Toyota Corolla Hatchback 2019 price South Africa

To coincide with Toyota’s New Global Architecture, which adds new dimensions of styling, driving dynamics and performance, the world’s best-selling nameplate the Corolla, is being adopted for the Corolla Hatchback, replacing the Auris name.

 Toyota Corolla Hatchback 2019 Review

Interior overview

toyota corolla hatchback 2019

Toyota Corolla Hatchback 2019 prices in South Africa

Toyota Corolla Hatch 1,2T XS: R336 800
Toyota Corolla Hatch 1,2T XS CVT: R347 400
Toyota Corolla Hatch 1,2T XR CVT: R367 100

 

 

What are the Dam Levels in South Africa 2019

 

Dam Levels
Vaal Dam 
Percentage: 71%
Level:  19.93
Volume:  1852.8
Flow: 16
Rainfall: 23.2
Last update: 12 February 2019
Sterkfontein Dam
Percentage: 93.9%
Level:  79.62
Volume:  2458.6
Flow: 0
Rainfall: 22
Last update: 12 February 2019
Grootdraai Dam
​Percentage: 77.1%
Level:  24.75
Volume:  270
Flow: 2
Rainfall: 0
Last update: 12 February 2019
Bloemhof Dam
Percentage: 57.1%
Level: 15.19
Volume: 707.9
Flow: 21
Rainfall: 43
Last update: 12 February 2019
Vaal Barrage Dam
Barrage Level at 07h00 (m):7.55
Flow at 07h00 (m3 s): 37.793
Ave flow, day before (m3/s): 38.628
Min.flow, day before(m3/s): 37.614
Max. flow, day before (m3/s): 59.852
Rainfall, day before (mm): 0.0
Evaporation (mm): 2.0
Conductivity (mS/cm): 60.5
Lethabo River level (m):  2.51
Number of gates open: 2
Inches: 9″,13.5″
Last update: 15 February 2019​

Img crdedits: MG

The sugar daddy phenomenon has been listed as one of the factors that contribute to teenage pregnancy. This emerged at the presentation by the Department of Social Development of a study known as Factors Associated with Teenage Pregnancy in Gauteng.

Lack of parental guidance

The study suggests that issues of culture – where teenagers are subjected to family pressure; girls wanting to prove their womanhood and lack of parental guidance – also contribute to the rate of teenage pregnancy.

“In Gauteng it is basically the pressure in terms of the families. There’s pressure in the family such that children will want to go and enjoy themselves through sexual activity which results in pregnancy,” said Gauteng Social Development MEC Nandi Mayathula-Khoza.

The study surveyed some 500 pupils from across the province. Teachers and parents were also interviewed in focus groups to try and determine the main causes of teenage pregnancy.

It was found that some psycho-social factors contributing to the problem included youngsters seeking love as a result of lack at home.

“The teenagers are looking for love from older people who will actually provide them with money to buy stuff…,”said Mayathula-Khoza.

Source: ENCA

How to become a SETA Accredited Training Provider in South Africa

Requirements to become a SETA Accredited Training Provider:

The document Criteria and Guidelines to become a SETA Accredited Training Provider sets out the requirements for accreditation.

  • The programmes (and/or assessments) offered by the education and training provider must culminate in unit standards and/or qualifications registered on the National Qualifications Framework (NQF).
  • The curriculum (design, content and learning materials) is aligned to the unit standards and/or qualifications.
  • There are suitably qualified staff (facilitators and registered assessors).
  • The learners have access to adequate learning support services.
  • The assessment methods and tools used to measure the requirements for the unit standard and/or qualification are fair, valid and reliable, and are used to enhance learning.

training-accreditation-seta

The main steps in the accreditation process to become a SETA Accredited Training Provider:

  1. The Training Provider determines primary focus
  2. The SETA Quality Assurance Management Division requirements are compiled by the provider
  3. The Training Provider completes and submits an online application form for accreditation
  4. A compliance check is conducted by SETA and the provider receives a notification of compliance / non-compliance
  5. The Training Provider responds to the notification if necessary
  6. A site visit is scheduled and conducted by a SETA ETQA evaluator
  7. The evaluator sends his/her report to SETA
  8. The evaluation report is quality assured and the report indicating the status of accreditation is sent to the provider. Where applicable, areas of remediation will be detailed in the report.
  9. The Training Provider is required to respond to areas of remediation if necessary, and make the relevant submission.
  10. Confirm registration with the DHET>

Let us know if you interested in becoming a SETA Accredited Training Provider and we will contact you back!

