Cape Performing Arts - Caribbean Examinations Council
CARIBBEAN EXAMINATIONS COUNCILCar ib b e an Ad v an ce d Pr of icie n cy Ex am in at ion CAPE PERFORMING ARTS SYLLABUSEffective for examinations from May–June 2015CXC A28/U2/13
Published in Jamaica, 2013 by 2013, Caribbean Examinations CouncilAll rights reserved. No part of this publication may be reproduced, stored in a retrieval system, ortransmitted in any form, or by any means electronic, photocopying, recording or otherwise withoutprior permission of the author or publisher.Correspondence related to the syllabus should be addressed to:The Pro-RegistrarCaribbean Examinations CouncilCaenwood Centre37 Arnold Road, Kingston 5, JamaicaTelephone Number: 1 (876) 630-5200Facsimile Number: 1 (876) 967-4972E-mail Address: cxcwzo@cxc.orgWebsite: www.cxc.orgCopyright 2013 by Caribbean Examinations CouncilThe Garrison, St Michael BB14038, BarbadosCXC A28/U2/13
ContentsContentsIntroduINTRODUCTION . ictionRATIONALE. 1AIMS. 2SKILLS AND ABILITIES TO BE ASSESSED. 2RECOMMEDED TEACHING APPROACHES . 3PRE-REQUISITES OF THE SYLLABUS . 4STRUCTURE OF THE SYLLABUS . 4UNIT 1:BUSINESS FOR THE CREATIVE ARTSMODULE 1:MODULE 2:MODULE 3:BUSINESS FEASIBILITY . 6BUSINESS DEVELOPMENT AND PLANNING . 13PROJECT PLANNING FOR THE ARTS . 17OUTLINE OF ASSESSMENT . 20REGULATIONS FOR RESIT. 23ASSESSMENT GRID. 24DETAILS OF ASSESSMENT . 25UNIT 2: THEORY, PRACTICE AND INNOVATIONOPTION A: CINEMATIC ARTSUNIT 2:THEORY, PRACTICE AND INNOVATIONOPTION A:CINEMATIC ARTS . 41MODULE 1:MODULE 2:MODULE 3:TOOLS AND THEORY . 43PROCESS IN PRACTICE. 48PRODUCTION . 53OUTLINE OF ASSESSMENT . 57REGULATIONS FOR RESIT. 60ASSESSMENT GRID. 60DETAILS OF ASSESSMENT . 61CXC A28/U2/13
UNIT 2: THEORY, PRACTICE AND INNOVATIONOPTION B: DANCEOPTION B:DANCE . 100MODULE 1:MODULE 2:MODULE 3:HISTORY AND THE DANCING BODY . 103TECHNIQUE AND PERFORMANCE SKILLS . 109CHOREOGRAPHY AND PERFORMANCE. 117OUTLINE OF ASSESSMENT . 122REGULATIONS FOR RESIT. 125ASSESSMENT GRID. 126DETAILS OF ASSESSMENT . 127UNIT 2: THEORY, PRACTICE AND INNOVATIONOPTION C: DRAMAOPTION C:DRAMA . 147MODULE 1:MODULE 2:MODULE 3:CARIBBEAN THEATRE AND THE WORLD . 150FORMING THE PERFORMER . 154THE ART OF PERFORMANCE . 158OUTLINE OF ASSESSMENT . 162REGULATIONS FOR RESIT. 165ASSESSMENT GRID. 166DETAILS OF ASSESSMENT . 167UNIT 2: THEORY, PRACTICE AND INNOVATIONOPTION D: MUSICOPTION D:MUSIC . 183MODULE 1:MODULE 2:MODULE 3:CARIBBEAN MUSIC . 185WESTERN EUROPEAN ART MUSIC . 190JAZZ . 194OUTLINE OF ASSESSMENT . 198REGULATIONS FOR RESIT. 201ASSESSMENT GRID. 202DETAILS OF ASSESSMENT . 203CXC A28/U2/13
First issued in 2013Please check the website www.cxc.org for updates on CXC’s syllabuses.CXC A28/U2/13
IntroductionThe Caribbean Advanced Proficiency Examination (CAPE) is designed to provide certification of theacademic, vocational and technical achievement of students in the Caribbean who, havingcompleted a minimum of five years of secondary education, wish to further their studies. Theexaminations address the skills and knowledge acquired by students under a flexible and articulatedsystem where subjects are organised in 1-Unit or 2-Unit courses with each Unit containing threeModules. Subjects examined under CAPE may be studied concurrently or singly.The Caribbean Examinations Council offers three types of certification. The first is the award of acertificate showing each CAPE Unit completed. The second is the CAPE Diploma, awarded tocandidates who have satisfactorily completed at least six Units including Caribbean Studies. The thirdis the CXC Associate Degree, awarded for the satisfactory completion of a prescribed cluster of sevenCAPE Units including Caribbean Studies and Communication Studies. For the CAPE Diploma and theCXC Associate Degree, candidates must complete the cluster of required Units within a maximumperiod of five years.Recognised educational institutions presenting candidates for the CXC Associate Degree in one ofthe nine categories must, on registering these candidates at the start of the qualifying year, havethem confirm, in the required form, the Associate Degree they wish to be awarded. Candidates willnot be awarded any possible alternatives for which they did not apply.CXC 28/U2/13i
