LESSON PLAN
Organising Principle: Human Rights
Learning Area: Arts and Culture
Grade: 9
Duration: Weeks 3-7 (5 weeks)
Date: August -September
Learning Outcome 1
Create, Interpret and Present
work in each of the art forms.
Assessment Standards:
Dance: 1. D-Add: 1 and 2
Drama: 1 and 2. Dr-Add: 1
Music: 2
Visual Arts: 1 and 2
Learning Outcome 2
Reflect critically and creatively
on artistic and cultural processes,
products and styles in past and
present context.
Assessment Standards:
Integration:
LANG:
MATH:
SS:
EMS:
TECH:
NS:
LO:
LO - 2 to 5
LO_____
LO - 1
LO - 1 and 3
LO_____
LO_____
LO - 5
Composite: ‫ٱ ٱ ٱ ٱ ٱ ٱ‬
Dance: ‫ٱ‬
Drama: ‫ٱ ٱ‬
Music: ‫ٱ‬
Visual Arts: ‫ٱ‬
Learning Outcome 3
Demonstrate personal and
interpersonal skills through
participation in Arts and Culture
activities.
Assessment Standards:
Composite: ‫ٱ ٱ ٱ ٱ‬
Dance: 1
Drama: 1
Music: 1
Visual Arts: 1
Media Add: 1
Learning Outcome 4
Analyse and use multiple forms of
communication and expression in
Arts and Culture.
Assessment Standards:
Composite: ‫ٱ‬
Dance: ‫ٱ‬
Drama: ‫ٱ‬
Music: ‫ٱ‬
Visual Arts: 2
What is the learning focus in this unit of work? Applies art skills to create an integrated media
production using voter education and campaigning as the theme
1
Key skills to be covered:
Key knowledge to be covered:
‫ ٱ‬Co-ordination
‫ ٱ‬Body / Breath Control
√ Performance
√ Creation / Composing / Choreography
‫ ٱ‬Designing
‫ ٱ‬Interpretation
‫ ٱ‬Analyzing / Synthesising
‫ ٱ‬Reflection
‫ ٱ‬Listening & Perceiving
‫ ٱ‬Fine motor co-ordination
√ Organising and Marketing
√ Expression
√ Technical
‫ ٱ‬Research / Investigative
√ Presentation
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Values / Attitudes to be developed:
√ Elements of art forms
‫ ٱ‬Forms / Structures
√ Styles
‫ ٱ‬Importance of warming-up
‫ ٱ‬History
‫ ٱ‬Cultures
‫ ٱ‬Anatomy and Health Care
√ Movement and Gestures
√ Indigenous knowledge systems
‫ ٱ‬Instruments
‫ ٱ‬Artists
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Resources required:
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Confidence
Respect
Self-motivation
Commitment
Responsibility and self discipline
Adaptability
Positive body image / self concept
Independence
Sharing
Appreciation
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Magazines / Newspapers
Text Books / Workbooks / Charts
Reference Books
Stationary
Paint / brushes
People
ICT
TV / Radio
Tape Recorder / Audio Cassettes
CD Player / CDs
OHP / Projectors
Instruments / voices / bodies
Movement / games / playing
Waste / Found materials
Stage Properties / costumes
Site / Field visits / Places
Activity sheets
Prior knowledge required / link:
Basic stage conventions. Registration and electoral process e.g. Purpose and functions of the IEC?
Terminology related to production, marketing and mass media.
2
Planned Assessment:
Activity 1: Divide the class into eight (8) groups. Each group
draws a scenario (See page 6 and 7) from a hat / box / holder.
Each group discusses the scenario and decides whether it is
free and fair or not. Each group must motivate their
arguments. After 10 minutes each group must present their
view to the whole class. The teacher must consolidate and
add information where a gap exists. Concluding remarks are
essential
Activity 2: Ask learners to use the ideas generated from the
previous activity to arrange the steps of the voting process
chronologically. Use the information sheet provided on page
8. Cut the sheet into strips to separate each step. Place the
shuffled strips into an envelope (one per group) and ask
learners to arrange the voting process chronologically. Assist
and guide learners where difficulties are experienced.
Activity 3: Using the information gathered from the previous