SETA Accreditation is defined in the ETQA Regulations as

The certification, usually for a particular period of time, of a person, a body or an institution as having the capacity to fulfill a particular function in the quality assurance system set up by the South African Qualifications authority in terms of the Act

There are Education Training Quality Assurance bodies (ETQAs) in different sectors responsible for the accreditation of providers. Training providers would be accredited by one ETQA on the basis of primary focus. The provider would need to decide which ETQA sector the provider falls within and then which are the NQF standards or qualifications that it wishes to provide. The ETQAs have specific provider accreditation criteria that have to be met.

A provider wishing to offer a full qualification or part of a qualification should firstly identify the primary focus ETQA to which it belongs and the qualification/s and the associated unit standards that are registered on the National Qualifications Framework (NQF quality assured by that ETQA. The qualification/s will list the quality assuring body responsible for the quality assurance of the qualification/s and the associated unit standards.

Source: https://www.trainyoucan.co.za/become-accredited/

 

Against which programmes can I apply for accreditation?

Providers can apply for accreditation against unit standards and/or qualifications registered on the NQF and allocated to Services SETA Quality Assurance Management Division (SETQAA) for quality assurance purposes.

Length of time to achieve accreditation

We anticipate the accreditation process to take ten weeks. A provider will achieve provisional accreditation if the minimum (against SAQA’s eight core) criteria are met, their learning programmes are aligned to NQF registered unit standard/s and/or qualification/s and their assessors and moderators have been awarded constituent registration for the learning programmes to which they are linked.

Cost of accreditation

Services SETA does not charge for accreditation. To help providers understand the application for accreditation documentation, the SETQAA has trained a group of internal and external consultants who will sit with providers at their premises for a maximum of two hours to answer questions. The consultant will not complete the documentation for the provider, but will assist the provider in understanding the requirements of the SETQAA. There is no fee charged to the provider.

If you use an external consultant to help you achieve accreditation the cost thereof will be privately contracted between you and the consultant.

Read more

Johannesburg Water Quotations Requests for 2019 – Submit Yours

With effect from 01 July 2016 all suppliers should be registered on the Central Supplier Database (CSD). It should be noted that the registration on the CSD will be a prerequisite for all suppliers to do any business with Johannesburg Water in particular and any other spheres of government at large. Suppliers are therefore urged to register on the CSD in order to avoid delays in any procurement initiatives and payment processes with Johannesburg Water.

NOTE : Quotations will be evaluated on the 80/20 point scoring system. 80 points will be allocated to the price and the remaining 20 will be allocated for the BBBEE and preferential procurement.

DOWNLOAD : REQUESTS FOR QUOTATIONS CONDITIONS (RFQ T&Cs)

2019 Quotations Request

 

Preview Ariana Grande Thank u Next 2019 album

Thank U, Next (stylized in all lowercase) is the fifth studio album by American singer Ariana Grande, released on February 8, 2019, by Republic Records. Following the release of her previous studio album Sweetener (2018), Grande began working on a new album in October of the same year, enlisting writers and producers such as Tommy Brown, Max Martin, Ilya Salmanzadeh and Andrew “Pop” Wansel. The album was created in the midst of personal matters, including the death of her ex-boyfriend Mac Miller and breaking up with fiancé Pete Davidson.

Listen to Thank U, Next (tracklist)

Buy Album from Itunes

Joyous Celebration 23 DVD and CD are expected to be available to the shops just around easter time.