Performing Arts Syllabus RATIONALEIn the performing arts humans use their bodies as the main instrument for producing art before liveaudiences. The human being is therefore the medium for the generation, expression andcommunication of knowledge. This branch of the arts includes cinema, dance, drama, and music.The Performing Arts is a critical component in the expansion of our experience and consciousness ofthe world in which we live. It plays a vital role in the formation of cultural identity in thedevelopment of a Caribbean aesthetic.The Caribbean aesthetic is the creation of beauty by Caribbean people from the melding of theregion’s several cultures often flavoured with the spice of necessity. It is the creation of the steelpan from the oil drum, pudding and souse from pig ends, the chattel house that could be easilymoved, a Usain Bolt from yam, green banana, carnival costumes from wire , cloth and paper, skafrom mento and Rhythm and Blues, chutney, fife music and cricket --- everything that we experiencein this place. Caribbean performing arts makes this complex production of Caribbean culture andidentity accessible.This course of study is designed to encourage awareness of the concepts and principles that willguide the responsible development of the diverse Caribbean artistic community towards successfulintegration into the world of work, new artistic expressions and preservation of the existing artforms. Through the creative processes and the rigour of cultural enterprise and training, studentswill acquire the confidence that will have a greater impact on the management of the physical, socialand economic environment that they encounter. These processes and training will contribute to thedevelopment of the Ideal Caribbean Person who demonstrates multiple literacies, independent andcritical thinking, values and displays the creative imagination in its various manifestations andnurtures its development in the economic and entrepreneurial spheres in all other areas of life.The syllabus comprises Units on Business for the Arts, Cinematic Arts, Dance, Drama, and Music. Itfocuses primarily on Product Development and Management, the histories of the various performingarts, Performance and Production as well as Techniques and Skills that will encourage and enhancean appreciation for the cultural diversity of the region and the acquisition of skills as defined in theUNESCO Pillars of Learning. These include the responsibilities of learning to know, learning to do,learning to live together, learning to be and learning to transform oneself and society.Acquired techniques and skills in financing, marketing, research, design, application of artistic as wellas technical theories, production and performance will provide students with an informedknowledge base to encourage growth in all spheres of artistic endeavour as well as exposing them tothe range of possibilities of the varied career choices for the world of work as well as for furthereducation and training.CXC A28/U2/131
AIMSThe syllabus aims to:1.develop critical and creative thinking and to increase the ability of candidates to makejudgements about aesthetic quality;2.provide opportunities to discuss and explore spiritual, moral, ethical, social and culturalissues linked with the performing arts;3.encourage lifelong intellectual enquiry into the functions and operations related toperforming arts;4.create students who can work both collaboratively and individually;5.promote communication skills, intellectual discipline, imaginative thinking and effective timemanagement;6.produce graduates who have the confidence to apply both creative and conceptual skills tothe arts of performance and communication;7.provide students with the skills necessary to make the most of career-specific training toenter the world of work, to pursue higher education, or to further develop their artisticexpression;8.provide foundation training for cultural entrepreneurs in Caribbean performing arts todevelop the creative economy. SKILLS AND ABILITIES TO BE ASSESSEDThe skills and abilities that students are expected to develop on completion of this syllabus havebeen grouped under the following headings:(a)Creative and Critical Thinking;(b)Application;(c)Communication.Creative and Critical ThinkingThe ability to:(a)understand concepts and basic theories of the discipline;(b)appreciate and assess the historical and social context in which their discipline functions;(c)evaluate one’s own involvement in creative and educative processes.CXC A28/U2/132