activity, learners plan, design, make and market a puppet
show about the voting process. Divide class into art, music,
dance/ drama and marketing groups. Each group will be
responsible for different tasks. E.g. posters, billboards, script;
puppets; set; flyers, campaign songs, celebration songs,
jingles, drama pieces which will include dance movements;
friezes; tableau vivant etc. Refer to teacher notes on pages 9
to 18.
Activity 4: Each group will be in the process of
making/rehearsing/marketing for the final showcase
performance. The teacher acts as Production manager and
ensures that all rehearsal and production schedules are on
track. Use Assessment tool provided on page 4 to assess the
process.
Activity 5: After the marketing of the show. Learners will
perform their pieces using the visual artworks produced and
music composed. Use assessment tool provided on page 5 to
assess the performance.
Activity 6: Teacher will wrap up by explaining why elections
have to be managed carefully. Also inform learners about the
existence of a body where one can lodge a complaint. In
South Africa, the Independent Electoral Commission (IEC)
manages elections and does all of these things.
3
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Tests
Examinations
Oral report
Debates
Questionnaires
Essays
Puzzles
Paragraphs
Performances
Exhibitions
Presentations / Drama
Role-Play
Assignments
Field Trips / Site Visits
Interviews
Research Tasks
Arts processes and Products
Observation
Journals
Personal Narratives
Sketch Books
Assessment Tools / Instruments
√
Rubrics
√
Checklists
√
Observation Sheets
□
Marking Memoranda
□
Rating Scales
Expanded Opportunities: (Intervention activities / Additional activities)
Activities in this column will depend and be adapted according the level / background /
understanding and abilities of learners.
Teacher Reflection:
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Were the outcomes met?
Y/N
Did activities strengthen understanding?
Y/N
Did learners perform well in the assessment?
Y/N
What must I do to improve the next presentation? …………………………………………
What limitations did I experience? …………………………………………………………..
Additional Notes:
Size of the puppet show will be determined by the funds available as well as the type of puppet
chosen. See background information op Puppetry pages
ASSESSMENT TOOLS
FORMAL TEACHER ASSESSMENT RUBRIC: Process
ASSESSMENT
Excellent
CRITERIA
8-10
Cooperate and Cooperated
share
enthusiastically.
responsibilities Shared
responsibilities.
Pulled
weight
wholeheartedly.
Planning
an Planned the activity
activity taking enthusiastically with
on
different the group. Showed
roles
great
talent
and
insight into different
roles.
Rehearsal
/ Rehearsed the role /
Making
of created the artwork
artwork
and participated with
conviction
and
enthusiasm.
Good
Satisfactory
6-7
3-5
Cooperated
Showed a willingness
voluntarily in the to cooperate and
group.
Shared share responsibilities.
responsibilities with
conviction.
Weak
0-2
Had to be prompted
to join a group and
share responsibilities.
Struggled to work
with the group.
Planned the activity Planned the activity
with the group. Took with
the
group.
on some roles.
Showed little insight
into different roles.
Had trouble planning
with the group and
taking on different
roles.
Rehearsed the role /
created the artwork
and participated in
the activities.
Had
trouble
rehearsing the role/
creating the artwork
and participating in
the activities.
MARKS: 30
4
Rehearsed the role /
created the artwork
and participated in
some activities.
FORMAL TEACHER ASSESSMENT RUBRIC: Product / Performance
ASSESSMENT CRITERIA
Excellent
8-10
Good
6-7
Satisfactory
3-5
Weak
0-2
