERIALS
⇒ Songs with and without tempo and dynamic markings.
GLOSSARY
Tempo - The speed of music. How fast or slow the music is.
Dynamics - The degrees of loud and soft in music. How loud and soft the music
is.
ASSESSMENT
Demonstrate largo, andante and allegro when performing.
Give the English meaning of largo, andante and allegro.
Place largo, andante and allegro correctly on a given piece of music.
71
UNIT 3.8 DRAMATISATION

3.8.1 Music and dance in drama
3.8.1.1 explain uses of music in drama.
3.8.1.2 describe uses of dance in drama.
3.8.1.3 identify and sing songs for selected types of drama.
3.8.1.4 perform songs and dances showing different moods.
3.8.1.5 act out aspects of life in the past and present.
3.8.2.1 perform comedy, tragedy and irony drama.

3.8.2.2 differentiate between comedy, tragedy and irony drama.
3.8.2.3 mime out activities from simple to more challenging mime work.
3.8.2.4 use different accompaniments in comedy, tragedy and irony drama.
3.8.2.5 dramatise play on the theme of the day in small groups.
3.8.2.6 demonstrate proper use of personal and general space in drama.
3.8.2.7 compare and contrast the roles of comedy, tragedy and irony in drama.
CONTENT
Drama tells a story through the use of speech and actions of the characters in a
story/play. It is performed by actors who take up roles of characters before an audience
in a theater. A theater is a big hall like the community hall where stories and plays are
dramatized. It has a stage in it where actors play their roles.
It gives order and clarity to feelings, desires, conflicts and reconciliations which are
major aspects of human experiences. Life happens automatically and the events in
it are sometimes confusing. Drama puts these human experiences into logical
sequence which we can all understand.
It can be used to express moods, feelings and thought.
It can also be used to communicate messages.
Music is used in drama as accompaniment to human speech. It is also to fill the gaps of
silences. It can also be used when scenes are changed. Dance plays the same roles as
music in drama but can also be used to help mime some activities. They create interest
and capture the attention of the audience. They give the audience a breathing space in
which to reflect and think about the events of the drama. They also reinforce they
speech of characters as music emphasizes what was said. Songs and dances selected for
different types of drama should therefore be of the same mood as the scenes performed.
Types of Drama
Tragedy
It maintains a mood throughout that shows the plays serious intentions which end
unhappily. It raises important questions about the meaning of existence, morality and
social relationships. It arouses pity, terror and fear.
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Comedy
It is based on behavior that is done beyond its acceptable limits. It tries to arouse
responses that range between scorn and joy and ends happily. It shows people in
relationships. It also uses ridiculous situations and physical clowning for its humorous
effect.
Melodrama
It involves a character who initiates actions that threatens characters with whom the
audience is sympathetic. It portrays a world in which good and evil are clearly
separated. They have sharply defined moral conflict.
Irony
It is conflict of two meanings. One meaning which is the appearance presents itself as
the obvious truth and when the context unfolds in time forms the reality. This now
makes the first meaning to look false or limited. The first meaning looks blind to its
own situation. Irony lies only as a dramatic means of bringing two meanings into open
conflict. It is the relationship meaning in words and another located in their
context/situations.

Activity 1
Perform selected songs and dances showing different moods. These should show a
range from sad to happy moods. Perform as an individual and as group. Make sure the
songs and dances performed are relevant to the scenes performed.
Activity 2
Create scenes of life in the past and life in the present and act them. Place the scenes
created in the types of drama, say if they are comedies, irony or tragedy. Mime all the
created scenes, and use any accompaniment you can e.g. songs and drums.
Activity 3
Create a scene on a given theme and perform it in a small group showing awareness of
personal and general space.
SUPPORT MATERIALS
⇒ Musical instruments, props and costumes
GLOSSARY
Comedy - A play depicting amusing events.
Irony -A type of humour based on using words to suggest the opposite
of their literal meaning.
Melodrama - A dramatic or other literary work characterised by the use of
stereotyped characters, exaggerated emotions and language,
simplistic morality, and conflict.
Mime - A style of performance in which people act out situations or
portray characters using only gesture and action.
Plot - The story in a narrated or presented work such as a play or movie.
Props - Equipment or materials brought on stage to enhance the performance.
73
Synchronize - To happen at the same time.
Tragedy - A serious play that deals with a tragic theme.
ASSESSMENT
Explain the difference between comedy and tragedy.
Demonstrate the use of costumes in drama.
Apply dance components in a short drama piece.
List any two components of drama.
List any two purposes of drama in society.
Explain the difference between personal and general space.
74
MODULE 4 - DESIGN AND PRODUCTION
UNIT 4.1 NEEDS AND WANTS

4.1.1 Productivity
4.1.1.1 explain productivity.
4.1.1.2 discuss workers’ performance on productivity.
4.1.1.3 examine the effects of HIV and AIDS on productivity.
4.1.1.4 discuss ways of improving productivity.
4.1.1.5 outline the effects of increased productivity.
CONTENT
The main aim of this topic is to help learners to have a general idea about productivity.
The explanation should be based mainly on labour or workers. Productivity measures
the quantity of output produced from a certain quantity of inputs. Labour productivity
is the quantity of output produced by a certain number of people in a certain time. If
ten people produce 200 50kg bags of maize per year, labour productivity per year are
20 50kg bags. If the same number of people produce 300 50kg bags using the same
resources as before, labour productivity per year becomes 30 50kg bags. In this case
we say labour productivity has increased.
When workers work harder and smarter, labour productivity increases. Think of what
will be the effect on productivity if labour is provided with superior equipment to work
with. If most workers in a factory are sick most of the time, what will be the effect on
productivity of that factory? People who are HIV positive may often suffer from
infectious diseases. This means they may not be able to work harder and smarter; they
may be at the hospital most of the time. The productivity of people who are HIV
positive will fall. What will happen if many workers in a country have AIDS? It is not
only people who are HIV positive or have AIDS whose productivity may fall, even
those who have relatives who are infected may also have low productivity. Can you
explain why? When people are not happy at work, their productivity will fall.
In order to improve productivity, the following should be done:

workers should be made happy at work by providing them superior equipment and
friendly work environment
pay workers satisfactory salaries
make workers feel satisfied at work
do not overwork workers
When productivity in a country increases, it means more goods and services are being
produced than before. People will earn higher incomes, there will be more goods and
services to consume and employment will increase. The economy of the country will
grow.
75
SUGGESTED TEACHING AND LEARNING ACTIVITIES Continues
Teacher reads an article on productivity from newspapers to the class.
Learners suggest their understanding of productivity as deduced from the
newspaper article.
Class discussion on the meaning of increase and decrease in productivity.
Teacher explains the effects of workers performance on productivity.
Class calculate labour productivity.
Class discussion on how productivity can be improved.
Learners discuss the effects of increased productivity on people and the country.
SUPPORT MATERIALS
⇒ Magazines, newspapers, Manila paper, markers, tape recorder and taped news
broadcast.
GLOSSARY
Labour - The effort human beings contribute to work.
Equipment - The items of tools which people work with.
Resource - An input (materials, labour, equipment, etc) used for
producing goods or for providing a service.
Work environment - The conditions people work in or the conditions that affect
the way you work.
ASSESSMENT
What is productivity?
How can you measure labour productivity?
Explain increased productivity of labour.
Do you think workers should be paid more if their productivity increases?
Why is the government always talking about productivity increase?
76
UNIT 4.2 PRODUCT DESIGN

4.2.1 Design process
4.2.1.1 state considerations to be observed when designing products.
4.2.1.2 outline the different stages of a design process.
4.2.1.3 analyse the problem and collect relevant design solutions to the problem.
4.2.1.4 write a detailed specification for the intended product.
4.2.1.5 generate a range of design solutions to the problem.
4.2.1.6 select and refine the preferred solution.
4.2.1.7 produce a presentation drawing of the refined solution.
4.2.1.8 prepare a plan of action for making the product.
4.2.1.9 make the intended product as per the refined solution.
4.2.1.10 test and evaluate the product.
CONTENT
What is designing?
These are objects or items around you that have been made by people to serve
particular purposes. For example, a chair has been made for people to sit on while
clothes are made for people to wear. Before these items were made there was nothing
suitable to use. People, therefore, came up with ideas and solutions to solve the
problems. They decided on what shapes, sizes, materials and construction methods they
should use. Thinking up solutions to problems is called designing.
Designing or problem-solving involves:

• Identifying a problem or need.
• Thinking about ways of solving the problem.
• Using materials, tools/equipment to make a product or to solve the problem.
• Finding out whether or not the solution is suitable i.e. meeting the need.
When designing an item or artefact, it is important to make sure that the product is:
safe to use.
strong enough to carry the expected load or withstand forces exerted on it.
durable or is able to last a long time.
attractive.
affordable
The importance of design

Sometimes we take for granted the things that are around us without realising that they
have been made through careful planning. Think about the chairs you are sitting on, the
desks you use for writing, the pencils and pens you do your homework with, the warm
clothes that protect you in winter, the shoes that help you to walk long distances. All
these things have been created for people to have a comfortable life. So anyone who
designs things to satisfy people’s needs and improve their lives is a designer.
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The elements and principles of design
The Design process
This is a set of stages that one has to go through in order to come up with a solution for
a practical problem. Below are the important steps to follow when designing:
1. Problem
A concern that can be identified by you, or anyone else. Find out about the
problem by gathering as much information as possible about the problem. Consult
books, magazines, friends, teachers or anyone who may be able to help you. Think
about different ways of solving the problem. Study the information you have
gathered and this will help identify a need.
2. Brief
This is a short statement about the problem you intent to solve. When writing a
design brief it is important to keep it short and precise. You should always start
with, design and make…
3. Specification
This is a list of requirements specifying what the product must do and look like.
The following questions will assist you write your own specification:
What is the product intended to do?
What material(s) will it be made of?
How much will it cost?
How big does it have to be?
How will it be constructed?
How will it look like (finish)?
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How safe is the product?
4. Solutions
These are a few ideas that will help you solve the problem. Using the specification
as a guide, generate as many possible solutions as you can. To help you come up
with your own solutions you may decide to have a look at a range of existing
products and the way they function. Please remember not to reproduce the same
existing idea but rather a modification or an improvement of the idea.
5. Development
The stage of choosing your best idea and develop it to produce a better solution.
This is usually achieved through improving/modifying your final solution. Make
alterations on the things you are not entirely satisfied. You may look at the
function, sizes, materials and finishes of your intended product.
6. Production plan
This is a plan of action that shows how the product is manufactured. The different
stages of production are arranged in an ordered sequence.
7. Making
Making involves using tools and equipment to turn the developed idea into a
product.
8. Testing and evaluation

This is the stage where you check whether the final product meets the specification.
When testing and evaluating you should suggest changes that you would make if
you were to do it again. In this process one has to invite comments from classmates
and teachers.