Watch Joyous Celebration 23 Highlights

Joyous Celebration 23 Song List

1. Awesome God By Zofo

2. Yifune Inkosi by Sne

3. Wonginik’ umvuzo by Mabusi

4. Bitso la hao By Andiswa

5. Uyamangalisa by Nomthi

6. Ngamthola by Mnqobi

7. Thabang Lenyakalle by Given Mabena

8. Yesu wena by Esethu

9. Kolomhlaba by Siyakha

10. Sebenzel’izulu by Kholiwe

11. Unguthixo by Khaya Sibanyoni

12. Jesu wakanaka by Eric Moyo

13. Njalo umile by Sbu Noah

14. Skansheba wanyatsa by sefako

First of all, Tim Godfrey is a musical director, who is the epitome of the musical ideas of Kirk Franklin. He is a voice instructor, writer, arranger, presenter, conference speaker, producer, multi-instrumentalist and musical concert clinician legit.ng

Watch Tim Godfre’s Narekele Mo Music Video Here

Narekele Mo Lyrics and English Meaning

Intro]
Chukwu oma meh (English meaning – My Good God)
Lord we lift you up
Onyeoma meh (English meaning – Good person)
Nara ekele m jiri bia (English meaning – Take the thanksgiving that I come with)


[Verse]
He’s done so much for me
I can not tell it all
Nara ekele mo (English meaning – Take my thanksgiving)
If I Had ten thousand tongues
It still won’t be enough
Nara ekele mo (English meaning – Take my thanksgiving)
Chukwu na gwom o ria le (English meaning – God that heals  my sickness/Disease)
when You heal You heal completely
Nara ekele mo (Take my thanksgiving)
Chukwu mara obim o (God that knows my heart)
isi ikendu le (Living water)
Nara ekele mo (Take my thanksgiving)

Learn more about who Tim Godfrey really is

[Pre-chorus]
What shall I render to Jehovah?
For he has done so very much for me, eh
What shall I render to Jehovah?
For he has done so very much for me
Eh

[Chorus]
Nara nara e, Nara ekele (English meaning – Take, take, take thanksgiving)
Nara ekele mo (English meaning – Take my thanksgiving)
Nara nara e, Nara ekele (English meaning – Take, take, take thanksgiving)
Nara ekele mo (English meaning – Take my thanksgiving)
So we lift you up Jesus (Lift you up Jesus)
Glorify your name, heh
To you be all the worship and praise
Forever and ever
Uhh, wuuh

[Verse]
He’s done so much for me
I can not tell it all eh
Nara ekele mo (Take my thanksgiving)
If I Had ten thousand tongues
It still won’t be enough Jesus
Nara ekele mo (Take my thanksgiving)
Chukwu na gwom o ria le (English meaning – God that heals my disease/sickness)
when You heal You heal completely
Nara ekele mo (English meaning – Take my thanksgiving)
Chukwu mara obim o (English meaning – God that knows my heart)
isi ikendu le (English meaning – Living water)
Nara ekele mo (English meaning – Take my thanksgiving)

[Pre-chorus]
What shall I render to Jehovah?
For he has done so very much for me
What shall I render to Jehovah? (What shall I render? o o o)
For he has done so very much for me (He has done so…eh)
Eh

[Chorus]
And so we sing Nara nara
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)
We say nara nara
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)
We lift you up, we sing nara
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)
(All the glory belongs to you Jesus)
(Nara nara)
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)
(Nara ekele m jiri bia)
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)
Nara nara e, Nara ekele (Take, take, take thanksgiving)
Nara ekele mo (Take my thanksgiving)

[Outro]
What shall I render to Jehovah?
For he has done so very much for me
What shall I render to Jehovah?
He has done so very much for me

Buy the song

Matildie Thom Wium, University of the Free State; Douglas Scott, University of the Free State, and Lance Phillip, University of the Free State

In the following discussion, three academics explore whether it is the duty of the artist to lend to music’s survival by creating mass appeal. This is a recurring question in contemporary music review, both locally and abroad, and has been the subject of two recent monographs. David Stubbs’ Fear of Music looks at the avant-garde in music, and Alex Ross’ All the Rest is Noise explores the 20th Century in music.

While the present discussion does not aim to resolve the debate, it may give some insight into the dilemma faced by artists as they grapple with the sometimes conflicting goals of acceptance by their peers and appeal to the public.