ApplicationThe ability to:(a)realise ideas in aesthetic or business forms;(b)manage the processes involved in realising an idea;(c)use performing arts and business skills in problem-based activities.CommunicationThe ability to:(a)use appropriate terminology in discussing their discipline;(b)use appropriate technology;(c)market the products of their work. RECOMMENDED TEACHING APPROACHESThe following approaches are recommended for effective delivery of this syllabus.1.Partnerships with community groups, artists, cultural entrepreneurs, private sectorassociations for resources, expertise, facilities and opportunities.2.Inter-disciplinary collaborations, as an appreciation of the field of the Performing Arts, areboth in the name of the syllabus and its desired outcome. This may take the form of guestpresenters from different disciplines, attendance at and working on integrated performanceevents and enterprises.3.Trans-disciplinary activities - integrating other curriculum areas and activities at the school.For instance, applying music to a remedial math lesson or marketing the annual schoolbazaar.4.Use of current Information Communication Technology, for example, social media platforms,to create, document, support and create the product.5.As far as possible a pragmatic, problem-solving approach should be employed in theimplementation of the syllabus.CXC A28/U2/133
PRE-REQUISITES OF THE SYLLABUSAny person with a good grasp of the Caribbean Secondary Education Certificate (CSEC) Theatre Artsand Music syllabuses or the equivalent or practical experience should be able to pursue the courseof study defined by this syllabus. However, success in the course of study will also depend onpossession of good verbal and written communication skills. STRUCTURE OF THE SYLLABUSThe syllabus consists of two Units, each containing three Modules. Each Unit requires 150 hoursdistributed equally across the three Modules (50 hours each).Unit 1, the Business for the Creative Arts, consists of three Modules. Unit 2, Theory, Practice andInnovation, consists of FOUR Options each consisting of three Modules. Students can choose ONE orMORE of the FOUR Options in Unit 2.Students who wish to register for more than one Option in Unit 2 would be required to register eachOption separately, for example, UNIT 2: THEORY, PRACTICE AND INNOVATION: OPTION B: DANCEAND UNIT 2: THEORY, PRACTICE AND INNOVATION: OPTION C : DRAMA.UNIT 1: BUSINESS FOR THE CREATIVE ARTSModule 1Module 2Module 3-Business FeasibilityBusiness Development and PlanningProject Planning For the ArtsUNIT 2: THEORY, PRACTICE AND INNOVATIONOPTION A: CINEMATIC ARTSModule 1Module 2Module 3-Tools and TheoryProcess in PracticeProductionOPTION B: DANCEModule 1Module 2Module 3-CXC A28/U2/13History and the Dancing BodyTechnique and Performance SkillsChoreography and Performance4
OPTION C: DRAMAModule 1Module 2Module 3-Caribbean Theatre and the WorldForming the PerformerThe Art of PerformanceOPTION D: MUSICModule 1Module 2Module 3-CXC A28/U2/13Caribbean MusicWestern European Art MusicJazz5
UNIT 1: BUSINESS FOR THE CREATIVE ARTSMODULE 1: BUSINESS FEASIBILITYThe Unit on Business for the Creative Arts is specifically designed to address a common challengethat Caribbean creative persons face in converting their artistic ideas into feasible projects orenterprises. This Unit will equip students with the requisite knowledge, skills, and attitudes (KSA’s)to navigate this divide.In addition, the approach to content and delivery acknowledges the unique ways in which creativeor ‘right brained’ persons think, learn, and act. As such, it differentiates itself from traditionalmethods of teaching entrepreneurship by not only focusing on the environment in which thebusiness is to be developed, but by also addressing the internal barriers that most creative personsface in crafting and sustaining a business-like approach to their artistic output. These includepsychological and emotional barriers, and an inadequate understanding of creativity, the creativeprocess and the creative environment. In this regard, the three Modules are grounded in aCaribbean reality and follow a think-plan-do approach to learning with an emphasis on the practicalaspects of the process. The Unit also exposes students to the history and evolution of theCaribbean funding landscape so that they will have both the knowledge and skills to negotiate thefunding terrain.LIST OF MINIMUM RESOURCES1.Internet access.2.Multimedia.3.Literature on creativity, creative entrepreneurship and project planning.CAREER CHOICESThe skills and knowledge acquired through the study of this Unit may be further developed andemployed in a variety of professions including, but not confined to, theatre, media, communicationsand community cultural development. Some of the professions include those listed below.Cultural EntrepreneurArt ProducerMarketing OfficerImpressarioBusiness AgentTalent ManagerCXC A28/U2/13Events ManagerCultural Site ManagerVisual or Performing ArtistBooking AgentFacilities Manager6