Lead a discussion on the elements and principles of design.
Explain to the learners that anything that you do not like or makes you
uncomfortable is a problem.
Give them a few examples of designs (artefacts) and ask them in what way they
have met people’s needs.
Ask them about their own needs (individually) as opposed to that of the class needs
(Group).
Talk about the important steps to follow when designing. Explain the design
process in simple terms.
Use cartoons and posters to explain the different stages of the design process.
Activity 1 – Design
Scenario
Your friends and relatives always find it difficult to locate your house.
Problem
There is no sign or number to identify your house.
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Brief
Design an item that can be used to identify your house easily.
Specification
What numbers are you going to use in your design?
- Find out the plot number of your place.
- What is the product intended to do?
- Collect samples of number from old magazines.
- Select your favourite style. You may decide to come up with your own style.
What will be the appropriate shapes and sizes of the item?

- Look at existing number plates from around your area.
- Decide on the shapes and sizes of the numbers.
- Make sure the numbers can be recognised from a reasonable distance.
What material(s) would you consider for making the item?

- Think about suitable materials for making the design.
- Consider materials that are available in the school.
- Do not use materials that you are not confident in manipulating.
Where and to what material is the item to be fixed

- Think about different ways of fixing the item.
- Select a suitable method of fixing the item in place.
What finish will you use on the item?

- Think about different finishes that can be used on the item.
- Use a suitable finish that will withstand all weather conditions
Solutions
Generate as many ideas as you possible can. You may look at an existing array of
number plates or signs. Make detailed sketches of the existing ideas and that of your
own.
Development
Choose your best solution and suggest any improvement or modification. Produce a
detailed drawing of the developed solution.
Production plan
Think about all the different tools and processes that you will require to make your
product.
Activity 2 – Making processes

Before learners start making their artefact:
Make sure that all the necessary tools, equipment and materials are available in
sufficient quantities.
Where necessary, decide on how the learners are going to share tools, equipment,
etc.
Be clear about how you are going to show or demonstrate the various processes that
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the learners are required to carry out to make the items they have designed.
It is therefore important for you to show learners how to carry out these processes stage
by stage. For example, show them how to mark out and allow them to mark out before
you show them how to cut.
While they are working move around to provide individual support as needed.
Remember it is important to emphasise safe handling and use of materials, tools and
equipment. Make constant reference to safety rules.
Activity 3 – Testing and evaluation

After making the product, it is necessary to identify strong and weak points of the
product and some suggestions for improvements. This involves asking some questions
such as:
Does the product solve the problem?
Does it satisfy all the aspects of the specification?
Will the product last a long time?
Is the product attractive?
Is the product affordable?
SUPPORT MATERIALS
Make the following craft materials available in sufficient numbers: Jelutong, round
head screws, polyvinyl acetate (PVA) acrylic sheets (assorted colours) and tensol
cement.
GLOSSARY
Artefact - An article made by man.
Attractive - Very pleasing in appearance or causing interest and pleasure.
Brief - A short and precise statement of intent.
Design - ways of thinking up solutions to problems.
Evaluation - Appraising your product against the specification.
Force - Strength or power to hold or withstand the pressure of something.
Scenario - A probable or imaginary situation.
Specification - A list of design requirements
Testing - Checking the outcomes against the specification.
ASSESSMENT
What is the importance of design?
Illustrate the different stages of the design process?
What is a design brief?
Explain in your own words what you understand by specification?
Why is it necessary to come up with a variety of design solutions when designing?
Why is evaluation and testing an important part of the design process?
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UNIT 4.3 TWO-DIMENSIONAL CRAFTS

4.3.1 Batik
4.3.1.1 define batik.
4.3.1.2 experiment with artificial and natural dyes in batik making.
4.3.1.3 explore the use of tools and materials in batik making.
4.3.1.4 create a batik work such as scarf, skirt and wall hanging.
CONTENT
Batik
This is a method of using wax and dye on cloth
to make a textile technique.
The desired design is created on a cloth and the

hot wax is applied on cloth as a resist and the
cloth is dyed. The dye will not penetrate the
areas covered by wax. Dyes can be overlapped
to create a variety of effects. After dying, the
wax is removed by pressing the fabric between Batik wrap
sheets of absorbent paper with a hot iron. The
paper has to be changed frequently so that it
continues to absorb the wax. The process of
wax removal and re-waxing is repeated until
the final dying is finished.
Manufactured cold or hot water dyes can be

used. The natural dyes are those such as roots
of plants, tree barks, flowers and leaves. These
could be used in dying the fabric. The readily
made dyes could be obtained from dye
suppliers. Batik dress
The natural dyes are crashed and boiled in

water add bicarbonate of soda or anything that
will keep the colours from fading.
The wax is applied using tools such as tjanting,

brush and sticks.
Batik shirt
Tjanting
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Safety Precautions
Wax should not be melted over the flame as it is very flammable. The wax is to be
melted in a double boiler. This could be simple a small tin a pan of water. This pan or
anything that has boiling water should not run out of water as it will burn. The wax
will smoke when overheated and can explode. Work in a ventilated room.
Sample waxing and dyeing sequence

Using scraps of materials and try the batik processes.
Experiment with ways of decorating fabrics using the batik technique.
Create a decorative or a functional craft such as wall hanging, scarf, and skirt.
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SUPPORT MATERIALS
⇒ Scissors, metal containers, brushes, newspapers, cloth, wax, tjanting, and sticks
GLOSSARY
Tjanting - A pen with a reservoir for the wax and a spout to draw thin lines. It
is filled by dipping it into hot liquid wax.
ASSESSMENT
Describe the batik processes.
Analyse and describe given work of batik.
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UNIT 4.4 THREE-DIMENSIONAL CRAFTS

4.4.1 Body ornaments
4.4.1.1 explain body ornaments.
4.4.1.2 identify types of ornaments.
4.4.1.3 decorate jewellery made from paper by painting and texturing.
4.4.1.4 explore different materials and techniques for making body ornaments
4.4.1.5 make body ornaments using different materials.
4.4.1.6 use found objects to make body ornaments.
CONTENT
Body ornaments
Body ornaments are used for different purposes, for example to decorate or beautify the
body, for ceremonies or for identification. These are such as bracelet, necklace,
earrings and headband. Some materials used are such as beads, metal, plastic, leather,
bones, wood, paper and any other found objects.
Bead bangles Horn bangles
Wooden necklace Bone necklace Plastic necklace
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Jewellery
Jewellery is used to beautify and adorn the body. Materials such as beads, glass, paper,
shells, metals, bones and wood have been used to create a variety of jewellery designs.
Papier-mâché jewellery
Papier-mâché is a mixture of small pieces of paper and
paste or glue which can be moulded when wet. Papier-
mâché can be used to make a variety of beads of all shapes
and sizes. It could be rolled around a twig, grass or
toothpick. These are to be removed when dry for stringing. Pendant Brooch
Rolled Paper jewellery

In roll paper jewellery, magazines, newspapers and other
paper is rolled to make beads. Paper could be cut into any
shape rolled and glued to any desired shape. These could
be decorated using different colours, or as desired or coated
with shellac for protection. Beads should be strung and
inserted hooks. Rolled paper earrings
Found objects
These are natural and man-made objects
that could be used in creating a work of
art. Found objects are such as wood,
bone, metal, seeds, eggshell are readily
available in our surroundings and can be
a good medium for making body
ornaments. Bottle top earrings Seed bracelet

Experiment with a variety of materials to create interesting designs for body
ornaments.
Explore the different techniques for making body ornaments.
Create a body ornament of your choice
SUPPORT MATERIALS
⇒ Threads, wool, yarn, scissors, rulers, pencil, glue, needles, seeds, beads, metal
scraps, bones, glass, paper, fabric scraps, grass, wood and paper strips.
GLOSSARY
Jewellery - Ornament for wearing.
Ornament - An object used for decorative purposes.
ASSESSMENT
Describe the functions of body ornaments.
Analyse and describe a given body ornament.
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UNIT 4.5 SCULPTURE

4.4.2 Carving
4.5.1.1 define carving.
4.5.1.2 recognise examples of sculpture made by carving.
4.5.1.3 identify materials suitable for sculpture making by carving.
4.5.1.4 explore with tools, materials and techniques in sculpture making by carving.
4.5.1.5 create a sculpture by carving either in relief or in the round.
CONTENT
Sculpture
This is a work of art that could be seen from all sides. Sculpture could be made using
different materials such as soapstone, bones, horn, wood, clay, card boxes, wax, wire,
metals, plaster of Paris, papier-mâché and other found objects. There are two types of
sculpture. These are relief sculpture and freestanding sculpture/sculpture in the round.
Freestanding sculpture/sculpture in the round

This type of sculpture stands without being supported. It can be viewed from all sides.
The sculpture is not attached to any flat surface for support.
Relief sculpture
They are built on a flat prepared surface. Some parts of the sculpture are to be raised by
using the subtractive process. This will make other parts of the sculpture to be low.
There are different techniques that are employed in sculpture making such as sculpture
making by carving, modelling, constructing/assemblage and casting.
Carving
Carving is a subtractive method of sculpture making. The artists use a sharp tool to take
out unwanted material in forming the work of art. In sculpture making by carving both
Wooden Carving Wooden Mask Bone Carving
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relief and freestanding sculptures can be created. The carving motion should always be
away from the body and the material being carved can also be secured to the table. In
carving when using natural materials, the natural textures, bumps, patterns and forms
are sometimes left as are to form part of the sculpture. Materials that can be easily
carved are wood, soapstone, wax and plaster of Paris. The sculpture can be decorated
by painting and scorching.
Carving tools
There are different hand tools that will be helpful in sculpture making by carving.
These are such as nails, chisel and mallet, copping saw, knives, axe, adze, and other
traditional carving tools. These can also be used to make marks and make various
textures or decorations on sculpture and shapes to enhance the form.
Carving chisels for wood Carving chisels for stone
Axe Adze

