3. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be
able to:
• Discuss line, tone and balance as elements and
principle of Art,
• Analyse cool and warm colours in colour wheel,
• Draw a pictorial composition from memory,
• Paint a scenery using cool and warm colour to
appreciate owns and others' pictorial composition.
4. LINE
Definition: A line is a mark or path created by a moving
point. It can vary in length, width, direction, and curvature.
Types of Lines:
• Straight Lines: Convey stability, strength, and order.
• Curved Lines: Suggest fluidity, grace, and organic forms.
• Horizontal Lines: Imply calmness, tranquility, and stability.
• Vertical Lines: Indicate strength, stability, and aspiration.
• Diagonal Lines: Create movement, tension, and
dynamism.
5. TONE
• Definition: Tone refers to the lightness or darkness of a
color or grayscale, often created through variations in
value.
• Function:
• Tones provide depth, volume, and three-dimensionality to
forms and objects within a composition.
• They establish the mood, atmosphere, and ambiance of a
piece, influencing how viewers perceive the artwork.
• Tonal contrasts can create visual interest, focal points, and
drama within a composition.
6. BALANCE
• Definition: Balance refers to the distribution of visual weight
within a composition, creating a sense of equilibrium and
harmony.
• Function:
• Balance ensures that no single element overwhelms the
composition, leading to visual stability and coherence.
• It guides the viewer's eye across the artwork, establishing focal
points and hierarchy.
• Imbalanced compositions can evoke tension, movement, and
visual interest, but achieving balance is crucial for overall
harmony.
7. PAINTING; COOL AND WARM COLOURS
• Warm Colors:
• Definition: Warm colors are hues that tend to evoke a sense of
energy, warmth, and intimacy. They are associated with warm
elements in nature, such as sunlight, fire, and earth.
• Examples of Warm Colors:
• Red: Variations of red, such as scarlet, crimson, and maroon.
• Orange: Shades of orange, including tangerine, coral, and peach.
• Yellow: Hues ranging from lemon and gold to mustard and ochre.
8. Cool Colors:
• Definition: Cool colors are hues that tend to evoke a sense
of calmness, tranquility, and spaciousness. They are
associated with cool elements in nature, such as water, sky,
and foliage.
• Examples of Cool Colors:Blue: Variations of blue, such as
cerulean, cobalt, and ultramarine.
• Green: Shades of green, including emerald, teal, and mint.
• Purple: Hues ranging from lavender and lilac to violet and
indigo.
12. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
•Outline factors to consider in creating a rhythmic pattern in
simple time,
•Compose a four- bar rhythmic pattern in 2 time,
4
•Write rhythmic patterns in 2 on monotone from dictation,
4
•Sight read rhythmic patterns on monotone,
•Appreciate rhythmic patterns created by self and others.
13. FACTORS TO CONSIDER IN CREATING A
RHYTHMIC PATTERN IN SIMPLE TIME
The key factors to consider when creating a
rhythmic pattern in simple time:
1. Time signature:
This dictates how the music is counted,
what beats are emphasized, and what the
“feel” of the music is likely to sound like.
14. 2. Tempo:
This refers to the speed of the music, and can
create a calming effect with a slow tempo, or
excitement and energy with a fast tempo.
3. Note duration
(Taa-aa- aa-aa, Taa-aa, Taa, Ta-te,)
Choose the duration of each note in your
pattern.
15. 4. Rests: Incorporate rests (silences) into
your rhythmic pattern.
5. Repetition: Reusing elements such as
rhythmic motifs can create a sense of
continuity and familiarity in a piece of
music.
16. 7. Body Movement:
•Develop body awareness and control to
execute movements with precision and
fluidity. Practice maintaining balance,
posture, and coordination to ensure
effective rhythmic performance.
17. | 1 & 2 & | 1 & 2 & | 1 & 2 & | 1 & 2 & |
|----------------|----------------|----------------|----------------|
| Quarter | Eighth | Quarter | Eighth | Quarter | Eighth | Quarter | Eighth
|
| Note | Note | Note | Note | Note | Note | Note | Note
|
COMPOSE A FOUR- BAR RHYTHMIC
PATTERN IN 2/4 TIME
In this pattern:
• Each measure consists of two beats.