UNIT 1MODULE 1: BUSINESS FEASIBILITYOVERVIEWThis Module will provide students with an overview of key concepts related to the creative sectorinclusive of creativity, the creative economy and the creative environment. The exposure to theseconcepts will provide a foundation to assist students in obtaining the necessary skills to articulateand develop a successful creative business idea. This would include knowledge of the three keycomponents in developing a successful business, namely the management of money, people andmarkets.GENERAL OBJECTIVESOn completion of this Module, students should:1.understand the concept of the creative economy;2.appreciate the diversity of career choices available in the creative economy3.understand the importance of developing the arts from a business perspective;4.appreciate the importance of the arts as business;5.understand the elements of creativity;6.develop an understanding of a business idea for the arts;7.understand the key elements in starting up a business for the arts;8.understand the key elements that comprise the funding environment;9.appreciate the role of leadership in cultural enterprise development.SPECIFIC OBJECTIVESStudents should be able to:1.discuss creativity in determining the feasibility of an idea or project;2.describe the components of the creative flow and creative traits;3.describe the creative economy and the creative environment;4.describe the elements that make up financing the arts and creative sector;5.analyse the feasibility of the market environment where a business is to be located;6.analyse the technical and operational requirements for a business idea;CXC A28/U2/137
UNIT 1MODULE 1: BUSINESS FEASIBILITY (cont’d)7.analyse the financial projections for a business;8.communicate orally and in writing a business idea for the arts.CONTENT1.Creativity and The Creative ProcessDefining creativity:2.(a)Novelty - originality, rarity, uniqueness;(b)Appropriateness - responsive to context;(c)Heuristic – tasks without clear goal or solution;(d)Significance - widely shared, profound experience, cogent or important;(e)Duration - immediate recognition and long term recognition.Creative Flow and Creative TraitsUnderstanding the creative flow and creative traits:3.(a)Clarity of goals;(b)Knowledge of progress;(c)Balancing challenges and skills;(d)Merging of action and awareness;(e)Avoiding distractions;(f)Forgetting self, time and surroundings, task absorption.Understanding The Creative Economy And Creative Environment:(a)Creative Economy (Throsby, 2008):(i)core creative arts – literature, music, performing arts, visual arts;(ii)core creative industries – film, galleries, museums, libraries andphotography;CXC A28/U2/138
UNIT 1MODULE 1: BUSINESS FEASIBILITY (cont’d)(b)4.(iii)wider cultural industries - heritage services, publishing and print media,television and radio, sound recording, video and computer games;(iv)related industries – advertising, architecture, fashion and design.Creative Environment:(i)human capital;(ii)institutional capital;(iii)social capital;(iv)creative capital.The Arts EconomyStudents should be exposed to the ways in which the performing arts are funded globally bydiscussing the key elements including:(a)State funding.(b)Grant and philanthropic funding.(c)Family and self-funding.(d)Donors (international development agencies).(e)Private – venture capital, angel financing and loans.(f)Patronage.(g)Combined private/public/non-governmental Organisation (NGO) funding.Students should then be exposed to the Caribbean reality by discussing how thisenvironment differs with the global reality. In this sense, a clear exposition of all the sourcesof financing for the arts and cultural industries in the Caribbean should be presentednamely, self-financing, state and grant funding and private sponsorship.5.The Market Environment(a)Market definition – what is the market? (data collection)(b)Market demand – What is the current or projected demand for the product, service,event? (What is the need you are trying to fill?)CXC A28/U2/139