Identify the material suitable for the sculpture from the natural and man-made
environment.
Experiment with carving techniques.
Carve either a freestanding or a relief sculpture.
Finish by decorating the sculptures.
SUPPORT MATERIALS
⇒ Wood, wax, soapstone, plaster of Paris, sticks, boards, plastic bags, plastic buckets
with lids, cloth or rags, pencils, paint, brush, pen, chisels, axe, knives, adze and
other found objects.
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GLOSSARY
Form - A three-dimensional object and that encloses volume.
Relief Forms - Forms are carved out from a flat surface or materials
assembled on a surface which forms a flat base on which they are
held and stand out. Forms in the round - They are forms that
stand on their own and not supported and can be viewed
from all sides.
ASSESSMENT
Critique a relief and freestanding sculpture making by carving.
Compare and contrast a relief sculpture and a freestanding sculpture.
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UNIT 4.5 SCULPTURE

4.5.2 Construction
4.5.2.1 explain construction.
4.5.2.2 explain mobile, relief and freestanding sculptures.
4.5.2.3 explore with tools, materials and techniques in sculpture making by
construction.
4.5.2.4 construct a sculpture using appropriate materials and techniques.
CONTENT
Sculpture making by construction
It is a sculpture made through cutting, gluing, forming, welding, or tying materials
together. This technique of making a sculpture involves the use of different materials
such as cardboard boxes and papers of different types, wood, wire, plastic, metals, tins
and other found objects.
Mobile sculpture
This is a sculpture made by joining materials together and hanged on anything that can
be a support. The different parts are well arranged and joined to create an arrangement
that is interesting from all angles.
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Identify the material suitable for the sculpture to be made.
Experiment with carving techniques.
Carve either a freestanding or a relief sculpture.
Finish by decorating the sculptures.
SUPPORT MATERIALS
⇒ Wood, wax, soapstone, plaster of Paris, sticks, boards, plastic bags, plastic buckets
with lids, cloth or rags, pencils, paint, brush, pen, chisels, axe, knives, adze and
other found objects.
GLOSSARY
Construction - A technique of making sculpture by joining different
materials together.
Form - A three-dimensional object and that encloses volume.
Relief Forms - Materials are assembled on a surface which forms a flat
base on which they are held and stand out. Forms in the round -
Forms that stands on their own and not supported and can
be viewed from all sides.
ASSESSMENT
Critique a relief and freestanding sculpture making by carving.
Compare and contrast a relief sculpture and a freestanding sculpture.
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UNIT 4.6 CLOTHING AND TEXTILES

4.6.1 Textile fibres
4.6.1.1 make burning test to cotton and wool.
4.6.1.2 experiment with cotton and wool using bleach, washing soda and ammonia.
4.6.1.3 analyse the effects of chemicals and heat on cotton and wool.
CONTENT
Fabric tests
These are tests made on fabric by burning or using chemicals. This is done to check
how the fabric behaves when subjected to different conditions. There are two types of
tests that can be done, namely burning tests and chemical tests.
Burning tests
Give the characteristics of fibres when burnt and it will show whether the fibre is
flammable or non-flammable.
Chemical tests
Give the characteristics of fibres when some chemicals are exposed to them to show
whether they resistant or not.

A. Burning test
Requirements
• Cotton and wool fabrics.
• Bunsen burner/ stove/ matches.
Method
1. Remove a yarn from cotton and wool.
2. Do not mix the yarn.
3. Lower each yarn into a flame and withdraw it as it catches fire.
Observe the following and write down your observations

• Some yarn will burn and continue to burn when withdrawn from flame.
• Some will melt, smoulder, or burn and melt.
• The yarns will have different smells.
• The ash will be powdery or beadlike.
• The ash will crash easily with some yarns.
(i) Cotton burning test results

• Will flare up easily.
• Smells like burnt paper.
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• Have a grey or whitish powdery ash.
• Burn with a yellow flame.
SUGGESTED TEACHING AND LEARNING ACTIVITIES Continues

(ii) Wool, silk and hair wool:
• Burn in and out of flame
• Smoulder
• Smell like burning feathers or hair
• Have a blackish bead that crushes when cool
B. Chemical tests
Requirements
Cotton and woolen fabric pieces, washing soda, test tubes, tongs, and jik.
Procedure
Point the test tube away from your face or the other person.
Washing soda
1. Use cotton and woolen yarns.
2. Place several yarns in a test tube (same fabric)
3. Add 5 ml washing soda and shake for 5 minutes or more.
4. Record the observations.
NB: Chemicals should be handled with care because they are dangerous.
Jik
1. Use the same yarns as for the other activity.
2. Place several yarns in a test tube.
3. Add 3 to 5 of Jik to a test tube and shake for 5 minutes or more.
4. Record the observations.
SUPPORT MATERIALS
⇒ Cotton and woolen fabric pieces, washing soda, test tubes, tongs, and jik.
GLOSSARY
Fabric - Any material that is woven, knitted or crocheted.
Textiles - Products of fabrics such as clothing and furnishings.
Yarn - These are twisted fibres.
ASSESSMENT
Demonstrate a burning test on different fabrics
Demonstrate a chemical test on different fabrics
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4.6.2 Sewing machine
4.6.2.1 identify types of sewing machines.
4.6.2.2 label different parts of a sewing machine.
4.6.2.3 describe uses of the parts of a sewing machine.
4.6.2.4 demonstrate the threading of a sewing machine.
4.6.2.5 identify and correct common sewing machine faults.
4.6.2.6 care for sewing machines.
CONTENT
Sewing machine
A large number of sewing machines are available on the market today. There is need
to know is how a sewing machine works. All machines follow the same principle. To
be able to use a sewing machine for a long time, it is important to know how it works
and how to care for it properly. Sewing machines need regular maintenance, oiling and
service. The sewing machine comes with an instruction booklet. Study the instruction
booklet/manual and follow the instructions given carefully. Keep the booklet safe and
handy and refer to it when necessary.
Types of sewing machines
Hand sewing machines

These are manually operated sewing machines. The
hand is used to run the machine. Hand sewing machines
are slow but easy to use. Machines can be placed on a Hand sewing machine
firm flat surface.
Treadle sewing machines

Thee treadle is operated with feet. The machine is
fixed to a stand. It is quicker to use than the hand
sewing machines. They are more expensive than the
manually operated ones.
Treadle sewing machine
Electric sewing machines

This type uses electricity. There is an electric motor that
supplies the machines with electricity. Electric machines are
more expensive that the hand sewing ones.
Electric sewing machine
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All the above machines come in different variations in the market such as straight
stitching machines, zigzag machines, automatic machine, etc.
Over locker machine (Serger)

The over locker complement a sewing machine. Overlocking is a quick way of
finishing hems and seams edges. It cuts and neatens the hem or seam in one operation.
There are very different over locker machines but all have the same principle. It is
important to study the instruction booklet that is supplied with each machine. Keep it
safe and handy for reference.
Note: There are basic and handy accessories that come with the machine. Make use
of the instruction booklet to identify the accessories of the machine.
Choice of sewing machines

For best results, you need a good sewing machine. You should buy one that best fulfils
your individual needs. This can be determined by:
• How much sewing will be done.
• What is to be sewn.
• The amount of money available.
• The amount of space available.
Using a sewing machine?

The following tips will become handy when using a sewing machine.
• When using a sewing machine you have to learn to control the speed and the
material when sewing. This is the most difficult part if you have never used a
sewing machine.
• It is important to control the sewing machine speed and at the same time learn the
different parts of a sewing machine.
For the treadle machine, other parts will include the machine belt, which connects the
balance wheel to the big wheel that moves the needle when operated. The treadle,
which when moved by the rhythmically will move the machine.
1. Spool pin
11. Take-up lever
2. Bobbin winder
3. Balance wheel
10. Tension disk 4. Stop motion screw
5. Handle
6. Stitch regulator
9. Presser foot
8. Needle clamp
7. Feed plate
Parts of a hand sewing machine
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Machine Faults
When using a threaded sewing machine you may come across problems. There could
be many causes to the problem. The remedy is to correct the cause of the fault. The
table below gives some of the machine problems that you may come across when
sewing.
Parts of the sewing machine and their use

1. Spool pin - Holds the upper threads.
2. Bobbin winder - Wind thread unto bobbin.
3. Balance wheel - To start and stop the machine.
4. Stop motion screw - When turned loose, the machine needle does not move.
5. Handle - Turns the balance wheel.
6. Stitch regulator - Regulates the length of the stitch to either short or long.
7. Feed plate - Moves the fabric when the machine is working.
8. Needle clamp - Holds the needle in position.
9. Presser foot - Holds the materials down when stitching.
10. Tension discs - Loosens or tightens the tension of stitches.
11. Take up lever - Lifts and lowers upper threading during stitching.
12. Presser foot lever - Lifts and lower presser foot.
13. Thread guides - Guide the thread when the machine is being threaded.
14. Needle bar - Where the needle is inserted.
15. Throat plate - Protects the inner parts of the machine.
16. Slide Plate - Covers the area below the machine where the bobbin case
is inserted.
Common Machine Faults Possible Causes Possible Remedies