• The first beat in each measure is emphasized.
• The rhythm alternates between quarter notes and eighth notes,
creating a sense of movement and momentum.
• The pattern repeats over four bars, providing a structured and
repetitive foundation.
23. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be
able to:
• Identify materials for carving in sculpture.
• Carve javelin according to the right specification.
• Decorate the javelin using appropriate techniques.
• Execute a javelin throw following the throwing phases
for skill acquisition.
• Appreciate each other's carved javelin and effort in
throwing javelin.
24. SCULPTURE
•Sculpture: a form of visual art in
which artists create three-
dimensional objects by carving,
modeling, casting, or assembling
various materials.
25. MATERIALS FOR CARVING IN SCULPTURE
•When selecting a material for carving in sculpture, it's
essential to consider factors such as the desired finish,
level of detail, durability and intended use of the sculpture.
1. Stone: Soapstone, Granite, Limestone, Marble
2. Wood: softwood and hardwood
3. Ivory
4. Bone and Antler
5. Plaster
6. Synthetic Materials: Clay, Resin
26. JAVELIN
•The javelin throw is a track and field event
where the javelin, a spear about 2.5 m (8 ft 2 in)
in length, is thrown.
27. JAVELIN APPEARANCE
•A javelin is a cylindrical spear with a sharp tip
that tapers down at both ends. In senior
men's competitions, the javelin must weigh
at least 800 grams and be 2.6–2.7 meters
long, while in women's competitions, it must
weigh at least 600 grams and be 2.2–2.3
meters long.
28.
29. CARVING JAVELIN ACCORDING TO THE
RIGHT SPECIFICATION
•The javelins are constructed with the aid of wood and
metals.
•It weighs between 400gm to 800gm depending on the
age group and categories. Men’s javelin has a length of
2.6m to 2.7m whereas the women’s javelin is smaller
and lies between 2.2 and 2.3 metres.
•The javelin has three essential parts; the tip known as
the point followed by the shaft and a cord grip in the
middle
30. SAFETY WHEN OBSERVING THE JAVELIN.
•Always carry the javelin vertical with the pointed part
down
•Never run to collect the javelin
•Take care when removing the javelin from the ground
•Ensure that the area is clear before throwing the javelin
•Take a few steps backwards continuously
•Continue for the desired time and distance.
31. DEMONSTRATIONS FOR JAVELIN
a. Grip in javelin
•Place the javelin along the length of your plan
•Hold the javelin at the back of the cord
•Keep the point of the javelin pointed in the
direction you want to throw
•Keep the javelin lined up with your eyes
•Keep your grip relaxed
32. TYPES OF GRIPS IN JAVELIN
There are three types of grip in javelin
a) The American grip
b) The ‘V’ grip
c) The finish grip
33. A. THE AMERICAN GRIP
•Here you Place your thumb and the first two
joints of you index finger behind the cord
34. B. THE ‘V’ GRIP
•Hold the javelin between your index and
middle fingers, behind the cord.
35. C. THE FINISH GRIP
•Place your thumb and the first tow joints of your
index finger behind the cord, while the index
finger supports the shaft of the javelin. Extend
the index finger further away.
36. LEANING POINTS IN JAVELIN
Carriage
1. Hold the javelin near your head above your
shoulder
2. The javelin should point down towards the
ground slightly.
3. Ensure the javelin is parallel to the ground.
4. Look at the direction of your through.
37. JAVELIN THROW
1. APPROACH RUN
•After you have the javelin in position, begin running
towards your target with the javelin
•Keep your hips high and down on the balls of your
feet
•Let your free arms swing across your body
•Extend the arm carrying the javelin fully behind you.
•Keep your head facing in the direction of your target
•Turn so that the left side of your body faces your
target.
38.
39. 2.CROSS OVER.
Place your right foot on the ground and your left foot
forward and elevated.
• Put your right ahead in a “lean – back “ positions
• Pull the javelin back a little further so that the tip is
lined up with your eyebrows
• Keep the right foot close to the ground
• Let the right heel touch the ground
• As the right foot moves forward, move the left foot
up and lean your trunk back at 115 degree angle.
40. • Place your right foot on the ground and you left leg
forward and elevated
• Direct your shoulder and hips towards your left
target.
