PROSPECTUS

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2 NATIONAL EISTEDDFOD OF SOUTH AFRICA PROSPECTUS Copyrighted NEA 2018 (This document may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.) Developing Youth in the Arts since 1997

3 Contents PART OVERVIEW... 1 Message From The Chairperson Of The Board Of Directors... 2 Mission Statement... 3 National Eisteddfod Academy: An Overview... 4 Adjudicators Forum Program Of Events For Entry Fees And Closing Date For Entries In Other Fees And Charges For Contact And Banking Details RULES AND REGULATIONS Aspects To Consider With Entries Grading And Age Submission Of Entries Entries On Entry Forms Online Submission Of Entries Closing Date For Entries Late Entries Adjudication Own Choice Maximum Duration Of Performances Definition Of Phases Duplicate Entries Of The Same Item Scheduling Of Events Special Requests How And Where Will The Performances Take Place? Special Entries Guidelines For Participants & Parents Requirements For Submitting A Recorded Performance ACKNOWLEDGEMENT OF ACHIEVEMENT Certificates & Diplomas Additional Regional Awards Nea Young Performer Awards Competition Guidelines For The Evaluation Of Eisteddfod Awards Nea Young Performer Awards Competition Previous Winners PART NEA CONFIDENCE BUILDER PART INDIGENOUS SOUTH AFRICAN ARTS What Is Indigenous Art? Is An Indigenous African Arts Category Necessary? Categories, Item Numbers & Descriptions Music And Dance Section Oral Tradition Section Home-Grown Music & Dance Contextualising Indigenous Arts I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA 2018 i

4 NOVICE & ELEMENTARY LEVEL MUSIC SECTION Instrumental Music Novice & Elementary Level Explanatory Notes, Rules & Definitions Instrumental Codes: Novice And Elementary Level... Error! Bookmark not defined. Classical : Novice Instrumental Item Codes Elementary Level: Instrumental Item Codes PART CHORAL MUSIC SECTION Choral Music Choral Music: Rules And Regulations Summary Of Codes For Classical Choral Music Classical Crossover Choir Music Rules And Guidelines: Crossover Music Codes For Crossover Choir Music Contemporary Choral Music Rules And Guidelines: Contemporary Music Codes For Contemporary Choir Music PART VOCAL MUSIC SECTION Vocal Music Classical Vocal Music Classical Crossover Music Summary Of Codes For Vocal Solos & Vocal Ensembles Contemporary Vocal Music Summary: Codes For Contemporary Vocal Solos /Ensembles PART INSTRUMENTAL MUSIC SECTION Instrumental Music Explanatory Notes & Definitions Classical Music Classical Crossover Style Contemporary Music CLASSICAL INSTRUMENTAL MUSIC Rules And Guidelines For Classical Music Codes For Classical Instruments Classical Categories CLASSICAL CROSSOVER MUSIC Rules And Guidelines: Crossover Music Summary Of Crossover Instrumental Codes Classical Crossover Instrumental Categories CONTEMPORARY INSTRUMENTAL MUSIC Rules And Guidelines: Contemporary Music Summary Of Contemporary Music Codes For Instruments Contemporary Instrumental Categories PART DANCE SECTION Dance Section: Rules And Regulations Codes For Various Dance Categories / Styles I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA 2018 ii

5 Dance: Category Descriptions PART SPEECH AND DRAMA CATEGORY Rules And Guidelines Summary Of Codes: Speech & Drama / Movement & Mime Prose Choral Verse Poetry Performance Theatre Performance Guidelines For Monologue Guidelines For Puppet Theatre Guidelines For Reading Prepared Reading Skills (Poetry Or Prose) Public Speaking Guidelines For Public Speaking Guidelines For Debating Story Telling Improvisational Theatre Movement & Mime Theatre PART CREATIVE WORK Explanatory Notes, Rules & Definitions Creative Work Music Compositions Literary Work Fine Arts Fine Arts Design Photography Traditional African Arts & Craft Part Participants With Different Abilities Deaf And Hard Of Hearing Sections And Item Numbers For Deaf And Hard Of Hearing Intellectually Challenged Participants Blind And Partially Sighted, Physically Disabled And Learning Disabled Participants Music Theatre Music Theatre Categories Summary Of Codes For Solo Items, Ensembles & Groups Part 13: Registration, Entry Forms Entry Fees And Closing Date For Entries In Hard Copy Entry Fees National Eisteddfod of SA - Registration Form Nea Confidence Builder Special Request Form 2018 For Individual Participants Entry Form For Multiple Individual Entries With The Same Item Number Medium / Large Group Entry Form For Special Requests For Institutions I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA 2018 iii

6 -2015 PART 1: Overview Copyrighted NEA 2018 (This document may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.) I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