Lance Phillip: the duty of the artist

Two key questions stand out:

  • Is it the function of organisations to merely provide a platform for performances of compositions of very diverse styles?
  • Is it the moral and artistic duty of composers themselves to ensure the survival of the craft by making music appeal to a wider audience, by means foul or fair?

Is there anything wrong with explicitly stated musical agendas? Or should new music – contemporary music that pushes the boundaries – be left untainted, competing with the canon, to say nothing of the myriad of traditional and popular musics that hold the attention of our audiences before all else?

These positions all have spokespersons that unashamedly profess their virtues. But perhaps new music suffers from perceived elitism because of the continued reticence to define, defend or at least explicate in stronger terms the fantastical, seductive and subjective qualities of much of the music played during the New Music Indaba 2015 in South Africa.

The sheer passion, energy, and magnetism of the various compositions on offer, played so marvellously, contrast markedly with the cold and occasionally resigned view outside the concert hall that it is somehow not proper that “new music” should dazzle and charm as well as impress intellectually.

Even though, thankfully, the quality of the music itself rose above this, it seems that Theodor Adorno’s old Schoenberg-Stravinsky debate is still alive and well.

Douglas Scott: innovation and novelty is not enough

One way to answer these questions is to go back to Milton Babbitt’s famously outrageous (and somewhat misquoted) statement:

Who cares if they listen?

Babbitt was rejecting the notion that the academic study of music should necessarily be accessible. If we don’t judge neurosurgeons or physicists on the basis of their popular appeal, why shouldn’t we judge serious art by the artistic merit alone?

Yet herein lies the problem. A neurosurgeon’s work can be tested against alternative treatments, and the physicist’s against a null hypothesis. What is the composer to be tested against if not the raw appeal of their work? There are the counter-examples of the mathematician and the philosopher. Their works are principally judged by their peers with often only the faintest nod to practical, real world applications.

In the case of pure and applied mathematics, though, the practical and intellectual often collide. Similarly, works such as Ravel’s Bolero and Saint-Saëns’s Carnival of the Animals are good examples of the same in music. These “fun” works by “serious” composers nevertheless became the works they are known for by the public at large, much to the horror of the composers.

Popular music, meanwhile, is often suffused with catchy tunes by great masters. At the same time, popular bands such as Led Zeppelin and The Beatles sometimes engaged in rather extreme experiments.

In order to escape the dilemma, then, composers must compose in such a way as to present new and fresh ideas to excite their colleagues – but in a way that is nevertheless palatable enough to excite emotion other than only bewilderment. Innovation and novelty are not enough. Experiments can also be beautiful.

And what then of the audience? Would it be acceptable for a connoisseur to accept boxed wine and a cheap cheeseburger at a fancy dinner? Audiences must be taught to recognise that there is absolutely such a thing as bad music, every bit as much as there is bad food and bad novels.

There is increasing empirical support for the notion of healthy music in this purely sanitary sense, specifically through increased activation of neural pathways in music that lends itself to perceptual processing. More research is necessary though, as always.

Matildie Thom Wium: the connection between taste and morality

I agree with Douglas that some accommodation must take place, but I find I regard the introduction of the concept of ‘bad music as a vice’ with some scepticism. This idea seems to imply a connection between taste and morality.

Roger Scruton is a noted proponent of such a connection, writing in his The Aesthetics of Music that “by displaying my tastes, I display my soul”, and he has written a straightforward defence of elitism – an important issue to explore as far as new music is concerned, and one that clearly underlies the present debate.

I also agree with Lance that a targeted educational approach is needed for events such as the new musical festival recently held in South Africa. This could go some way to mitigating the esoteric perceptions that create distance between new music and its potential audiences.

My view is that it is fundamentally unethical to regard tastes that require expensive education to cultivate as more virtuous than cheap ones. They may, however, be more rewarding than cheap ones, and therefore it is imperative that education and dissemination of new music, next to its celebration and advancement, should continue to be central foci of the events such as the Indaba.The Conversation

Matildie Thom Wium, Senior Lecturer of Music, University of the Free State; Douglas Scott, PhD Candidate, University of the Free State, and Lance Phillip, PhD Candidate, University of the Free State

This article is republished from The Conversation under a Creative Commons license. Read the original article.