Skipped stitches • Needle not correctly • Insert needle correctly.
inserted. • Insert new needle.
• Needle is blunt
Thread breaking • Badly wound bobbin. • Wind bobbin correctly by
resting a finger gently on
the reel on thread while
winding. Never bobbins by
• Over filled bobbin. hand.
• Remove some of the thread,
it should not be more than
• Incorrect threading. 90% full.
• Use manual to thread
machine correctly.
Needle breaking • Needle burnt. • Replace the needle.
• Tension too tight. • Use correct tension.
• Tension too tight. • Never pull work during
sewing, ease it through the
machine.
• Fabric still has pins. • Do not sew over pins.
• Always use clean and
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• Damaged needle. correct needle.
• Use the correct size of
• Needle is too fine needle for fabric sewn.
• Do not pull fabric while
• Pulling work while sewing.
sewing.
Common Machine Faults Possible Causes Possible Remedies

Puckering • Top tension too tight. • Release top tension.
• Needle blunt. • Insert a new needle.
• Thread too thick. • Use the correct thickness of
thread.
• Stitch length too long. • Use correct length of
stitches.
Uneven stitching • Incorrect needle size. • Use correct size needle.
• Incorrect threading. • Correct upper and lower
tension.
• Uneven filling of • Thread bobbin correctly.
bobbin. • Do not pull or push fabric.
• Pulling fabric through
the machine.
Cleaning a sewing machine
Requirements
Clean dust free cloths, soft brush, screwdrivers of different sizes and machines oil.
Procedure
1. Remove the feed plate.
2. Remove the bobbin and shuttle.
3. Lift the machine head
4. Tilt the machine backwards
5. Use a soft brush to remove fluff.
6. Remove dust, fluff and oil from all the part underneath the feeding place and
presser foot.
7. Wipe all machine parts with a dust free cloth.
8. Oil the machine. Use the instruction booklet for oiling instructions. (Put at least
one drop of oil in each hole). Oil the machine once a week if used regularly.
9. After oiling the machine, run it for a while with the presser foot raised to allow the
oil to penetrate.
10. Leave machine for a while without using it overnight to allow the oil to drip.
11. Wipe all excess oil before using the machine.
12. Stitch on a piece of fabric to make sure all the excess oil has been removed.
Oiling the machine

1. Use machine oil only.
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2. Place one-drop oil where there is friction. Turn the balance wheel to be sure of
moving parts. Lift the head of the sewing machine if necessary.
3. Replace head of the machine. Put a drop of oil into the small holes in the arm of
the machine.
4. Place a piece of material under the presser foot and run the machine without thread
to work in the oil.
5. Leave some material under the presser foot when machine is not in use to collect
any oil that may drain down the needle bar.
6. Take care not to over oil the machine but never allow parts of the machine to
become dry.

Using a sewing machine
Procedure
1. Use a sewing machine without thread.
2. Place your right/left hand on the handle.
3. Turn the handle away from you.
• The balance wheel turns toward you.
• The needle is in needle bar.
• The take up lever moves up and down.
4. Now turn the handle lowly. Watch carefully as you turn the handle.
• The take up lever moves up.
• When the take up lever is at its highest position the needle is also at its highest
position.
• When the needle is in the hole, it is in its lowest position.
• The feed dog also moves backwards and forwards.
• The feed dog is under the pressure foot.
Preparing for sewing

1. Sit straight on a chair with both feet on the floor.
2. Pull the machine up to the edge of the table facing you; the handle to your right or
left side (depending on whether you are left or right handed) and your body close to
the table.
3. Use a sheet of paper (A4 size).
4. Put the take up lever to its highest position. Lift the pressure foot using the lever.
5. Put the paper under the needle.
6. Lower the pressure foot.
7. Turn the balance wheel towards you to lower the needle.
8. Using the handle move to the clockwise direction to stitch on the paper.
9. Start by stitching slowly, then increase the speed.
10. Stitch fast and stop with the needle on the paper.
Note: Do this exercise until you can stitch the number of stitches that you intend
doing. It is very important to get the exercise right. These skills will help one use a
sewing machine confidently.
Sewing on patterns
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Draw patterns on a piece of paper and sew along the patterns e.g s-shapes, triangles,
circles, zigzag etc.
Sewing on corners
Lower the needles to its lowest point then lift the presser foot, turn the piece of paper to
guide your next stitch. Lower the presser foot.
You are now ready to start threading a sewing machine. A sewing machine works with
two sets of threads. These threads are for upper stitching and under stitching. The
under thread is wound on a bobbin or spool.
Winding the Bobbin or spool

1. Look for the bobbin winder, it is next to the balance wheel.
2. Slip the large hole of the bobbin over the pin.
3. Bring the lever behind the bobbin winder forward. This will push the rubber ring
against the balance wheel.
4. Place the left hand on the balance wheel and hold it firmly in this position.
5. Place the right hand on the stop motion screw and turn it towards you.
6. Loosen the stop motion screw. This will make the needle bar and take up lever not
to move.
7. Place a reel of cotton thread on the spool pin and take the thread round the guide
from the left side.8.Push end point through the small hole in the side of the bobbin,
starting from the inside.
9. Hold the end of the thread in your left hand and turn the hand evenly.
10. Let go of the thread as soon as it begins to wind the bobbin. This will make the
bobbin to be filled faster. When the bobbin is filled, the rubber ring will move
away from the balance wheel.
11. Cut the thread and remove the reel of thread from the spool pin.
12. Place your left hand on the balance wheel and tighten the stop motion screw.
Threading the under thread in the bobbin case

1. Remove the bobbin from the pin of the winder.
2. Place the bobbin into the bobbin case, and pull the thread through a small slash in
the
bobbin case.
3. Place the bobbin case into the shuttle. Make sure that it fits properly.
Upper threading
1. Place a reel of cotton on a spool pin .
2. Lead the thread from the real through the following:
• first thread guide; ( there are a number of thread guides in a machine, locate them)
• tension Disc;
• control spring;
• take up lever;
• second thread guide;
• third thread guide;
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• needle hole from left to right.
Note: Read the instruction book for the directions of threading the needle.
Bringing up under thread

1. Hold end of upper thread in your left hand.
2. Turn balance wheel until needle goes down and comes back as far as it will go.
3. Pull thread in your left hand. The under thread will come up in a loop. Then lift
the under thread out using a finger or tweezers.
Using a threaded machine
1. Move the take up lever to its highest and place under and upper thread at the back
of
the presser foot.
2. Mark straight lines on double fabric. Place it under the presser foot.
3. Move the stitch regulator to normal/No. 8 and stitch along the marked lines.
4. Check your machine tension and correct it accordingly; if top tension is too tight or
loose, tighten or loosen tension disc.
SUPPORT MATERIALS
⇒ Hand sewing machine, sewing threads, fabric pieces and A4 sheet, tailors chalk,
scissors etc.
ASSESSMENT
List three types of sewing machines.
List points to consider in the choice of a sewing machine.
Give a reason for each of the following machine faults and state how each should
be corrected:
• Fabric being unfed through the machine
• Needle unthreaded when beginning to stitch,
• Uneven or skipped stitches.
List point to consider when setting up a sewing machine.
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4.6.3 Knitting
4.6.3.1 explain knitting.
4.6.3.2 demonstrate casting-on and casting-off stitches in hand knitting.
4.6.3.3 discuss the uses of knitting.
4.6.3.4 demonstrate knitting and purling.
4.6.3.5 follow a knitting pattern to make a product.
4.6.3.6 apply knitting to a project.
CONTENT
Knitting is method of fabric construction in which a single yarn or thread is interlaced
by of long, thin, pointed rods or knitting needles, knitting bars or knitting machines.
For hand knitting, two or four needles, a circular needle, or, knitting bars are used. For
simple hand knitting, two needles are sufficient.
Uses of knitted articles

Knitted articles such as bedcovers, dresses, socks, cardigans and sweaters are mainly
used for keeping people warm during winter season. They can also be used for
decorative purposes such as table mats.
Standard knitting abbreviations

K knit
P purl
Sl slip
Sl st slip stitch
Dec decrease
Inc increase by working into front and back of stitch
Rep repeat
* repeat from asterisk (*)
(---) figures written in brackets are repeated as many times as stated immediately
after the close of the bracket. Example: (K2, P2) twice means K2, P2, K2, P2.
Psso pass slip stitch over
Patt pattern
Tw twist
Alt alternate
Wb wool back
Wf /wl fwd
or wfd wool forward
wrn wool round needle
cont continue
beg beginning
tog together
K2 together knit 2 stitches together
St st stocking stitch
Gt st garter stitch
MI make one (pick up loop below next stitch and knit)
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Stitches
There are only two basic stitches in knitting namely, knit stitch and purl stitch. With
these, several patterns can be made.
Basic steps in knitting

The following are the basic steps in knitting:
• Step 1 Casting on
• Step 2 Knitting and purling
• Step 3 Casting
Thumb method of casting on

Leave an end of wool about (one inch) 2.5cm for one stitch. Make a slip loop. Put this
on one needle. Pass the thread from the ball end round the left thumb and knit into it
with the yarn from the short end. Repeat the process for the number of stitches
required.
Casting on using knitting needles
(a) (b) (c)
(a) (b) (c)
To knit
Hold the needle with cast on stitches in the left hand. Hold the other needle in the right
hand and insert its point from right to left through the first loop. Pass the yarn, which
for plain knitting is always at the back of the work, under and between the needle-
points and draw a loop through, letting the old loop drop off. Continue in this way to
the end of the row.
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The knit stitch
(a) (b) (c)

To purl
Hold the work in left hand. With the other needle held in right hand, insert the point
from back (and from right to left), under the left-hand needle and through the first loop.
Pass the yarn, which for purl knitting is always held in front of the work, over and
round the point of the right-hand needle, and draw a loop through, letting the old loop
drop off. Continue in this way to the end of the row.
The purl stitch
(a) (b) (c)
Simple casting off

Knit the first two stitches, then with the left hand needle, lift the first stitch over the
second and continue knitting and slipping in this way until the last stitch. Cut the yarn
and pull the end through the last stitch.
Shaping the garment