• Wait for your left foot to touch the ground
• Straighten your torso
• Turn your face toward the direction of the throw
with the javelin parallel to your shoulder
• Position your throwing and hand above shoulder
level.
41.
42. 3. RELEASE
• Through the javelin with your arms as high as possible
• Plant you left heels and thrust forward with your right foot
• Pull back with your left arm keeping it parallel to your right
shoulder
• Move your throwing shoulder over your left leg
• Lift your left leg and move your throwing arm, with the
elbow placed high and close to the midline.
• Release the javelin with your arm over your head in front
of you.
43.
44. FOLLOW THROUGH
• Let your throwing arm travel diagonally across your
body.
• For examples if you are throwing with your right arms,
it should end up in front of your left side.
• Keep your left foot on the ground.
• Let the right leg pass the left foot and then stop you.
• Finish by standing on your right foot, with your left leg
up behind you.
• Your right shoulder will turn left, with your chest
facing to the left.
45.
46. ASSESMENT
1. Which safety considerations are important
in carving and throwing a javelin?
2. How does Javelin throwing enhance
fitness?
48. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be
able to:
• Describe passing, dribbling and jump shot in Handball
game,
• Perform the passing skills in Handball,
• Execute dribbling in handball for skill acquisition,
• Execute jump shot in handball,
• Appreciate each other's efforts in playing Handball
game.
49. PASSES AND RECEPTION IN HANDBALL
Passing – is delivering the ball to a team mate
during play in a handball game.
Passing the ball helps in;
•Speeding up the game
•Creating scoring chances
•Breaking tight defense
•Releasing pressure during play
•Expressing creative abilities during play
50. QUALITIES OF A GOOD PASS
•Accurate so that a player has no problem
catching the ball.
•Fast and timely to exploit the play chance
promptly.
•Useful – a pass should be directed to that
player whose position may disadvantage the
opponent.
51. TYPES OF PASSES
There are three types of passes, namely;
1. Jump pass
2. Side pass
3. Flick pass
52. 1. JUMP PASS
•A jump pass is where a player leaps in to
the air and throws the ball to a
teammate before landing.
•It is completed at the peak of the jump
with a player in control releasing the ball
to the teammate
53. STAGES OF EXECUTION IN JUMP PASS
a. Preparation
• Take off from the ground either on a single or double
foot.
• Bring the passing arm high and back above the level of
the head
• Bring the non- passing arm slightly in front of your
body
• Keep shoulders high and head up
54. b. Execution
•As you bring the passing arm forward to release
the ball, pull the non-passing arm backwards at
hip level.
•Release the ball to your teammate with a follow
through and wrist action.
55. 2. SIDE PASS
•A side pass is also known as wrist passes
and is the most common way of passing
the ball across the width of the court.
This movement is called ball circulation.
56. STAGES OF EXECUTION IN SIDE PASS
a. Preparation
•Stand with feet slightly closer together than
shoulder-width apart from the target ,the
receiver should be on your right or left side.
•Hold the ball on the passing hand with palm
facing down.
•If the pass is to be made at the right side, hold the
ball with the right hand , if the pass is to be made
on the left side, hold the ball with the left hand.
57. b. Execution
•Swing the passing arm across the body from
left to right when passing towards the right
direction.
•Release the ball with full extension of the arm
with a wrist action.
•Step sideways towards the direction of the pass
for a follow- through.
58.
59. 3. FLICK PASS
•A flick pass is an action made using the
passing arm which quickly propels the ball
forward. The release action of the ball is
terminated with a forward wrist action.
60. STAGES OF EXECUTION
a. Preparation
•Take a staggered stance with the leg of the non-
passing arm leading.
•Hold the ball with one hand in an open palm,
fingers well spread behind it at shoulder level
•The non-passing arm should be extended
outwards for balance
•Eyes should be focused on the target
61. b. Execution
•Step with trailing foot forward
•Push the ball forward towards the receiver
•Release the ball by flexing the wrist and
the fingers forward for a follow- through.
This generates power to propel the ball
and give it directions.
62. RECEPTION
The act of receiving the ball with one
or both hands. The catch may vary
from high level to medium or low
level.