Imagination / Improvisation / Originality:
Innovative approach – not copied. Interesting,
creative, artistically appealing. Ability to think and
express oneself through the arts in a variety of
different ways. Characterization of the puppet
through the use of voice, movement and facial
expressions of the puppet.
Composition: ability to use a variety of art
elements to create an art work. Clear, eyecatching, visually appealing. Theme / message
communicated clearly through the storyline and
integration of all groups in the performance.
Technical Skills: knowledge, application and
integration of a variety of skills and techniques to
ensure that the puppet, the speech; the sound and
décor form a unifying whole for the audience.
MARKS: 30
TOTAL MARKS: 30 + 30 = 60
LEVEL DESCRIPTORS
Weak
Satisfactory
Good
Excellent
Not Achieved – able to but only at basic level – needs more support – maybe prior
knowledge & skills needed – needs attention from educator
Partially Achieved – able to but not consistent – needs more opportunity to practice –
give more varied contexts – can probably work independently
Achieved – able to fulfill requirements / criteria competently, consistently and
confidently in varied contexts – can move onto next level
Exceptional Achievement – able to do task beyond expectations
5
Free and fair or not?
SCENARIO
Yes
1. Your family is having a discussion about the
elections.
Everybody is sitting around the
kitchen table or fire and saying whom they would
vote for and why. At the end your father says,
“right, well, I enjoyed hearing your opinions but
now let me tell you whom you will vote for. If you
don’t vote for the party I choose, don’t bother to
come home again!”
2. On the day of elections, people have to stand in
very long queues. Some people stand in the
queue all day. They are still standing outside the
polling station when the polling station staff lock
up and go home. They are forced to go home
without having a chance to vote.
3. On the day of elections, the voting stations are
empty. Nobody has turned up to vote because a
party has threatened them.
They say the
election is crooked and so nobody should vote.
People are afraid that if they turn up to vote they
will be shot.
4. During the election campaign, the candidate for
the Apple Party never criticises his opponent for
their policies or political ideas. Instead, he
constantly calls him names, and tells people all
the latest gossip about him. At one rally, he
stood up and called him a thief.
6
No
Motivate
Free and fair or not?
SCENARIO
Yes
5. One political party sends out its members to pull
down and destroy all the campaign posters put
up by other parties. They also attend meetings
of the other parties whenever possible and jeer
and call them names.
6. A farmer tells all his workers that they are not
allowed to attend any of the pre-election
meetings held by political parties. He says he
and his workers are one and they will vote for the
same party. He has instructed his workers that if
they don’t vote for his party, they will loose their
jobs.
7. A hard working candidate manages to raise four
times more money for her party campaign than
the other parties. She uses the money to print
glossy brochures and to buy advertising time on
TV for her political party.
8. A traditional leader closes down a political
meeting where people are being told how to vote
and where to go to vote. He says that his people
will find out what they need to know from him.
That evening they gather to talk. The topic for
discussion is the new road that will be built 5kms
away from the village and what impact it will
have on their lives. No mention is made of the
election.
7
No
Motivate
ACTIVITY SHEET FOR VOTING PROCESS