To shape the garment, two processes are to be learned: increasing and decreasing.
Increasing
There are several ways of increasing. The most usual method of increasing is to
‘make’ a stitch. This can be done by picking up the yarn with the left-hand needle
and knitting into back of it.
Decreasing
There are several ways of decreasing. The simplest is two stitches together. If you
knit two together, you get one stitch out of two.
Tension in knitting
Correct tension of stitches must be maintained in a knitted fabric if the garment is to fit
well. Knitting instructions usually state the tension required. For example 5 stitches
and rows to (one square inch) 2.5cm on No. 6 needles measured over stocking stitch.
To check on one’s tension of knitting stitches, knit a 2-inch square (5cm), using
stocking.
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Variations of two basic stitches
The following are some basic fabric stitches which are variations of knit and purl
stitches.
Plain knitting or garter stitch

Knit every row stitch. Lay it on a flat surface. Place a tape measure over it and
mark out (one inch) 2.5 cm with pins. Count carefully the number of stitches
between the pins. Check also the number of rows to (one inch) 2.5 cm.
Too many stitches to the inch indicate tension which is too tight, and too few
stitches mean that the tension is too loose. Tension can be adjusted by using
needles a size larger or a size smaller or a size smaller than what is stated in the
instructions.
Stocking stitch or plain smooth fabric
Alternate rows of knit and purl. Knit side is the right side. i.e. knit 1 row purl one
row
Rib stitch
Alternate stitches or groups of stitches in knit and purl. i.e. purl 4 st knit 1 st.
SUPPORT MATERIALS
⇒ Knitting yarn and knitting needles
GLOSSARY
Knitting - Knitting method of fabric construction where loops of yarn are
interlocked by using long, thin, pointed rods or knitting needles,
knitting bars or knitting machines.
ASSESSMENT
List two basic stitches in knitting.
List three basic steps in knitting.
Give two uses of knitted fabrics.
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4.6.4 Creative textiles
4.6.4.1 identify designs of quilting.
4.6.4.2 demonstrate creative ways of quilting.
4.6.4.3 make quilting project.
CONTENT
Before staring your creative work, ask yourself the following questions:
• What am I going to make?
• Whom am I making the piece for?
• What kind of materials /fabrics am I going to need?
• Why I am making the piece?
• How much money do I have?
• How much time do I have?
Quilting is sewing two layers of fabric together with a filling in between, usually by
using stitching that produces regular or decorative patterns.
Types of padding used

• Feathers
• Wadding
• Sponge
• Pieces of soft fabric
Examples of quilted articles
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Equipment/tools/ materials for quilting
You will need to equip yourself with basic tools, fabrics and threads for your work.
Filling and interlining

Wadding/batting for quilting. These can be made from polyester, cotton or wool,
feathers, sponge.
Threads
Choose the best sewing threads that you can afford to tack and join templates.
Embroidery threads and quilting threads can be used for quilting.
Colour
This is very important in quilting. The first things that attract you to a piece of work is
its colour, then pattern/design and quality may follow. In order to develop the skills of
choosing attractive colours you will need to experiment with colour. Choose colours
that are familiar to you and try combining them. Before quilting, plan and decide on
the choice of colour. Please make use of the colour wheel in textiles or art textbooks.
Note: The quilting is a technique similarly worked like an appliqué.
SUPPORT MATERIALS
⇒ Scissors, needles, pins, thimble, tape measure, pencil, carbon paper and tracing
wheel iron quilting, embroidery hoops/frames, wadding/batting, feathers, sponge.
Polyester cotton or wool and any strong sewing thread.
GLOSSARY
Quilting - It is sewing two layers of fabric together with a filling in between,
usually by using stitching that produces regular or decorative
patterns.
ASSESSMENT
What is quilting?
List materials and tools needed for quilting.
Identify equipment and tools used in quilting
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4.6.4 Edge finishers
4.6.5.1 explain edge finishes.
4.6.5.2 demonstrate different techniques of edge finishes.
4.6.5.3 apply seams, fullness and edge finishes to a project.
CONTENT
Edge finishes are processes applied to textiles items to neaten their raw edges.
Examples of edge finishes; facings, bindings, collars, sleeves, hems. Below are edge
finishes and where they can be applied.
Neck edges Arm edges Hem edges

• Shaped failing - Shaped facing - Hem
• Binding for collars neck - Binding
edges - Sleeve
• Collar
Finishing the neckline with a collar

A collar is used for decoration. The neckline can be finished by inserting a collar.
Types of collars
Flat collar, standing collar, rolled collar.
Finishing arm holes with facings and bindings

Used on sleeveless garments.
Finishing armholes using sleeves

Different sleeves can be used to finish armholes.
Examples of sleeves
Short sleeve, long sleeve and puff sleeve
The type of sleeve edge depend on:

• Type of sleeve
• Style of the garment
• Type of garment
• Length of sleeve
• Thickness of the fabric
Hem finishes
A hem is a finish for any bottom edge of any textile item.
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Examples of hems
A turned- up hem, a face hem, an enclosed hem, false hem, plain.
Qualities of a good hem

A hem should be invisible on the right side and should not interfere with the hang of a
garment. Different sleeves can be used to finish armholes.

Cut and make a collection of edge finishes from catalogues and magazines.
SUPPORT MATERIALS
⇒ Fabric, sewing equipment/tools, sewing threads, glue, magazines.
GLOSSARY
Raw edge - Unfinished edge
ASSESSMENT
List three different type of edge finishes.
Give three examples of collars.
Give three examples of hems
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UNIT 4.7 TECHNOLOGY

4.7.1 Structures
4.7.1.1 identify type of forces of an existing structure.
4.7.1.2 describe different types of structure.
4.7.1.3 identify stable and unstable structures.
4.7.1.4 explain triangulation.
4.7.1.5 experiment with ways of strengthening three-dimensional frames structures.
4.7.1.6 design and make model structures to solve specific problems.
CONTENT
What is a structure?
Anything that can support a load (weight) and is able to support itself is called a
structure. A load is usually in the form of an object, a person or a force.
What do structures do?

Structures should be able to perform the task they are designed for without collapsing
or toppling over. For instance:
A bucket should be able to contain the amount of water it is designed for without
changing its shape.
An egg package should be able to protect the eggs.
An electric pylon should be able to support the electric lines.
A tent should be able to enclose a space without breaking up.
Forces
A force is something that makes an object move. There are different ways of applying
force to an object. These include compression, tension, torsion, bending and shear.
Compression
A force that tries to press or squash an object is referred to as a compressive force.
Compression
is squashing
The stool is being compressed by the weight of the elephant.
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Tension
A force that tries to pull or stretch an object is referred to as a tensile force.
Tension is
pulling apart
The rope is in tension as it is being pulled in opposite directions.
Torsion
A force that tries to twist an object is referred to as a torsion force.
Torsion is
twisting
The wet towel is being twisted to squeeze out the water.
Bending
A force that tries to bend an object is referred to as a bending force.
Bending is
curving
The bench is bending under the load (weight) of the man.
Shear
A force that tries to cut across an object is referred to as a shear force.
Shear is trying
to slice
To cut paper, the blades of the scissors are forcing the paper to break, by forcing one
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side of the cut upwards and the other side downwards. The paper is being put into
shear.
How forces act on frame structures

A force is anything that changes the speed, direction and movement of an object.
When you push a wheelbarrow to move it, the push is a force. When you pull a door to
open it, the pull is a force. When you stand on an empty cardboard box, the force you
exert bends or flattens the box. But not all forces have apparent effect. For instant,
when you sit on a chair, your body weight pushing down on the chair is a force. Below
are some examples of forces acting on frame structures.
Compression Tension
The chair’s legs are squashed, or in The ropes of the swing are pulled, or in
compression. tension.
Torsion Shear
The screwdriver tightening a screw is The screws are undergoing a shearing

subjected to torsional load, or is under action or are under a shear force.
torsion.
Bending
*********
The bookshelf is bending in the middle due to the heavy weight of the books. The
load acting on the shelf is a bending force.
Static force
A stationary force applied to a structure. E.g. a person sitting still on a chair is a static
force.
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Dynamic force
A moving or changing force applied to a structure. E.g. a person bouncing on a
trampoline.
Experiment 1- Making structures rigid (Two dimensional frames)

Join the strips of metal using bolts and Apply force to the rectangular frame and
nuts to form a rectangular frame as see what happens.
shown in the diagram below.
Nutּandּbolt
Strip of metal
It becomes out of shape easily. Hence we
say that the frame is not rigid.
Add an additional strip to the frame at A The use of gusset plates as shown below
and B. Try to push or pull the frame to can also add rigidity to a frame structure.
see if there is any change.
A Gusset
The additional strip prevents the corners A gusset is a piece of material used to join
A and B from moving apart. The frame the members of a structure. It comes in
can no longer be forced out of shape. different shapes and sizes. The ones used in
We therefore say the frame is rigid. the structure above is a triangular plate.
Note that the additional strip has formed
two triangles. The effect is known as
triangulation.
Triangulation
A triangle is the most rigid structure. The process of joining strips of material together
to form triangles is called triangulation. The principle of triangulation is used in many
structures. Examples include gates, roofs, bridges, beams, pylons, furniture and cranes.
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Experiment 2 - Making structures rigid (Three dimensional frames)
The framework made up of square tubes By applying the principle of triangulation
shown below can easily be distorted i.e. adding more tubes to form triangles the
when pressure is applied at the corners. framework will not be distorted.
How can this be prevented?
The framework is not rigid. The framework is now rigid.
An open box shown below will tend to Adding a back part will prevent the corner
distort. How can this be prevented? joints from twisting.
Back
The box can be easily distorted. The box will not be distorted.
Examples of triangulation
Large gate Roof truss
Ask learners to look for other examples of triangulation from old magazines and paste
them in their notebook.
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Experiment 3- Making structures stable
Structures need not only be rigid but also stable so that they do not fall over easily.
The rectangular block place on its end can By joining a large base to the end of the
easily fall over with a slight push. How block.
can this be prevented?
The block is not stable. The block is now stable.
Similarly the frame below is likely to By making the base bigger than the top.
topple easily. How can this be prevented?
The frame is not stable. The frame is now stable.
Experiment with the different forms shown below to see which ones are stable.
(a) (b) (c) (d)
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Explain to learners the different types of forces mentioned above.
Use pictures or diagrams to illustrate each of the forces.
Get learners to demonstrate the practical applications of the different forces.
Explain to learners the concept of triangulation.
Demonstrate the practical application of triangulation.
Illustrate different forms of stable and unstable structures.
Activity 1: Demonstrate understanding of forces