63. POINTS FOR RECEPTION OF THE BALL
a. Preparation
• Stand on the balls of your feet shoulder-width apart
facing the direction of the ball.
• Extend your hands towards the ball
• Move forward to meet the oncoming ball
• Keep your arms pointed towards the ball
• Your hands should form a tunnel shape of a W
formation ready to receive the ball.
65. b. Termination
•On contact with the ball, wrap the fingers around it
and bend the elbows bring the ball towards the
chest.
•Ensure the thumbs are behind the ball and get in to
a ready position for your next action.
Low catch
High catch
66. DRILLS IN HAND BALLS
Drill 1: Jump Passing
•In pairs, stand apart. Take three steps toward
your partner and then take off
•Pass the ball using a jump pass and walk back to
your siting position
•Your partner also takes three steps and then
passes the ball back to you using a jump pass.
67. Drill 2. Flick pass
•In groups of four, stand in a square
formation, ass the ball around the square
using flick.
68. Drill 3: Two Line Drill
•Player to form two lines
•The leaders pass the ball using a flick
pass
•After making the pass, the leader joins
the line from behind
•Ensure everyone get a chance to pass
the ball
70. SIDE PASS DRILLS
Drill 1: side passing
In pairs, stand 3m apart side by side. Pass the ball to
one another using a wrist pass
Drill 2: pass curve
• In groups of four, stand three meters apart in a semi-
circle
• The player with the ball to be at the extreme end
• Pass the ball from right to left without skipping any
player
• When the ball reaches the end, pass the ball back to
the left
71. Drill 3: down court drill
•In pairs, stand 3m apart facing the goal,
walk down the court passing the ball
using the side pass.
•Change the pace to a jog and continue
passing the ball each other up and down
the court
72. FOOTWORK IN HANDBALL
Principles of good landing
•Landing on the balls of the feet.
•Knees should be slightly bent to cushion
the shock on the impact of landing.
•This is also referred to as knee- deep
landing.
74. DODGING AND MARKING IN HANDBALL
• Dodging
• When dodging, a player may use body actions that
mislead the defending player. It enables the attacking
player to go past the defender and score goals with
ease.
• Marking
• Marking is a defensive action that limits the chances
of attacking players gaining possession of the ball.
75. QUALITIES OF A GOOD PLAYER
•Observant
•Good positioning
•Quick time reaction
•Resilience and persistence
•Communication
•Courageous
•Peripheral vision
77. SAFETY MEASURES TO BE OBSERVED WHEN
PERFORMING SHOOTING IN HANDBALL
•Never aim to hit or injure the goalkeeper with the
ball.
•Take turn and shoot one player at a time
•Warm up adequately before starting the shooting
activity
•Adhere to the instructions given by the instructor
•Be conscious of the nature of the floor or the ground
while making a falling or a dive shot
79. TYPES OF SHOTS IN HANDBALL INCLUDE:
1.Jump shot
2.Dive shot
3.Running shot
4.Falling shot
5.Lob shot
80. DEMONSTRATING JUMP SHOT
• A jump shot is where a player can shoot from a
stationary position and gain horizontal distance and
the releasing powerfully towards the goal at the
highest point of the jump.
• Make a shot run with a maximum of three steps while
gripping the ball
• Make a single foot take off in the last step for an
upward thrust. Bend the other leg at the knee for
more force upward.
82. DEMONSTRATION FOR A RUNNING SHORT
•Running shot is executed while the player is
in motion making the three steps
progression.
•Make two or three steps towards the
attacking goal end then make a shot at the
goal
•Follow through with a swing of the throwing
hand.
84. DEMONSTRATING A DIVE SHOT
•Take a position outside the 6m line facing the
attacking goal.
•Take off with both feet high and the head fast
towards the goal area.
•Release the ball while airborne and land in the
goal area with the body low.
•Convert your landing into a roll for safety.
86. LEARNING POINTS FOR FALLING SHOT
•Take a position outside the 6m line facing
the goal.
•With the feet firm on the floor outside the
goal area, fall towards the goal area .
•Release the ball before contacting the goal
area with the hands or any other part of the
body.
87. LEARNING POINTS FOR LOB SHOT
•Take a position outside the 6m line
•Face the goalkeeper who may have moved
closer to you in defense
•Throw the ball in a curved path over the
goalkeeper
•Flick the wrist to give the ball direction and
accuracy.