Issuing of the electoral writ
By order of the educator, an election for a class representative or by head of the school
election of the LCR

Registration of voters
Each learner must give their name, ID number and address – to be recorded in alphabetical
order of surnames

Closing of the class/school electoral roll
Give a cut off point for registration after which no more voters will be registered

Nominations
Have a nomination form which can be filled in by the candidate and signed by other learners
(electors). Give these to the school electoral returning officer

Printing ballot papers
Ballot papers are designed and printed with the candidates’ names on them

Campaigning
Candidates prepare and run an election campaign. Their supporters may offer assistance.
Posters, leaflets and so on may be produced. In addition, impromptu speeches as well as an
organised situation in which each candidate will be expected to give a speech.

Election Day
Set up the polling station in the following way:
A table for polling officials with:

Electoral roll

Ballot papers

Instructions for polling officials

Polling booths

A ballot box
Polling officials should ask for the name and address of each elector
Point the voter to the place where he/she must go to vote
8
TEACHER NOTES:
Background information on the IEC
The Independent Electoral Commission
The IEC is a creation of the Constitution. It is entrusted with running elections freely and fairly.
It is what is known as a Chapter 9 institution. This is because Chapter 9 of the Constitution
deals with several institutions for strengthening constitutional democracy. The Electoral
Commission Act states that the IEC is an independent body. It is only subject to the
Constitution and the law. It is important that the IEC be an impartial body, functioning without
fear, favour or prejudice. It is the job of the IEC to manage all elections, national, provincial and
municipal.
The functions of the IEC include:
 Promoting conditions conducive to free and fair elections

Compiling and maintaining the national common voters’ roll

Compiling and maintaining the register of parties

Establishing and maintaining party liaison committees

Undertaking and promoting research

Reviewing electoral legislation

Promoting voter education
For the Commission to function effectively it needs to work together with other organs of state
and foster friendly relations, co-ordinate actions, consult and inform.
ADDITIONAL INFORMATION ABOUT PRODUCTION
A performance cannot take place with just the dancers, performers and musicians. There is a
considerable amount of planning and organisation involved, also in terms of marketing. The
following lay-out provides a broad framework in terms of possible division of labour in marketing
and production.
MARKETING (administrative)
Fundraising
Advertisement
publicity
programme
PRODUCTION
Other
Technical
Design
tickets
lighting
decor
refreshments
stage
costumes
sound
props
Dance
movement
Music
programme
music
special
sound effects
theme song
Stagecraft is a loose term that refers to just about anything that happens backstage before,
during, and after a theatrical production.
It comprises many disciplines, typically divided into five main sections:

Scenery which includes set construction, scenic painting, theatrical properties, and
special effects
9
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
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Lighting design
Sound design which can include musical underscoring as well as theatrical sound effects
Costume design including costume construction and theatrical makeup design and
application
Production, comprising stage management, production management, house management and
company management
The 'stage picture' is the 'look' or physical appearance of the stage for a play, whether in
rehearsal or performance. It reflects the way that the stage is composed artistically in regard to
props, actors, shapes and colours. The stage picture should express good principles of design
and use of space. It should be visually appealing for the audience or should express the show's
concept. The stage picture is also crucial for the creation of atmosphere for the audience.
The scenic designer is responsible for collaborating with the theatre director and other members
of the production design team to create an environment for the production and then
communicating the details of this environment to the technical director,(production manager)
charge scenic artist and propmaster. Scenic designers are responsible for creating scale
models of the scenery, renderings, paint elevations and scale construction drawings as part of
their communication with other production staff.
It comprises many disciplines, typically divided into five main sections:




Scenery which includes set construction, scenic painting, theatrical properties, and
special effects
Lighting design
Sound design which can include musical underscoring as well as theatrical sound effects
Costume design including costume construction and theatrical makeup design and
application
Production, comprising stage management, production management, house management and
company management
The 'stage picture' is the 'look' or physical appearance of the stage for a play, whether in
rehearsal or performance. It reflects the way that the stage is composed artistically in regard to
props, actors, shapes and colours. The stage picture should express good principles of design
and use of space. It should be visually appealing for the audience or should express the show's
concept. The stage picture is also crucial for the creation of atmosphere for the audience.
The scenic designer is responsible for collaborating with the theatre director and other members
of the production design team to create an environment for the production and then
communicating the details of this environment to the technical director,(production manager)
charge scenic artist and propmaster. Scenic designers are responsible for creating scale
models of the scenery, renderings, paint elevations and scale construction drawings as part of
their communication with other production staff.
10
The Playwright's Craft
Theatre technique is part of the playwright's creative writing of drama, as a kind of mimesis
rather than mere illusion or imitation of life, in that he is able to present a reality to the audience
that is different, yet recognizable to that which they usually identify with in their everyday lives.
Another aspect of this is that of creating the kind of dialogue that makes his characters come
alive and allows for their development in the course of his dramatization.
His art also consists in his ability to convey to the audience the ideas that give essence to the
drama within the frame of its structure. Finally, his feeling for the natural divisions of a play such
as acts, scenes, and changes of place, its entries and exits, and the positioning of the cast are
integral to his technique.
The director’s craft
The director these days is responsible for the actual production of a play, as opposed to earlier
days when it was the producer who, at least in Britain until the 1950s, had this task. In earlier
centuries it was the author, an actor-manager, or a leading actor with whom the responsibilities
of staging a drama were invested.
The director produces the play in the way he envisages how it ought to be seen as he interprets
what the playwright intended within the drama; he takes care of the effictiveness of the
rehearsals of the actors; and coordinates the work of designers and technicians in the
production.
However, the playwright’s work is still reflected in the director’s prompt copy, a separate form of
stage instructions worked out in detail by the director, in which each actor is given details as to
what is happening onstage, where exactly he has to be in relation to the back, front, left, or right
of the stage, and what he is to do at any one time during the play.
Stage management and stagecraft
The stage manager has to work with the director, and ascertain whether both the director’s
objectives and the perceptions of the stage designers are compatible and realistic. He is usually
the link between the director and the rest of the company, and is responsible for the director’s
visions being passed down to each actor and member of the running crew. He is also
responsible for safety and running an orderly backstage area. He maintains the prompt book
and the call board, to which rehearsal schedule notes are affixed for the cast.
Stagecraft overall has to address the various shortcomings of the stage’s spatial and physical
limitations. For example, the stage alone cannot be expected to provide wide and distant vistas,
or vast spaces where armies gather or huge masses of people congregate. Natural phenomena
such as thunderstorms or winds, that are often part of the drama, cannot be recreated in their
original form. Furthermore, because of the distance involved, it is difficult for actors to portray
the feelings, tensions and passions of their characters to the audience with much
distinctiveness.
It is for these reasons that special technologies and techniques have been developed from
classical times onward to supplement and augment the effects that are to be realised. Technical
specialists help to implement these techniques by providing expertise in various areas of the
11
production. The stage manager and his team must ultimately draw all these separate
techniques together to create an effective and successful stage production.

Sets and sceneries have to be designed and created in the workshop. They include
outdoor and indoor scenes, or special types of constructions, and must also usually
achieve the appearance of depth and distance within the spatial limitations of the stage.

Stage lighting has to be provided to set the moods and sensitivities of the play, and to
permit the showing of the emotional charge in the face of the actors, possibly reinforcing
the pallor or vividness of their faces.

Costumes have to typify characters from the moment they appear on stage and signify
the period or the social milieu in which the characters are to be seen. They can also
indicate the characters' circumstances (whether they should appear rich or poor) or even
whether they should be seen as comic or tragic personae.

Sound effects have to convey natural phenomena, such as wind or storm. However, it is
also their function to call forth moods and feelings the audience will recognise.

Special effects have to deliver the imitations of physical actions on stage, such as
explosions, fireworks, fog, or even earthquakes that are often part of the story.

Rigging is an important aspect that is not often visible. All sound and lighting features
and their cabling and wiring have to be held in a safe position, above both the stage and
the auditorium, and therefore require specialist temporary and permanent fittings to be
installed.