UNIT 1MODULE 1: BUSINESS FEASIBILITY (cont’d)(c)6.(i)Demographic (age, income, education, gender, geographic spread);(ii)Psychographic (attitudes, opinions and interests) profile.(d)Competitor analysis - define competition by identifying similar activities with similarcustomers.(e)Supply - what is the projected supply in the area?(f)Product brand - Can a niche market or product differentiation be identified andestablished?Technical and Operational Requirements(a)(b)7.Customer profile – who is the customer, segmented by:Technical needs:(i)equipment, facilities and respective costs;(ii)identification of the source and costs of the requirements;(iii)identification of any legal requirements associated with the use of theequipment or provision of service.Operational needs:(i)organisational structure and cost implications;(ii)staffing levels and competencies.Financial Projections(a)(b)Start-up costs:(i)capital building;(ii)equipment;(iii)legal fees.Operating costs:(i)rent;(ii)utilities;CXC A28/U2/1310
UNIT 1MODULE 1: BUSINESS FEASIBILITY (cont’d)(iii)wages;(iv)stock.(c)Revenue projections (price and volume).(d)Sources of financing:(e)(i)private;(ii)venture;(iii)angel financing;(iv)soft loans.Profitability analysis:(i)simple pay back;(ii)net present value (NPV - compares the value of that same dollar in thefuture);(iii)internal rate of return (IRR).Suggested Teaching and Learning ActivitiesTo facilitate students’ attainment of the objectives in this Module, teachers are advised to engagestudents in the following teaching and learning activities.1.Interviews of selected cultural entrepreneurs to understand the elements of creativity andthe creative flow.2.Encourage students to interview selected cultural entrepreneurs to discuss and to providetestimonials illustrating the potential of the arts as viable businesses.3.Conduct field visits to performing arts businesses to discuss with students how a culturalenterprise is developed and maintained as well as the importance of the creativeenvironment.4.Place students in groups to conduct “simple” market surveys to determine the feasibility of abusiness by polling prospective customers.5.Use case studies (local, regional and international) to understand the key elements indetermining business feasibility.CXC A28/U2/1311
UNIT 1MODULE 1: BUSINESS FEASIBILITY (cont’d)RESOURCESBean, Lisa SonoraThe Creative Entrepreneur – A DIY Visual Guidebook For MakingBusiness Ideas Real, Massachusetts: Quarry Books, 2008.Csikszentmihalyi, MihalyCreativity: Flow and the Psychology of Discovery and Invention. NewYork: Harper Perennial, 1996.Throsby, D.Economics and Culture, United Kingdom, University of Cambridge,2002.CXC A28/U2/1312
UNIT 1MODULE 2: BUSINESS DEVELOPMENT AND PLANNINGOVERVIEWThis Module will allow students to understand and develop a business plan for a cultural enterprise.This would include mastery of artistic planning related to the use of human, financial, material andtemporal resources within a specific timeframe to realistically achieve business goals and objectives.GENERAL OBJECTIVESOn completion of this Module, students should:1.understand the traits and attitudes of a successful creative entrepreneur;2.understand the key elements in developing and planning for a cultural enterprise;3.develop an understanding of the key elements of innovation in problem solving;4.appreciate the processes involved in the funding of a cultural enterprise;5.appreciate the key elements involved in marketing and promotion of cultural products.SPECIFIC OBJECTIVESStudents should be able to:1.describe key personality traits and attitudes of successful creative entrepreneurs;2.develop and test a business idea;3.conduct research for a creative enterprise, project or event;4.develop a one page business plan for a creative enterprise, project or event;5.apply innovation to problem solving;6.explain the key elements involved in funding for a cultural enterprise;7.evaluate the marketing strategies for a cultural enterprise, project or event.CXC A28/U2/1313