88. DRILLS FOR SHOOTING IN HANDBALL
Drill 1: Step and shoot
• In groups of five make a line facing the goal with the leader
at the free throw line
• The leader makes a pass to the first player in the line
• The player makes 3 steps and then a jump shot
• After making a jump shot the player joins the line from the
back
• Repeat the activity3 times then change to practice a running
shot
89. DRILL 2: DRILL AND SHOOT
• In a group of four players, make a line at the substitution
zone facing the goal where you intend to shoot
• Use a high dribble to move towards the goal area
• On reaching the free throw line, catch the ball and make a
jump shot
• Retrieve the ball and run along the goal line to the corner
and then along the sideline to join your teammates.
• After three attempts change and practice a running shot.
90. DRILL 3: CORNER DRILL
•In a group of five, make a line at the corner of
the court.
•The leader to stand at a point within the court
•The first player in the line to run along the goal
area line
•When at a comfortable position, catch the ball
from the group leader and make a dive short.
91. ASSESSMENT
1.How does playing Handball enhance
body health?
2.Describe passing, dribbling and jump
shot in Handball game.
93. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Identify alternate repeat pattern.
• Design a motif from organic shape.
• Prepare a stencil using organic shape.
• Create an alternate repeat pattern by stencil printing on a
fabric.
• Appreciate own and others stencil printed work.
94. ALTERNATE REPEAT PATTERN
• It refers to a specific type of pattern design where
elements within the pattern repeat in a staggered or
alternating manner.
• In alternate repeat patterns, elements may shift
horizontally, vertically, or both, with each repetition,
creating a sense of movement and variation.
• This type of pattern design is often used in textiles,
wallpapers, graphic design, and various other forms of
visual art to add visual interest and complexity to the
composition.
96. DESIGNING A MOTIF FROM ORGANIC
SHAPE
Motif is a specific symbol or image that appears
repeatedly throughout a piece of art. To design a
motif;
1. Identify an interesting object from your surroundings.
2. Simplify the shapes into outlines.
3. Shade these shapes into black patches to create
positives. The remaining white patches are called
negatives.
4. Repeat the pattern.
98. PREPARING A STENCIL USING ORGANIC
SHAPE
•A stencil is a material, such as paper, wax, or
fabric, with a design or lettering perforated
through it.
•Paint, ink, or metallic powder is forced through
the holes in the stencil onto a surface to create a
print.
•The holes in the stencil allow the pigment to only
reach certain parts of the surface, creating the
design.
99. STEPS OF PREPARING A STENCIL USING
ORGANIC SHAPE
1. Draw an organic shape and a geometric shape on each
side of a 3 in square of tagboard.
2. Cut out the shapes.
3. Trace the shapes and the outline of the square on a 6 in
square piece of black construction paper.
4. Repeat in each corner of the construction paper so the
shapes line up
5. Practice with colored pencils
6. Color in the shapes
104. FACTORS TO CONSIDER WHEN INTERPRETING A
MELODY
• Key Signature:
• Range of the Instrument
• Transposition
• Breath Control
• Articulation
• Dynamic Markings
• Ornamentation
• Fingerings
• Artistic Interpretation
• Practice and Rehearsal
106. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Describe techniques used in storytelling,
• Explain qualities of a good flipbook,
• Compose a 3 to 5- minute story addressing an issue in
society,
• Create a flipbook animation for storytelling,
• Perform a 3 to 5- minute story before an audience,
• Realize storytelling as a means of communication.
107. TECHNIQUES USED IN STORYTELLING
• use of voice : Refers to variations in tone and texture of the voice
used.
• use of body: Refers to physical gesture of the limbs and face
• use of songs: Refers to use of relevant voice to affirm relevant
message
• audience involvement: Involving intended recipient through
rhetorical questions, song, dance or physical activity.
• props: Use of items artistically in the chorographical development
of the story.
• Costumes: use of appropriate clothing to affirm, propagate or
intensify the intended message.
108. QUALITIES OF A GOOD FLIPBOOK
FLIPBOOK a booklet with a series of images that change from one
page to the next, making it appear as if the images are moving.