The technical director, especially in larger theatres, has the responsibility of overseeing
the rigging and construction of the stage scenery. He creates working drawings from the
scenic designer’s drawings in order to pass on the designs to the scene shop.
BACKGROUND ON PUPPETRY
Main forms of puppetry

Finger puppet - An extremely simple puppet variant that fits onto a single finger. Finger
puppets normally have no moving parts and consist primarily of a hollow cylinder shape
to cover the finger. This form of puppet has limited application and is not widely used.
Finger puppets

Hand or glove puppet - this is a puppet controlled by one hand that occupies the
interior of the puppet. Larger varieties of hand puppets place the puppeteer's hand in
just the puppet's head, controlling the mouth and head, and the puppet's body then
12
hangs over the entire arm; other parts of the puppet (mainly arms, but special variants
exist with manipulatable eyelids, the mouth may also open and close); these are usually
not much larger than the hand itself. A sock puppet is a particularly simple type of hand
puppet made from a sock.
British traditional hand or glove Hand or glove puppet
Simple sock
puppets, Punch and Judy
chicken
puppets

Hand or glove
puppet dog
Rod puppet - A puppet constructed around a central rod secured to the head. The body
can range from a simple shoulder block to a complete torso. A rod puppet is controlled
by moving metal rods attached to the hands of the puppet and by turning the central rod
secured to the head. [43]
Rod puppets

Marionette or string - this is a puppet suspended and controlled by a number of strings
plus sometimes a central rod attached to a control bar held from above by the
puppeteer. The control bar can be either a horizontal or vertical one. Basic strings for
operation are usually attached to the head, back, hands (to control the arms) and just
above the knee (to control the legs) This form of puppetry requires greater manipulative
control than a finger, glove or rod puppet.
A puppeteer
manipulating a
Marionette
Marionettes from the Swedish
Cottage Marionette Theatre,
The Dalai Lama manipulates
New York, USA production of A puppeteer manipulating a hand crafted marionette of
"Cinderella Samba"
a Marionette in Prague, himself, created by puppeteer
Scott Land.
Czech Republic
13

Shadow puppet - this is a cut-out figure held between a source of light and a
translucent screen. They can form solid silhouettes or be decorated with various
amounts of cut-out details. Colour can be introduced into the cut-out shapes to provide a
different dimension. Javanese shadow puppets are the classic example of this.
Shadow Puppets, Jakarta,
Indonesia

Human Carnival or Body puppet - often used in parades (such as the Minneapolis,
USA May Day Parade) and protests, these figures are at least the size of a human and
often much larger. One or more performers are required to move the body and limbs.
The appearance and personality of the person inside is not known and is totally
irrelevant to the viewer. The puppeteer must never be revealed at performances. [47]
These puppets are particularly associated with large scale entertainment such as the
nightly parades at the various Disney complexes around the world. Big Bird from
Sesame Street is a classic example of a Human Carnival or Body Puppet. The
puppeteer completely enclosed within the costume, and extends his right hand over his
head to operate the head and neck of the puppet. The puppeteer's left hand serves as
the Bird's left hand, while the right hand is stuffed and hangs loosely from a fishing line
(which can occasionally be seen in closeup shots) that runs through a loop under the
neck and attaches to the wrist of the left hand. The right hand thus does the opposite of
the left hand: as the left hand goes down, the right hand is pulled up by the fishing line.
Carnival Puppet featuring two
puppeteers - Minneapolis, USA:
May Day Parade
Venezuelan President Hugo President George W. Bush human carnival puppet used in
Chávez - human carnival
a protest
puppet
Variations on the main forms of puppetry

Supermarionation - a method invented by Gerry Anderson which assisted in his
television series Thunderbirds in electronically moving the mouths of marionettes to
allow for lip synchronised speech. The marionettes were still controlled by human
manipulators with strings.
14