7 MESSAGE FROM THE CHAIRPERSON OF THE BOARD OF DIRECTORS The National Eisteddfod Academy (NPC), a registered Non Profit Company established in 1997, is an arts development platform for young and young at heart performers. In order to provide impetus and clarity to the vision of the organization, the NEA successfully registered the name National Eisteddfod of South Africa as a trademark. This project offers various opportunities to performers in all communities for participation, development and showcasing of their talents in music, dance, theatre and fine arts. The NEA was created in the sincere belief that access to, participation in and enjoyment of the arts and cultural expression are not only luxuries or the privilege of certain parts of the community: Access to and participation in the arts are basic human rights, rooted in freedom of expression and creative thought. The arts, therefore, have a vital role to play in nation building and the well-being of our people. This is echoed in the words of our late national patron Mama Albertina Sisulu when she said: My great desire throughout my life has been for a better life for the children of this country, this continent and indeed the whole world. Some people might still argue that sporting events are of equal importance as enabler of human development. However, it stands to reason, that none of the attributes of sport has a stronger impact on the personal growth of individual participants, than those of the arts. The essence of arts requires of the participant to expose his sole to people. Exposing and giving of himself, results in a vulnerability that the performer has to overcome and control to establish confidence and belief in himself. In the eisteddfod context, it provides him with affirmation of his value as human being and fulfils the basic need for respect and recognition. In essence, this is the magic of the arts. It is the sincere believe of the NEA that the National Eisteddfod of South Africa will continue to make a difference in the lives of many more people, young and old, building trust and understanding between communities and in elevating the status of achievements in the arts. We wish every participant and supporter many magical moments in their involvement in the arts during WSJ VAN WYK CHAIRMAN 01 May 2018 I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

8 NATIONAL EISTEDDFOD ACADEMY MISSION STATEMENT The Vision of the NEA is to become the National Eisteddfod Platform of choice where the youth can participate and celebrate in the magical experience of the arts. The Mission of the NEA is therefore to establish the National Eisteddfod of South Africa as the most important national platform to: drive youth development in and through the arts, by unleashing the artistic potential of learners, guided by clearly defined values: o Passion and compassion o Integrity and credibility o Inclusiveness o Respect for the unique disposition and potential of each participant o Awareness and pride of our multi-cultural diversity; utilize the unique power of the performing arts to build confidence and self-esteem in the youth; empower educators to prepare learners for participation in the arts. GOVERNANCE STRUCTURE Board of Directors Mr. John Baloyi Ms. Charlotte Khoza Mr. Dan Lefoka Mr. Hans Mostert Dr. Francois van den Berg (Chief Executive Officer) Mr. Johan van Wyk (Chairman) I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

9 NATIONAL EISTEDDFOD ACADEMY: AN OVERVIEW Background to this project The National Eisteddfod Academy (NEA) is a registered Non Profit Company that kindles youth development through participation in the performing arts on a multi-cultural level in schools and communities in various provinces. In campaigning for the importance of the arts in education the NEA has since 1997 emphasized the importance of participation in the arts in the development of human potential and building bridges between communities. Since 1997, more than 489,000 youths were involved in the various activities of the NEA. The NEA has established and developed the traditional eisteddfod into a no limitations programme that targets the youth in various communities, providing them with opportunities to participate, grow, gain experience and showcase their talents. This programme comprises of various interlinked projects, including Opportunities to perform at an annual Eisteddfod where the youth can participate and develop in the various arts disciplines. Support to rural and township schools in particular, where teachers do not always have the necessary specialized skills to support the development of learners in the arts. Opportunities to showcase their talent at the NEA Young Performer Showcase events (concerts) in various regions where top achievers, as identified during the annual Eisteddfod, can perform. The National Eisteddfod Academy Young Performer Awards Competition that provides a higher level prestigious platform for top achievers in all regions to participate and compete. All the eisteddfod activities as presented by the NEA are rooted in the basic human desire 1 for esteem and recognition. By combining the magic of the arts and this basic need, the NEA has developed the eisteddfod concept over the past 16 years into a powerful tool that supports the personal growth of participants. The NEA program includes Music (classical and contemporary), Dance, Drama and Visual Arts, and also provides for learners with different abilities (e.g. the Deaf and Hard of hearing, learning disabled, blind and partially sighted, physically and mentally handicapped). With the support of funding received from the NLDTF, NAC, and others, many learners from underprivileged communities were afforded opportunities to grow and participate in this process. As a result of these activities the participation of learners from these communities has increased significantly over recent years (e.g. 30% increase in 2012), bringing peoples from different communities together, building bridges between communities and contributing towards Nation building. In simple terms an eisteddfod 2 can be described as a number of music, dance, or drama shows for which anyone may enrol and where individual participants or groups are provided with feedback on their performances by experienced adjudicators in the relevant disciplines. The rating of the candidate is then expressed in different levels of awards (diploma, gold, silver, bronze, etc.), which indicates the candidate s progress in terms of his own knowledge, skills and understanding relevant to the particular genre. It is not only the very talented performer that would derive value from this program. Even the so-called mediocre or untalented performer who is often not exposed to opportunities of this nature, will in particular benefit from participating in this process due to the impact of arts activities on personal development and growth. An important 1 This desire is one of the basic needs as described by Abraham Maslow in his 1943 paper A Theory of Human Motivation. Since then this theory has been generally accepted by behavioural psychologists to describe the way in which human beings behave. 2 A traditional Welsh festival at which competitions are held for performers and composers of music and poetry (Encarta). I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