Qualities of a good flipbook are;
• Clarity and Simplicity.
• Engaging Visuals.
• Smooth Animation.
• Appropriate Length.
• Relevance to Interests
• Educational Value
• Opportunities for Creativity
• Interactive Elements
• Positive Messages
• Accessible and Safe Content
110. ACTIVITIES
•Compose a 3 to 5- minute story
addressing an issue in society
•Create a flipbook animation for
storytelling
•Perform a 3 to 5- minute story before an
audience
113. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Execute trapping skill in football,
• Execute shooting skill in football,
• Perform dribbling skill in football,
• Make improvised crayons for drawing,
• Create a pictorial composition using crayon etching inspired by
football game,
• Value team effort in a football game and crayon etched drawing.
114. EXECUTE TRAPPING SKILL IN FOOTBALL
Use the inside of your foot to stop
the ball with an inside trap
Put your foot on the ball to perfect the step trap
Practice leaning back
slightly for a chest trap
115. EXECUTE SHOOTING SKILL IN FOOTBALL
Step 3: Choosing Where to Shoot
Shooting While Running
Kicking the Ball
116. PERFORMING DRIBBLING SKILL IN FOOTBALL
• Swing your right foot over the ball.
• Now your right foot is to the right of the ball and
left foot is behind.
• Use your left foot to push the ball to your left now.
• This must be done quickly for it to work and
sometimes your footwork can be so convincing, it
would leave the defender off balance as you dribble
past him
118. MAKING IMPROVISED CRAYONS FOR DRAWING
1. Gather your supplies(used candles, pigment e.g. coloured
chalk, disposable cups
2. Measure out your colorants.
3. Melt the wax.
4. Pour the wax.
5. Mold the crayons.
6. Repeat the process.
119. Gather your supplies Measure out your colorants Melt the wax
Pour the wax Mold the crayons Repeat the process
120. CRAYON ETCHING
• A drawing technique that involves using crayons to
create a heavy black wash, then using an etching
tool to create patterns in the ink and reveal the
crayon colors.
124. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be
able to:
• Classify folk songs in Kenyan communities,
• Perform a folksong from a Kenyan community,
• Prepare a stencil for printing,
• Create an alternate repeat pattern using stencil
printing,
• Appreciate folk songs performance as means of
cultural preservation.
125. CLASSIFICATION OF FOLK SONGS IN KENYAN
COMMUNITIES
• Ceremonial Songs: performed during important ceremonies and
rituals such as weddings, initiation rites, and funerals.
• Work Songs: sung during communal activities such as farming,
herding, fishing, and building.
• Children's Songs: composed for and sung by children i.e. lullabies,
nursery rhymes, counting songs, and games songs.
• Storytelling Songs: these songs tell stories from the community's
history, mythology, or daily life.
• Love and Courtship Songs: express romantic feelings, courtship
rituals, and marriage traditions.
126. • Protest and Resistance Songs: address social, political, or
economic issues and are used as a form of protest or
resistance against oppression, injustice, or inequality.
• Praise and Worship Songs: sung to honor and celebrate
deities, ancestors, or spiritual beings.
• Dance Songs: sung during communal dances and
celebrations.
• Historical and Patriotic Songs: These songs celebrate
national identity, independence, and historical events.
• Ritual and Healing Songs: Ritual songs are performed
during spiritual ceremonies, healing rituals, and rites of
passage to invoke blessings, protection, and healing.
127. ACTIVITY
1. visit an actual or virtual cultural centre to watch and
select a solo or group folk song from any Kenyan
community for performance,
2. take a role in performing a solo or group folk song
applying performance techniques
3. design a motif from geometric (inorganic) shapes to be
used in creating an alternate repeat pattern for stencil
printing,
4. prepare the stencil using the inorganic motif by;
(transferring the design onto the stencil, cutting out the
non-image parts leaving the image (motif) parts raised.
128. PREPARING A STENCIL FOR PRINTING
1. Design
• Choose a simple design for your stencil on cardstock.
2. Cut
• Use scissors to cut out your stencil drawing. The parts you cut away will
be the parts that paint or marker will go through.
3. Fold
• Fold or bend your stencil to cut out inside parts, or cut through the
paper and tape up any cuts you don't want to keep.