Demonstrate practical examples of the types of forces using learners’ immediate
surroundings. Ask learners to demonstrate practical examples of each type.
Activity 2: Identification of the types of forces

Assign learners to cut pictures of examples of each type of forces from old magazines
and paste them in their notebooks.
Activity 3: Application of forces

Through experiment demonstrate the application and usefulness of each type of forces
so that learners are able to apply them.
Activity 4: Triangulation
Demonstrate practical examples of triangulation using learners’ immediate
surroundings. Ask learners to come up with their own solutions to practical problems
of making structures rigid.
Activity 5: Stability
Through experiment demonstrate the importance of stability in structures. Assign
learners to sort stable and unstable structures from a variety of forms.
SUPPORT MATERIALS
⇒ Cut outs or pictures of examples of forces.
⇒ Building blocks such as Lego kit or wooden blocks.
⇒ Materials - cardboards, straws, dowels, paper glue, wood glue, wood and metal
strips.
⇒ Fixings - staples, paper clips, paper fasteners, nuts and bolts.
⇒ Tools - staplers, hole punches, revolving punch pliers, coping saws, junior
hacksaws, hand drills, drill bits, flat or Phillips screwdrivers, trimming knives,
combination pliers and glue gun.
GLOSSARY
Force - the power of moving an object. A pull or push action.
Load - the amount of weight carried by a structure.
Dynamic force - a moving force.
Rigid - not easily changed or moved into a different shape.
Stable - a structure which will not fall over easily when a force is
applied.
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Static force - A force at rest, still.
Triangulation - The process of joining strips of material together to form
triangles.
ASSESSMENT
What is a force?
Illustrate the different types of forces.
Differentiate between the different types of forces.
Name and draw the symbols of the different types of forces.
What is a common word for compression?
What type of force is acting on the legs of a table?
What parts of a child’s swing are in tension?
Name one part of a bicycle which is torsion when it is being ridden.
Use the minimum number of strips to make the following shapes rigid:
Give examples of structures where the principle of triangulation has been used.
Classify the following forms into stable and unstable structures.
(a) (b) (c) (d)
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UNIT 4.7 TECHNOLOGY

4.7.2 Mechanisms - Gears
4.7.2.1 identify gears used in simple machines.
4.7.2.2 explain gear.
4.7.2.3 demonstrate the use of gears in increasing speed and force.
4.7.2.4 arrange gears to turn in the same direction, opposite directions and at 90° to
each other.
4.7.2.5 recognise the relationships between turning ratio and number of teeth on the
gears.
4.7.2.6 use gears to solve specific problems.
CONTENT
What is a mechanism?
A mechanism is a simple machine that makes work easier by controlling movement. It
helps people do things faster and with less effort.
What is a gear?
A gear is a toothed wheel used to connect the moving parts of a machine. It is usually
made from metal or plastic.
What are gears used for?

Gears can be used to:
transfer power or movement from one place to another;
increase or reduce speed;
change the direction of rotary motion.
Examples of gears used in machines
Bicycle bell
Model printing machine
117
More examples of gears used in machines
Corkscrew
Drilling Machine
Toy car Egg beater
Breast drill
118
Experiment 1 – Direction of rotation
Use a similar model to explain to

learners how gears can be arranged to
turn in the opposite directions.
The gear which is turned by the handle is

called the driver gear.
The other gear which is meshed to the

driver is called the driven gear.
Observe what happens when the handle

on the driver is turned.
The driver and the driven gears turn

in the opposite directions.
Experiment 2 – Increasing speed

increase speed.

The driver and the driven gears turn in

the opposite directions.
A large driver gear turning once can

make a small driven gear turn many
times.
This arrangement increases the speed of

rotation, but decreases the force.
In this model, one turn of the 20-tooth

driver gear produces 2 turns of the 10-
tooth driven gear. So the ratio is 10/20
or 1:2.
A large driver gear makes a small

driven gear turn faster.
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Experiment 3 – Reducing speed
reduce speed.

The driver and the driven gears turn in

the opposite directions.
A small driver gear has to turn several

times to make a large driven gear turn
once.
This arrangement decreases the speed of

rotation, but increases the force.
In this model, two turns of the 10-tooth

driver gear produces 1 turns of the 20-
tooth driven gear. So the ratio is 20/10
or 2/1 or 2:1.
A small driver gear makes a large

driven gear turn slower.
Experiment 4 – Changing the direction of rotation

change the direction of rotation.

The 20-tooth driver gear and the 20-tooth

driven gear turn in the same direction.
The 10-tooth gear, in the middle (idler)
rotates in the opposite direction.
A large driver gear will make a small

driven gear turn faster regardless of the
idler size.
An idler gear makes adjacent gears

turn in the same direction.
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Experiment 5 – Changing the rotary motion at an angle
Use a hand or breast drill to explain to

change rotary motion a 90˚ angle.

on the drill is turned.
The large driver gear turns slower than

the small driven gears.
Bevel gears The teeth of bevel gears are cut at an

angle of 45˚, so when the two gears
mesh together they are at 90˚.
The bevel gears turn the driving force

through 90˚
The bevel gears can change the rotary

motion through a 90˚ angle.
Explain to learners how gears can transfer force or speed.

Use pictures or diagrams to illustrate the different gears used in simple machines.
Explain to learners the input (driver) and output (driven) of a gear system.
Use models to demonstrate how gears can be arranged to:
turn in the same direction.
turn in opposite direction.
turn at right angle.
increase speed.
reduce speed.
Let learners acknowledge that the different-sized gears turn at different speed.
Assign learners to use gears to solve specific problems.
Activity 1: Demonstrate understanding of the gear systems

Demonstrate practical examples of gears systems using learners’ immediate
surroundings. Ask learners to come up with their own examples.
Activity 2: Identification of gear systems

Assign learners to cut pictures of examples of gear systems from old magazines and
paste them in their notebooks. Ask learners to identify the inputs and outputs of gear
systems.
Activity 3: Application of gear systems

Through experiments demonstrate how gears can be used to transfer force and speed.
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SUPPORT MATERIALS
⇒ Cut outs or pictures of examples of gear systems.
⇒ “Lego” kit on gears or “Mecano” kit for demonstration.
⇒ Materials - cardboards, acrylic, straws, dowels, paper glue, wood glue, wire, wood
and metal strips
⇒ Fixings - staples, paper clips, paper fasteners, screws, nuts and bolts.
⇒ Tools - staplers, hole punches, revolving punch pliers, coping saws, junior
hacksaws, hand drills, drill bits, flat or Phillips screwdrivers, trimming knives,
combination pliers and glue gun.
GLOSSARY
Gear - A toothed wheel usually fixed to a shaft so that it rotates with the shaft.
Idler - A small gear fitted in between two gears so that they turn in the same
direction.
Input - The effort applied to a mechanism in order to do work.
Force - The power of moving an object. A pull or push action.
Mesh - Link together.
Output - The total work done by a mechanism.
Speed - Fast movement.
ASSESSMENT
Define a gear.
Identify the inputs and outputs of a gear system.
Explain the mechanical advantage of a gear system.
Using the gear systems, design and make a model of a:
• spinning sign;
• toy car;
• fan.
122
UNIT 4.8 MATERIALS AND MAKING PROCESSES

4.8.1 Craft materials
4.8.1.1 identify craft materials.
4.8.1.2 describe properties and characteristics of craft materials.
4.8.1.3 identify the sources of different craft materials.
4.8.1.4 list the different uses of craft materials.
CONTENT
Craft materials
Name Sources Characteristics Uses
Epoxy resin Resin and • Comes in two parts, Used on all rigid
chemical resin and hardener materials including
hardener • Equal amount of resin wood, metal, glass,
and hardener are mixed china, stone,
and applied over the concrete, rubber and
surfaces of materials to plastic
be joined
• Quite expensive
• Takes a long time to set
• Not suitable for flexible
materials such as textiles
and leather
SA pine Pine trees from • Cream in colour Building
South Africa • Have open grain and construction work
very knotty and furniture.
• Relatively cheap
• Easily available
• Take glues, nails,
screws, paint and
varnish well.
• Can be difficult to work
with
Contact glue Synthetic rubber, • Two films of synthetic Especially useful for
resin and solvent rubber stick under fixing plastic
pressure laminates (e.g.
• The joint is weak Formica
Staples Mild steel • Made from mild steel Used in crate-
and usually galvanised making as well as for
• Quick method of fixing fixing nets and
fabrics to wood fabrics to wood
Pop rivets Aluminium • Grayish-white colour Used for fixing thin
sheets metals.
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• They are hollow and as sheets metals.
strong as solid rivets
• Light in weight
• Metal sheet materials
can be joined quickly
and permanently

Show samples of the different prescribed craft materials.
Make a chart of the prescribed materials so that learners are able to identify them.
Discuss the characteristics and uses of the prescribed materials.
SUPPORT MATERIALS
⇒ Sample or pictures of SA pine.
⇒ Examples of the use of contact glue and epoxy resin.
⇒ Sample of different sizes of staples and pop rivets.
ASSESSMENT
Name two common characteristics of SA pine.
What is the use of the following fixings:
• pop rivets?
• staples?
Give two disadvantages of using epoxy resin.
Explain why contact glue is suitable for laminating large surfaces of plastic.
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4.8.2 Measuring and marking out tools
4.8.2.1 list measuring and marking out tools.
4.8.2.2 use measuring and marking out tools correctly.
4.8.2.3 realise the importance of using datum surfaces and datum points.
CONTENT
Marking out
Marking out usually requires two straight edges on the material. Marks can then be
made with reference to these straight edges. The straight edges are right angles to each
other and are called the datum references.
Datum references
For metal or plastics workpiece, a datum reference is called a datum edge. In the case
where only points are used for reference then, it is called datum points.
The datum references on wooden workpiece are called the face side and the face edge.
Symbols are used to denote these references and are usually marked with a pencil
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Sliding bevel
A sliding bevel is used for marking out and testing angles other than right angles. It
can be set with a protractor and has a blade and a stock that can be secured with a wing
nut. It is also suitable for copying angles.
Wing nut
A protractor is used to set the angle.
Blade
Stock
The angle is transferred onto a piece

of material (timber).
Sliding bevel
Centre punch
A centre punch is used to make a small dent in metal in order to accommodate the
chisel edge of a drill. A light punched mark is made first and after checking its
position, it is deepened. The centre punch must always be in a vertical position when
punching.
Dot punch
A dot punch is similar in shape to a centre punch except that it has a smaller diameter
and its point is ground to have an angle of 60˚. It is used for showing lines that have to
be filed to the line (witness marks).
Punching a mark Punching witness marks
126
Mitre square
Mitre square is used for marking out angles of 45 and 135 degrees and for testing
mitres.
Blade
Stock
Mitre square