Supercrappymation - Dubbed by Trey Parker and Matt Stone as the type of
Supermarionation used to film Team America: World Police. As its name suggests, it is
filmed in a way to make it look more intentionally cheap and rudimentary than is
necessary.
Marotte - A simplified rod puppet that is just a head and/or body on a stick. In a marotte
à main prenante, the puppeteer's other arm emerges from the body (which is just a
cloth drape) to act as the puppet's arm.
Black light - a form of puppetry where the puppets are operated on stage lit only with
ultraviolet lighting which both hides the puppeteer and accentuates the colours of the
puppet. The puppeteers perform dressed in black on a stage with a black background.
(Most commonly the background and the clothes are made of black velvet). The lighting
is specially done so that there is essentially a line on the stage, where on one side there
is light and on the other is darkness. The puppeteers manipulate the puppets over the
line into the light, while the puppeteers are unseen because they blend into the black
unlit background. Puppets of all sizes and types are able to be used. The original
concept of this form of puppetry can be traced to Bunraku puppetry.
Muppet - A term referring to some of the puppets constructed by the Jim Henson
Company. Often erroneously used to refer to puppets that resemble those of the Muppet
Show or built by the Henson Company. The main puppet forms used were glove or hand
puppets and rod puppets.
Ventriloquist dummy - A puppet operated by a ventriloquist performer to focus the
audience's attention from the performer's activities and heighten the illusions. They are
called dummies because they do not speak on their own. The ventriloquist dummy is
controlled by the one hand of the ventriloquist.
Human-arm puppet - also called a two-man puppet, it is similar to a hand puppet but is larger
and requires two puppeteers; one puppeteer places a hand inside the puppet's head and
operates its head and mouth; the other puppeteer wears gloves and special sleeves attached to
the puppet in order to become the puppet's arms, so that the puppet can perform arbitrary hand
gestures. This is a form of glove or hand puppetry and rod puppetry.
"Briegel der Busch" puppet and puppeteer Jan
Mixsa, taken at "1. Fantreffen von Bernd das
Brot"
"Chili das Schaf" puppet and creators Tommy Krappweis
and Erik Haffner, taken at "1. Fantreffen von Bernd das
Brot"
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COST EFFECTIVE USE OF WASTE MATERIAL FOR SET DESIGN
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THE PRODUCTION
THE FOLLOWING IS NEEDED FOR A PRODUCTION:
TEXT
ART GROUP
MUSIC GROUP
TECHNICAL GROUP
MARKETING GROUP
 THE TEXT
- The text must include the following:
 The programme flow e.g. what happens first, second, third etc. Up to the last scene;
 Dialogue for the presenters;
 Order of performances;
 Opening scene;
 Closing scene
 PRODUCTION TEAM
- Producers: people that are responsible for the production of the programme and which
have final choice in all decisions – all departments must give feedback to the
producers.
- The director: a person who is responsible for the practical aspects of the programme.
e.g. management; ensuring all rehearsals are attended; setting rehearsal table; directs
the programme and participants; auditions, music, set design etc.
- Sound Engineers: in charge of the microphones and allover sound of the production
and performance
- Lighting designers: designs the lighting for the programme
- Stage Managers: ensures that the programme flow is in relation to the text; ensures
that the participants, presenters, prop-masters etc. Follows the stage manual
 ART GROUP
- Set designers: people who are responsible for the design of the set
- Set builders: people responsible for building the set according to the set designer’s
specifications
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- Costume designers: design or select costumes for the participants e.g. what
presenters will wear etc.
- Wardrobe: ensures that all performers are dressed appropriately in the relevant
costumes before the start of the programme and that all accessories are in place.
- Make-up department: the design and application of make-up according to the
characters
- Hair Stylist: design and does the hair styles of the actors
 MUSIC GROUP
- Music director: selects music for use in the programme; selects the theme song;
screens the music for use and rehearses all musicians.
- Voice coach: practices; rehearses and trains performers
- Musicians: plays music for actors; any programme music required.
- Sound Manager: all tracks and sound effects must be played on the appropriate time
and sound level.
 TECHNICAL GROUP ( ONLY IF SCHOOL HAS RESOURCES)
- Camera-operators
- Sound engineers
- Lighting operators
 MARKETING GROUP
- In charge of promotion and marketing of the programme
- Advertisements, posters, programmes, tickets, etc. Must be designed, printed and
distributed
- Design a marketing strategy to promote the programme
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