4. Attach
• Use painter's tape or spray adhesive to secure the stencil to the surface,
so it doesn't move.
5. Clean
• Soak the stencil in warm soapy water, or latex cleaning solution, for an
hour (or overnight). After, lightly scrub with a dish brush, and remove
the paint.
129. CREATING AN ALTERNATE REPEAT PATTERN
USING STENCIL PRINTING
• Step 1: Level the stencil. Use a level to make sure the
mylar is flush and level with the wall.
• Step 2: Paint the first repeat. Using a dry to the touch
roller or brush, paint the first repeat.
• Step 3: Repeat horizontal.
• Step 4: Repeat vertical.
133. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be
able to:
• Describe varied indigenous beadwork in Kenyan
communities
• Prepared materials and tools for beadwork
• Make beaded jewellery inspired by patriotism for
Kenya
• Appreciate beadwork as an indigenous Kenyan
craft,
134. VARIED INDIGENOUS BEADWORK IN KENYAN
COMMUNITIES
Indigenous beadwork is a traditional art form that involves
stitching beads together to create decorative items,
jewelry, and adornments.Include;
1. Maasai Beadwork
2. Samburu Beadwork
3. Pokot Beadwork
4. Kamba Beadwork
5. Turkana Beadwork
6. Rendille Beadwork
135. MATERIALS AND TOOLS FOR BEADWORK
MATERIAL;
1. Beads
2. Beading Thread or Wire
3. Needles
4. Findings: Findings are metal components used to finish and
secure beadwork projects.
5. Adhesives: Adhesives such as glue or epoxy resin are used to
secure knots
6. Design Board or Beading Mat
7. Beading Foundation: provide a stable surface for weaving or
stitching beads into patterns.
136. TOOLS BEADWORK
• Scissors
• Pliers
• Wire Cutters
• Bead Mat
• Bead Scoop or Tray
• Thread Conditioner
• Beading Loom: A beading loom is a tool used to create flat
beadwork designs
• Beading Needles: Beading needles are thin and flexible needles
• Awl or Bead Reamer
• Magnifying Lamp: help you see small beads and fine details more
clearly.
137. EXAMPLES OF BEADWORK TOOLS AND MATERIALS
Nipper tool Pliers: Chain Nose and Round Nose
Bead Mat or Bead Board
Beading Mats
Round Wooden Beads
138. ACTIVITY
1. Make beaded jewellery inspired by patriotism for
Kenya
2. In group, research and discuss varied beadwork in
Kenyan communities
3. Sing a patriotic song adorned in beaded jewellery
inspired by patriotism
139. ASSESSMENT
1.Desribe how can be used to preserve Kenyan
culture?
2.How can you express patriotism through
Creative activities?
141. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Describe different ways of water entry in a pool.
• Perform a crouch dive into the swimming pool.
• Execute a water entry skill using a pencil dive.
• Perform backstroke skill in swimming for skill
development.
• Appreciate own and others’ effort in executing
backstroke skill.
142. DIFFERENT WAYS OF WATER ENTRY IN A POOL
1. Poolside steps
• These are the standard way to enter a pool and are good for first-time
swimmers or those who aren't comfortable.
2. Sitting swivel
• This is a way to enter the water from the pool deck by sitting with your
legs hanging into the water.
3. Jumping entry
• This is fine for confident swimmers as long as all rules are followed.
4. Slide in
• This is a good option when the water depth and bottom conditions are
unknown.
143. 5. Wade in
• This is a good choice when the water is shallow and conditions are
unknown.
6. Ladder
• When using a ladder, it's important to enter and exit the pool
facing the ladder to prevent slipping or falling.
7. Step-off
• This is good for entering shallow or unknown waters when you are
too high for a slide entry. Step off your platform into the water,
keep your knees flexed, and be ready to absorb any impact.
144.
145. ACTIVITY
1.Perform a crouch dive into the swimming
pool.
2.Execute a water entry skill using a pencil dive.