Demonstrate the correct methods of using sliding bevel, dot punch, centre punch
and mitre square.
Let learners practice the skills of measuring, marking out and testing.
Explain the importance of measuring and marking out materials accurately.
Ask learners to identify the measuring and marking out tools by names.
SUPPORT MATERIALS
⇒ Charts illustrating the correct methods of using measuring and marking out tools.
⇒ sliding bevel, dot punch, centre punch and mitre square
GLOSSARY
Datum line - A reference line on a flat surface from which all measurements can be
taken, e.g. face side and face edge.
ASSESSMENT
What is the use of a sliding bevel?
Explain datum point and datum line.
Make a freehand sketch of the following: sliding bevel, dot punch, centre punch
and mitre square.
Why is accurate marking out necessary when making products?
Which tool should be used to test mitres?
127

4.8.3 Holding tools
4.8.3.1 recognise holding tools.
4.8.3.2 use holding tools appropriately when working with metals.
CONTENT
Mitre box
The mitre box is used for cutting mitres in wood
Plastic mitre box Wooden mitre box
Folding bars
The folding bars are used for bending sheet metal workpiece.
Folding bars
Tool maker’s clamp

The tool maker’s clamp is used for holding small workpieces while cutting out to
shape, drilling, riveting, screwing or assembling.
Tool maker’s clamp
128
Demonstrate the different ways of holding work using the mitre box and
toolmaker’s clamp.
Ask learners to apply these methods when working on their products.
SUPPORT MATERIALS
⇒ Charts illustrating the different ways of holding work on the workbench.
⇒ Mitre box, folding bars and tool maker’s clamp.
GLOSSARY
Mitre - To shape the end of a piece of wood, by cutting it off at an angle of 45˚
when making corner or mitre joint.
ASSESSMENT
What is the use of the following mitre box, folding bars and toolmaker’s clamps.
How do you stop the jaws of a vice from marking soft surfaces?
Which tool should be used to test the angles of mitres?
Sketch a mitre box and a folding bars.
129

4.8.4 Cutting tools
4.8.4.1 name cutting tools.
4.8.4.2 cut sheet metal using a cold chisel.
4.8.4.3 use a range of saws for straight and curved cutting of materials.
4.8.4.4 shape materials to specific requirements.
CONTENT
Hacksaw
A hacksaw is used for straight cutting of metal and plastics.
Frame
Handle
Blade
Wing nut
Hacksaw
Flat cold chisel
Flat cold chisel is used to cut flat sheet metal. The size of cold chisel is specified by
the width of the cutting edge and it varies from 5 mm to 25 mm and the length is
proportion to the width. The head of the chisel is chamfered to slow down the burring
(mushrooming) head caused by the hammering.
Head
Cutting edge
Flat cold chisel
Files
Files are used to shape and smooth materials including metals and plastics. They come
in different shapes, cuts and grades. Files are made of high quality carbon steel. Some
files come with safe edge which stops them cutting surfaces adjacent to the one being
filed.
130
Triangular file
This is also called a three-square file and is used for filing awkward corners and angles
less than 90˚. It tapers in length with angles of 60˚ edges. It tapers for one third of its
length and the faces are double cut.
Round file
This is used for filing concave curves and finishing round holes. It tapers in length and
the teeth are formed by straight chisels cuts intersecting one another. It is usually
double cut and the small sizes are called rat-tail files because of their shape.
Square file
This is used for finishing square edges. It tapers for one third of its length and the faces
are double cut.
Triangular file
Round file
Square file
Warding file
This is used for filing narrow slots and grooves where a hand file cannot be used. It is
similar to the flat file in shape but it is thinner and parallel in thickness. It comes in
small sizes.
Rasp
This is a rough, heavy files but with coarse, raised teeth which make it possible to
remove large amounts of waste from timber and other soft materials.
Hand rasp
Half round rasp
Round rasp
131
Demonstrate the different techniques of cutting sheet materials using a hacksaw and
a flat cold chisel.
Demonstrate the different techniques of filing – cross and draw filing.
Ask learners to apply these methods when working on their products.
SUPPORT MATERIALS
⇒ Charts illustrating the techniques of straight cutting using a hacksaw.
⇒ Hacksaw and cold chisel.
⇒ Triangular, round and square files.
⇒ Warding files
⇒ Hand, half round and round files.
GLOSSARY
Burrs - Rough edges form by hitting
Concave - A surface that curves outward.
Technique - The procedure, skill or art used in a particular task.
ASSESSMENT
Describe the different stages of filing to a straight edge of a sheet metal?
Sketch a cold chisel.
Label the parts of a hacksaw.
What is the use of a warding file?
Explain why rasps cannot be used on metals.
132

4.8.5 Joining and forming tools
4.8.5.1 identify tools for joining materials.
4.8.5.2 bend sheet metals using appropriate techniques.
4.8.5.3 join sheet metals using pop rivets.
4.8.5.4 join materials using epoxy resin and contact adhesive.
CONTENT
Pop riveter
A pop riveter or a pop rivet gun is used for joining thin sheets of metal together.
Pop riveter Pop rivet
Pop riveting
The following stages show how to pop rivet materials together:
• Drill a hole through the materials and insert a pop rivet.

• Place the pop riveter over the pop rivet and squeeze the handle.
• The pin breaks, completing the rivet.
Staple gun
A staple gun is used for fixing soft materials, such as fabrics, to wood.
Staple gun
133
Heat gun
The heat gun or hot air gun is suitable for a wide variety of jobs, such as removing
paints, sealing, drying new coats of paint, soft soldering pipes and shaping plastics.
Heat gun
Ball pein hammer

A ball pein hammer is used for general bench metalwork, e.g. used on cold chisels.
The ball pein is useful for riveting
Ball pein Handle
Striking face
Ball pein hammer

The teacher should explain the different parts of joining tools.
The teacher should demonstrate the use of the following joining tools: pop riveter,
staple gun, heat gun and ball pein hammer.
Ask learners to practice and apply the techniques of using the joining tools when
working on their products.
The teacher should demonstrate the method of joining:
metal sheets using pop rivets.
fabrics to wood using a stable gun.
134
SUPPORT MATERIALS
⇒ Charts illustrating the techniques of using joining tools.
⇒ Ball pein hammers, heat guns and staple guns.
⇒ Charts showing the stages of riveting
GLOSSARY
Acrylic - A brittle plastic commonly known as Perspex.
Insert - to put something inside or into something else.
ASSESSMENT
Sketch a ball pein hammer.
Show by means of notes and sketches the stages of pop riveting?
Label the parts of the following tools: ball pein hammer, heat gun and glue gun.
What is the use of a heat gun?
Which of the following joints should be used for a picture frame?
A. Butt joint
B. Lapped butt joint
C. Mitre butt joint
Which of the following glues is suitable to joint acrylic?
A. PVA
B. PVC
C. Contact glue
Describe with the aid of a sketch how you would join a piece of fabric or textile to a
wooden frame.
135

4.8.6 Finishing
4.8.6.1 identify different types of finishes.
4.8.6.2 prepare the surfaces of wood and metal for painting.
4.8.6.3 paint wooden and metal products using a paintbrush.
CONTENT
Types of finishes
There are many different types of finishes that can be used on wood, metal and plastic.
These include sanding sealer, paint and varnish.
Surface preparation
In the process of making products, materials are subjected to a variety of operations
such as cutting and drilling. These operations leave behind marks and rough surfaces,
thereby spoiling the beauty of the product. Also such marks may hurt people who use
the product. To remove marks and smooth edges and surfaces, we use abrasives.
Types of abrasives
There are different grades of abrasives, ranging from very coarse to extra fine. In
choosing a grade of abrasive, you have to take into account the condition of the surface
on which you are working and the degree of smoothness required. If necessary, start
with a coarse grade that removes larger marks quickly and easily, then gradually work
down to the finer grades of abrasives for a final finish.
Painting wood
Before applying paint on wood, you must ensure that the wood surfaces are well
prepared. This should include the following:
Punch all nails below the surface.
Use a coarse glass paper to reduce the roughness of the surface.
Fill cracks or holes with wood filler.
Rub down the surfaces with fine glass paper or steel wool and dust off the surfaces.
Apply sanding sealer or wood primer, undercoat and topcoat.*
Painting metal
Before applying paint on metal, you must ensure that the metal surfaces are well
prepared. This should include the following:
Remove all saw marks with a file.
Smooth the surfaces with a coarse emery cloth.
Rub down the surfaces with fine emery cloth.
Clean off the surfaces.
Apply primer, undercoat and topcoat.*
* Note that in between coats the surfaces should be completely dried before
rubbing down and dusting off takes place.
136
The teacher should demonstrate the methods of:
preparing wooden and metal surfaces for finishing.
applying a pre-finish to wood and metal surfaces.
Applying the different coats of paint.
Ask learners to practice and apply the finishing techniques mentioned above when
working on their products.
SUPPORT MATERIALS
⇒ Charts illustrating the techniques of preparing surfaces and edges of materials.
⇒ Finishing area, paint brushes and assorted of colour paints
⇒ Different grades of glasspaper, and abrasive paper.
⇒ Smoothing planes and rasps.
⇒ The following files: flat, half round, square, triangular, round, warding and needle
⇒ Meranti and mild steel sheet.
⇒ Solvent such as thinners and turpentines.
GLOSSARY
Abrasive - A substance used to smooth or polish a surface by grinding or
scraping
Coat - To cover a surface with a thin layer of something.
Finish - A surface texture or final coat applied to something.
Glasspaper - A sheet of paper covered with ground glass.
Grade - Size of glass or stone used for grinding.
Primer - A paint or sealant used to prepare a surface for painting.
Smooth - Not having a rough or uneven surface.
Topcoat - A finishing coat of paint, applied over an undercoat.
Undercoat - A coat of paint applied to a surface before a topcoat is applied.
ASSESSMENT
State the reasons for finishing materials?
Explain the following terms: primer, undercoat and topcoat.
List the procedure required before sanding sealer is applied to a wooden product.
Describe the correct method of applying paint to a piece of mild steel.
137
MODULE 5 - ENTREPRENEURSHIP
UNIT 5.1 ENTREPRENEURIAL SKILLS

