4. Note, Table, Flow-chart Completion and Diagram Labelling

Note, Table, Flow-chart Completion and Diagram Labelling

About the Task

The Note, Table, Flow-chart Completion and Diagram Labelling task tests your ability to locate and record specific information from a reading passage.

On the question paper, you see a set of notes that report the information from the passage. In the notes, some key words are missing. You read and write the missing words in the gap. 

The notes may take the form of: 

  • a set of notes under headings
  • a set of notes in a table
  • a diagram or flow-chart with labels

Rules for theTask:

  1. The instructions tell you how many words to write in each gap.
  2. The words you need to write in your answers are found in the passage.
  3. The information in the notes is presented in a different way from the passage, but it usually comes in the same order (diagram tasks may be in a different order).
  4. The words you write must be spelled correctly.
  5. You write the words in the same form as you see them in the passage (e.g. singular/plural) - you don't need to change them in any way.
  6. Write only the missing words on the answer sheet.

Tips:

  1. Look for clues in the notes that tell you the type of information you're looking for, e.g. headings or the words already on the page.
  2. Sometimes the wording of the notes tells you what to look for, e.g. if 'Year' is a heading, you may see references to a number of years in the passage.
  3. Most of the 1T1issing information is facts about the topic, so the words you need to write are mostly nouns. Check if the word is singular or plural in the passage. 
  4. Remember that the notes follow the order of information in the passage. In tables, read the information from left to right, not up and down. In diagrams read the labels in clockwise order - the question numbers follow the order of information in the passage.
  5. Go through the numbered questions in order. Read the relevant section of the passage again and find the words to complete the gaps or answer the question.
  6. The word(s) you need to write are in the passage. Don't put the information you read into your own words.
  7. Don't just write down the first word you find that fits a gap - keep reading and think about the meaning.
  8. Remernber, the instructions tell you how many words to write - if you write more, your answer will be marked wrong.
  9. Write numbers as figures, e.g. '105' - not as words, e.g. 'one hundred and five'. 
  10. If you aren't sure, always write something. No marks are taken off for wrong answers.  


Skills-building exercise


Task Type 4

Painters of time

A. The works of Aboriginal artists are now much in demand throughout the world, and not just in Australia, where they are already fully recognised: the National Museum of Australia, which opened in Canberra in 2001, designated 40% of its exhibition space to works by Aborigines. In Europe their art is being exhibited at a museum in Lyon, France, while the future Quai Branly museum in Paris, which will be devoted to arts and civilisations of Africa. Asia, Oceania and the Americas, plans to commission frescoes by artists from Australia.

B. Their artistic movement began about 30 years ago. but its roots go back to time immemorial. All the works refer to the founding myth of the Aboriginal culture, ‘the Dreaming’. That internal geography, which is rendered with a brush and colours, is also the expression of the Aborigines' long quest to regain the land which was stolen from them when Europeans arrived in the nineteenth century. ‘Painting is nothing without history.' says one such artist. Michael Nelson Tjakamarra.

C. There arc now fewer than 400.000 Aborigines living in Australia. They have been swamped by the country's 17.5 million immigrants. These original ‘natives' have been living in Australia for 50.000 years, but they were undoubtedly maltreated by the newcomers. Driven back to the most barren lands or crammed into slums on the outskirts of cities, the Aborigines were subjected to a policy of ‘assimilation’, which involved kidnapping children to make them better ‘integrated' into European society, and herding the nomadic Aborigines by force into settled communities.

D. It was in one such community, Papunya, near Alice Springs, in the central desert, that Aboriginal painting first came into its own. In 1971, a white schoolteacher. Geoffrey Bardon, suggested to a group of Aborigines that they should decorate the school walls with ritual motifs. so as to pass on to the younger generation the myths that were starting to fade from their collective memory, the gave them brushes. colours and surfaces to paint on cardboard and canvases. He was astounded by the result. But their art did not come like a bolt from the blue: for thousands of years Aborigines had been ‘painting' on the ground using sands of different colours, and on rock faces. They had also been decorating their bodies for ceremonial purposes. So there existed a formal vocabulary.

E. This had already been noted by Europeans. In the early twentieth century. Aboriginal communities brought together by missionaries in northern Australia had been encouraged to reproduce on tree bark the motifs found on rock faces. Artists turned out a steady stream of works, supported by the churches, which helped to sell them to the public, and between 1950 and I960 Aboriginal paintings began to reach overseas museums. Painting on bark persisted in the north, whereas the communities in the central desert increasingly used acrylic paint, and elsewhere in Western Australia women explored the possibilities of wax painting and dyeing processes, known as ‘batik’.

F. What Aborigines depict are always elements of the Dreaming, the collective history that each community is both part of and guardian of. The Dreaming is the story of their origins, of their ‘Great Ancestors’, who passed on their knowledge, their art and their skills (hunting, medicine, painting, music and dance) to man. ‘The Dreaming is not synonymous with the moment when the world was created.’ says Stephane Jacob, one of the organisers of the Lyon exhibition. ‘For Aborigines, that moment has never ceased to exist. It is perpetuated by the cycle of the seasons and the religious ceremonies which the Aborigines organise. Indeed the aim of those ceremonies is also to ensure the permanence of that golden age. The central function of Aboriginal painting, even in its contemporary manifestations, is to guarantee the survival of this world. The Dreaming is both past, present and future.'

G. Each work is created individually, with a form peculiar to each artist, but it is created within and on behalf of a community who must approve it. An artist cannot use a 'dream' that does not belong to his or her community, since each community is the owner of its dreams, just as it is anchored to a territory marked out by its ancestors, so each painting can be interpreted as a kind of spiritual road map for that community.

H. Nowadays, each community is organised as a cooperative and draws on the services of an art adviser, a government-employed agent who provides the artists with materials, deals with galleries and museums and redistributes the proceeds from sales among the artists.

Today, Aboriginal painting has become a great success. Some works sell for more than $25,000, and exceptional items may fetch as much as $180,000 in Australia.

'By exporting their paintings as though they were surfaces of their territory, by accompanying them to the temples of western art. the Aborigines have redrawn the map of their country, into whose depths they were exiled,* says Yves Le Fur. of the Quai Branlv museum. ‘Masterpieces have been created. Their undeniable power prompts a dialogue that has proved all too rare in the history of contacts between the two cultures’.