3.Perform backstroke skill in swimming for skill
development
148. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Identify types of indigenous rope games played in Kenya,
• Perform different indigenous rope games for skill
acquisition
• Perform indigenous rope skipping to a musical rhythm for
enjoyment
• Appreciate the role played by indigenous rope skipping
for fitness and health
149. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Identify types of indigenous rope games played in Kenya,
• Perform different indigenous rope games for skill
acquisition
• Perform indigenous rope skipping to a musical rhythm for
enjoyment
• Appreciate the role played by indigenous rope skipping
for fitness and health
150. TYPES OF INDIGENOUS ROPE GAMES PLAYED IN
KENYA
• Tug of War: It involves two teams pulling on opposite ends of a
thick, sturdy rope, with the goal of pulling the opposing team
across a central marker or line.
• Skipping Rope: Players take turns skipping over a long rope as
quickly as possible, while the other players count the number of
successful skips.
156. SPECIFIC LEARNING OUTCOMES
By the end of the Sub Strand, the learner should be able to:
• Examine the criteria for evaluating categories of Creative Arts
and Sports,
• Analyse a football game for skill development,
• Analyse the sports values for clean sports
• Analyse a folk song from a Kenyan community,
• Analyse a storytelling performance,
• Evaluate a 2D artwork,
• Appreciate the role of analysis in Creative
157. THE CRITERIA FOR EVALUATING CATEGORIES OF
CREATIVE ARTS AND SPORTS
• Creativity and originality
• Quality
• Clarity of theme
• Overall artistic impression
• Effects
• Purposes
• Truthfulness to shared emotional, moral and cultural concerns
• Profound interpretation of a significant subject
• Sincere expressions
158. FOOTBALL GAME FOR SKILL DEVELOPMENT
• Ball control: The ability to use all parts of the body to
collect and control the ball, including the legs, chest,
head, and feet
• Passing: The ability to develop good timing and use the
right surface when striking the ball
• Teamwork: Playing in small-sided games can improve
teamwork skills
• Footwork: Dribble around cones, agility cone drills, and
ladder drills can improve footwork, coordination, and
agility.
159. • Communication: The ability to communicate
verbally and non-verbally
• Decision-making: The ability to make decisions
• Problem-solving: The ability to solve problems
• Emotional management: The ability to manage
emotions
• Respect: The ability to respect others, such as
coaches, opponents, and referees
160. ANALYZING THE SPORTS VALUES FOR CLEAN
SPORTS
•Clean sport is an environment where the
health of athletes is protected and where they
are provided with the opportunity to pursue
high level performance without the use of
prohibited substances and prohibited
methods.
161. ANALYZING A FOLK SONG FROM A KENYAN
COMMUNITY
•To pass down knowledge but also preserve it.
There are groups of people who lack a written
tradition and thus rely on oral tradition or
other means to preserve their history and
customs
162. ANALYZING A STORYTELLING PERFORMANCE
Set goals
• Clearly define what you want to achieve with your story
Get feedback
• Ask your audience, peers, mentors, or employers for feedback. This can
help you understand how your stories affect people's perceptions,
emotions, decisions, and actions.
Analyze data
• You can also measure the time spent, comments, likes, shares, ratings,
or feedback that your stories receive.
Review your process
• Consider how effectively your stories capture and maintain the interest
of your audience.
Compare your performance
• You can also compare your storytelling content's performance with
your competitors' performance, such as their reach, engagement.
163. EVALUATING A 2D ARTWORK
• Composition: Assess the arrangement and organization of
elements within the artwork
• Color Palette: Evaluate the use of color in the artwork, including
hue, saturation, value, and contrast
• Technique and Skill: Examine the artist's technical skill and
proficiency in executing the artwork
• Texture and Surface Quality: Assess the texture and surface
quality of the artwork, including the use of brushstrokes, texture
media, or surface treatments.
• Subject Matter and Content: Analyze the subject matter, theme,
and narrative content of the artwork.
164. • Originality and Creativity: Evaluate the originality and
creativity of the artwork.
• Emotional Impact and Expression: Consider the
emotional impact and expressive qualities of the artwork.
• Context and Cultural Relevance: Situate the artwork
within its broader context, including the artist's
background, cultural influences, and artistic traditions.
• Craftsmanship and Presentation: Evaluate the
craftsmanship and presentation of the artwork, including
the quality of materials, framing, and presentation style.
• Personal Response: Finally, reflect on your personal
response to the artwork.