5.1.1 Business ideas
5.1.1.1 discuss various ways of finding business ideas.
5.1.1.2 develop business ideas based on the methods discussed.
5.1.1.3 explain criteria for screening business ideas.
5.1.1.4 screen business ideas.
CONTENT
This area aims at helping learners to apply the entrepreneurial skills and abilities learnt
in standard 6 to develop feasible business ideas as a first step towards becoming
entrepreneurs.
The following ways of finding business ideas should be discussed with the learners.
a) The product that people need

To come up with business ideas based on people’s needs and wants, help learners to
answer questions such as the following:
What do people need?
How are these needs satisfied?
Can the needs be satisfied in new ways?
Let them know that if they can identify the needs and wants of people in the
community then they can set up a business and provide them.
Help learners to complete a table such as the following:
Which service or goods Which new service or good

Needs and Wants satisfy this need or can satisfy this need or
want? want?
Pupils need Combis have been Big busses can provide this
transport to come to providing transport. service better.
school on time
People want
entertainment
People want
protection
People have to eat
People want to look
good
People want to be
healthy
People want their
children to have
138
good education
For each need or want help the learners to explain clearly how it is being satisfied,
pointing out what still needs to be done.
b) Solving people’s problems

The teacher should advise the learners to think of the problems people face in their
daily lives in the home (kitchen, garden, cleaning the yard), when traveling, at the
cattle post, in the lands, etc. Let them think of a way of solving those problems.:
Situation/problem How can business solve this problem?

People in your village have to travel
long distances to go and cut or do their
hair.
Every morning in your area,
commuters have to wait in long queues
for hours in order to get combis to
work.
Every year pupils in your school lose
books and are made to pay large sums
of money at an unexpected time.
Many people in your village do not
have music systems. But children
would like to enjoy disco music.
c) Using your skills and experience

Learners should think of their skills in art and craft as a basis for business ideas.
Their experience in agriculture such as vegetable growing or poultry can also be
bases for business ideas. Learners’ special interests such as in fashion, sports, music
and cooking can also be considered as sources for business ideas. The following
activity may help learners to develop business ideas based on their skills and
experience.
Activity 1
• Name two special interests that you have or things you are good at.
• Were you born with these skills or did you learn them?
• Can you use one or both skills in a business?
• What type of business will it be?
• To whom can you sell your skills?
• Do you need more training in these skills?
Activity 2
Read through the examples of skills and abilities and write down, in each case,
what would be a good business idea and who would be the market.
139
Skill or Ability Business idea Market
A course in photography
A practical course in poultry
A course in brick-laying
Ten years experience as a nurse
Your hobby is to paint
Your hobby is pottery
You like to do beadwork in your spare
time
You like to weave in your spare time
d) What other entrepreneurs do

You should be able to create business ideas by looking at what other business people
do. Many entrepreneurs develop their ideas from others who have been successful
with it in other parts of the country.
Activity
• Make a list of businesses that they see in the community
• Which of the businesses would they like to copy?
• Is the product good or service?
• How would they improve the product?
• How would they improve the selling method?
After going through the four way of finding business ideas and the accompanying
activities, learners should be able to come up with a list of business ideas. They have
to find out which of the ideas will be feasible. That is they have to find which one they
will be able to set up and run profitable. They have to screen the business ideas using a
feasibility test. The following criteria should be used.
• You should have a market for it.

• You should not get into excessive debt by borrowing too much start-up capital.
• You should be able to compete in the market.
• You should have the basic skills.
• You should be sure of an adequate profit.
To evaluate the business ideas you should do the following first.

1. Describe the product that each business idea offers. The description should be
completely clear.
2. Write the description down in greater detail.
3. Evaluate each business idea in terms of the criteria for a successful business.
Use a table such as the following to help you evaluate your business ideas. The first
column has been completed for you.
140
Business Size of Cost of Competition Skills & Potential
Idea Market start-up (many/few) expertise (have profit
(large/small) (high/low) all/do not have (good/medium
all /not sure)
Rear large low few Do not have good
layers
to
produce
eggs.
After going through the exercise you will discover which one is more feasible.

Questions and answers to help learners go through the activities recommended in the
text.
Learners work in groups to develop business ideas by brainstorming.
Learners list group business ideas on Manila paper.
Class discussion and modification of group business ideas.
Questions and answers to help learners screen their business ideas.
SUPPORT MATERIALS
⇒ Manila paper, markers, rulers and bostik.
GLOSSARY
Feasible - Possible or reasonable; a feasible business idea is one which is
possible and likely to make profit.
Market - Prospective customers for a product.
Location - The site of a business.
Competition - Other producers or sellers of a particular product
Potential profit - The profit that can be made from the sale of a product.
Start-up cost - How much money you need to start a business and get it
running.
ASSESSMENT
Write three business ideas.
What is the market for the business idea?
Choose one of the businesses ideas which you think will be successful.
− How do you know the idea will be successful?
− Who are the close competitors?
− How are you going to solve the problem of competition?
141
UNIT 5.1 ENTREPRENEURIAL SKILLS

5.1.2 Market research
5.1.2.1 explain market research.
5.1.2.2 identify the market for a product.
5.1.2.3 outline information about a market for a product.
5.1.2.3 conduct a market research
5.1.2.8 analyse data collected.
CONTENT
This topic aims at helping learners to find out about the size of the market and the
requirements of the customers. Market research is the systematic collection and
analysis of information about a product. The information is usually about the number
of potential customers so that you know the quantity you can sell. The research can
also tell you what price customers want to pay for your product and how potential
customers generally think about your product. The market research should also help
learners to know who the competitors are.
In developing the business idea, you were able to know there is a market for the
product by asking a few people around or looking at what people buy. Market research
will help you to know the size of the market.
The market research should be confined to the school and its immediate
neighbourhood. The learners may want to read about the product from newspapers and
magazines (Desk research). They may also want to go to the potential customers and
collect information (Field research). In field research learners should decide on what
they want to know, prepare a questionnaire and go out to interview people.
After the interview the information collected should be put together to make meaning.
The information should be able to tell you how many people are out there who want to
buy your product and at what price. Who are the competitors and what to do to beat
the competition?

Questions and answers to help explain market research.
Class discussion that should lead to the market for particular products.
Class discussion that will lead to information to be collected about the customers of a
product.
Teacher explains the two types of research – desk and field research.
Group discussion of the type of questions to be asked in a market research.
Class discussion of how to prepare a questionnaire.
Class discussion of the format of a questionnaire.
Class discussion of how to conduct an interview.
SUPPORT MATERIALS
⇒ Manila paper, markers, newspapers, magazines
142
GLOSSARY
Questionnaire - A set of questions and instructions to obtain information.
Interview - To ask a series of questions to obtain information.
Library research -Finding information by reading from books, magazines,
and newspapers.
Field research Collecting information through the telephone or personal
contact.
Potential customers - Customers who are likely to buy a product.
ASSESSMENT
Describe a field research.
Write two questions about a product you want to include in a questionnaire.
What is the potential market for your business idea?
Explain how you will start an interview.
Explain what is happening in the picture below.
143

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Republic of Botswana

UPPER PRIMARY TEACHER’S GUIDE

CREATIVE & PERFORMING ARTS

Curriculum Development Division

Module Unit Topic Page

Kittrananden PEO II Design & Technology CDD/CD&E

TOPIC AND LEARNING OBJECTIVES

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

(i) Poisoning through breathing

(ii) Poisoning through the skin

NB: Care should be taken in mouth to mouth resuscitation to avoid further

iii) Poisoning by insects, e.g. ants, bees, wasps

(iv) Poisoning through the mouth

What to do if the patient is conscious

NB: Do not induce vomiting if:

(v) Paraffin poisoning and related petroleum products

A person who has swallowed paraffin shows the following signs:

Making a triangular bandage

To tie a reef knot:

How to bandage a hand

How to bandage a foot

How to bandage an elbow or knee

The arm sling

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

Incidence and risk factors of malnutrition

Worldwide, malnutrition continues to be a significant problem, especially among

Signs and symptoms

Signs and symptoms

NUTRIENTS AND THEIR DEFICIENCY DISEASES

NUTRIENTS AND THEIR DEFICIENCY DISEASES

Vitamin B 2 Green vegetables, • Promotes healthy eyes. • Mouth sores and

Vitamin C Citrus fruits, • Essential for absorption • Retarded growth.

Vitamin D Oily fish, Egg yolk, • Formation of strong • Rickets

Phosphorus Milk, cheese, nuts, • Constituent of cell • Malformation of

EXAMPLES OF BALANCED MEAL

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

What lines can express

Man made patterns

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

Warm and Cool Colours

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

Use different advertisements either from newspapers or developed in class to explain

An advertisement which informs the public provides information. That advertisement

The following advertising media should be discussed. Television. radio, newspapers,

Explain to learners why a particular medium for advertising is chosen to advertise a

In designing an advertisement you must do the following:

SUGGESTED TEACHING AND LEARNING ACTIVITIES

TOPIC AND LEARNING OBJECTIVES

2nd Exchange 1st Exchange

3rd Exchange Start/Finish

Techniques of baton exchange

The upsweep technique

The downsweep technique

The bunch start

The elongated/ extended start

Running through the tape

SUGGESTED TEACHING AND LEARNING ACTIVITIES

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Rules of shot put