UNIT 1MODULE 2: BUSINESS DEVELOPMENT AND PLANNING (cont’d)CONTENT1.Planning for Cultural Enterprises(a)Define the main attitudes and traits of cultural entrepreneurs.(b)Brainstorm and conceptualise a creative business idea.(c)Conduct research (environmental scan) for a creative enterprise:(i)Needs Assessment (5W’s):-(ii)2.What is the product?Who will benefit or buy in?Where will it be located?When will it be launched?Why is it needed?COWS analysis – Challenges, Opportunities, Weaknesses and Strengths.(d)Develop mission and vision statements.(e)Develop goals and objectives.(f)Develop strategies.(g)Implementation schedule.(h)Monitoring and evaluation mechanisms.Scenario Development For Business Start Up(a)‘What if’s’ and table top exercises.(b)Identify, rate and evaluate risk.(c)Develop a plan to mitigate risk.CXC A28/U2/1314
UNIT 1MODULE 2: BUSINESS DEVELOPMENT AND PLANNING (cont’d)3.Funding for Cultural Enterprises(a)(b)4.Key elements:(i)production budgets;(ii)cost strategies for ticketing and merchandising;(iii)costing of talent.Sponsorship proposal:(i)donor letter;(ii)fundraising strategies;(iii)differences between sponsorship and donations in arts funding.Marketing Strategies for Cultural Enterprises(a)Develop the Product.(b)Establish the pricing schedule.(c)Develop the promotional activities.(d)Determine the placement and positioning options.Suggested Teaching and Learning ActivitiesTo facilitate students’ attainment of the objectives in this Module, teachers are advised to engagestudents in the following teaching and learning activities.1.Use case studies (local, regional and international) to understand the key elements inestablishing and growing a creative enterprise as well as the attitudes that define asuccessful creative entrepreneur.2.Conduct field visits to creative enterprises so that students could acquire first handinformation on the use of human, financial, material and temporal resources to achievebusiness goals and objectives.3.Develop a one-page business plan.CXC A28/U2/1315
UNIT 1MODULE 2: BUSINESS DEVELOPMENT AND PLANNING (cont’d)RESOURCESMcDaniel, C. D. and Gates, R. H.Marketing Research Essentials, London: Taylor and Francis,1998.O’Reilly, D. and Kerrigan, F.(eds).Marketing The Arts: A Fresh Approach, Oxford: Routledge,2010.Walley, B. H.Production Management Handbook, Hampshire: GowerPublishing Limited, 1986.CXC A28/U2/1316
UNIT 1MODULE 3: PROJECT PLANNING FOR THE ARTSOVERVIEWThis Module will expose students to a project inclusive of an event, exhibition, festival andenterprise to facilitate the application of the core concepts developed in Modules 1 and 2. Studentswill engage in actual field-work using a cultural activity as the unit of analysis.GENERAL OBJECTIVESOn completion of this Module, students should:1.apply the key concepts of feasibility to an actual idea, start-up business, cultural product,event or project;2.apply the key concepts of business development to a cultural enterprise, project or event;3.document their findings into a journal, portfolio, case study, or project evaluation.SPECIFIC OBJECTIVESStudents should be able to:1.identify a creative enterprise, event or project that will form the basis of their project;2.apply project planning tools to implement a creative event or enterprise;3.promote and produce a creative project;4.analyse and document the experiences and findings to evaluate the success of the project.CONTENT1
In the performing arts humans use their bodies as the main instrument for producing art before live audiences. The human being is therefore the medium for the generation, expression and communication of knowledge. This branch of the arts includes cinema, dance, drama, and music. The Performing Arts is a critical component in the expansion of .
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Denver Center for the Performing Arts. Denver, CO . Dr. Phillips Center for the Performing Arts. Orlando, FL . Hult Center for the Performing Arts. Eugene, OR . Hylton Performing Arts Center. Manassas, VA . Jazz at Lincoln Center. New York, NY . Kimmel Center for the Performing Arts. Philadelphia, PA . Lesher Center for the Arts. Walnut Creek .
1 School of Business, University of Cape Coast, Cape Coast, Ghana 2 College of Distance Education, University of Cape Coast, Cape Coast, Ghana Correspondence: George Tackie, School of Business, University of Cape Coast, Cape Coast, Ghana. E-mail: gtackie@ucc.edu.gh
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The Journal of Performing Arts Leadership in Higher Education is a peer-reviewed journal dedicated to the enrichment of leadership in the performing arts in higher education. Goals 1. To promote scholarship applicable to performing arts leadership 2. To provide juried research in the field of performing arts leadership 3.
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