10 consideration in any project that eventually seeks to develop interest in the arts, is that this process should start at a young age. Someone that grew up without any interaction or exposure to this is very unlikely to value and appreciate arts in adulthood. With this in mind, this eisteddfod process operates on two levels: For the talented learner (who might follow a career in the arts) it provides an opportunity for expression and growth in a selected art form. For the majority of participants (who might not pursue a career in the arts), the eisteddfod process itself builds self-confidence, assertiveness and the courage to take a stand in this world. The annual Eisteddfod, Young Performers Showcase and NEA Young Performer Awards Competition provide platforms which otherwise would be absent in most communities. These events bring culture to the doorsteps in various communities where they provide opportunities for young performers in the various art forms to participate, grow, gain experience and showcase their talents. ORGANISATIONAL OVERVIEW AND PROFILE 3.1 Historical background The National Eisteddfod Academy (NEA) developed out of the Randburg Eisteddfod, a local initiative that was founded in 1994 with the purpose of addressing the increasing cost of participating in similar activities outside the region. About 2000 entries, involving 6200 participants were received during this first year. Expansion to other regions (Tembisa and Soweto) resulted in a rapid increase in numbers (4615 entries in 1995). Right from the start a very low entry fee was charged and the remains of the operating cost was covered by means of trophy sponsorships. This growth resulted in a decision to establish a national body to coordinate the expansion into other regions and subsequently the National Eisteddfod Academy (NEA) was established as a non-profit (Section 21) company in 1997 with Minister Fraser-Moleketi as National Patron. The launch of the Di Konokono Festival concept, with Mama Albertina Sisulu as patron in May 2001, was a further attempt to bring culture closer to the doorsteps of all our people. This resulted in a 52% growth in the number of participants in the period (from 13,035 to 19,765) it is important to note about 60% of these entries had to be sponsored. The impact of the rapid expansion of the organization on the human resources and systems of the organization was tremendous. Over and above the lack of funding to support the existing operations, more staff was needed to cope with the increasing workload. It was clear that the NEA could not continue operations without drastic changes. It was subsequently decided to restructure operations into two components, i.e. a sustainable Business leg (where participants pay for what they get) and a developmental Social Investment leg (where support is provided to the less fortunate in all communities), but only when the necessary funding was available. This approach had a significant impact on the overall fee structure of the eisteddfod and resulted in a decrease in the number of entries. However, it created a clear structure with clearly defined and new opportunities for sponsors to make a quantifiable and verifiable difference in the lives of children. Needless to say, the NEA survived those difficult days and managed to continue operations until 2008 when similar circumstances resulted in similar measures to keep the organization buoyant. It then became clear that parents were prepared to pay a much higher fee because they actually wanted the service the NEA was providing. NEA eisteddfod had become a powerful tool that supports the personal growth of participants by combining the magic of the arts and the human desire to be of significance. This power was the reason why parents and teachers were prepared to spend hours in preparing learners for participating in the eisteddfod, rushing from one venue to another, sometimes listening to countless presentations of the same poem and yet do it again next year! A R3.4 million grant received from the National Lottery Distribution Trust Fund for the period brought stability and the opportunity to provide opportunities to learners in less-serviced communities. I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

11 3.2 Achievements and awards The National Eisteddfod Academy has been recognised by UNESCO as one of the Cooperating Organizations in terms of the Constitution of the South African National Commission for UNESCO. The Di Konokono Festival has been endorsed as one of the programmes of the Culture Sector at the Second Post Conference Meeting of the South African National Commission for UNESCO in concluded a Constructive Partnership Agreement with the Department of Education. Other provinces also indicated an interest in similar agreements with the NEA in order to promote arts and culture. has been appointed by the MEC for Education as a member of the Education and Training Council, an advisory body to the MEC. was the winner of a Deaf Awareness Award in the category Corporate and Organizations, presented by the Johannesburg Rotary Club. The Rand Water sponsorship of the Di Konokono Festival 2001 was one of the finalists in the annual BASA / Business Day Awards. Gensec s support of the Randburg branch of the Di Konokono Festival 2003 was the winner in the category Sponsorship in Kind in the BASA / Business Day Awards for was accepted as member of the Proudly South African Campaign. The mentor of the CEO won the annual BASA / Business Day Mentorship Award for her support to the NEA in A major achievement of the NEA was to develop a business model that could be sustained in the absence of any sponsorship as was the case in The major challenge is that in the absence of the necessary sponsorship, it is not possible to provide youths from disadvantaged communities with opportunities to participate in this powerful developmental programme. 3.3 Description of the activities of the organisation The annual National Eisteddfod is an inclusive platform that involves aspects such as Prospectus development, submission and processing of entries, as well as the actual preparation, presentation and adjudication of performances. National Eisteddfod Academy Festival Is presented annually during August - October in various centres. Provides an open platform for talented youths to showcase their talent. Is adjudicated by members of the Adjudicators Forum. Acknowledges each participant s achievements by means of feedback and certificates. Showcases identified talent at various regional gala events. Acknowledges top achievers at the Showcase concerts with awards (certificates, medals, trophies). When the necessary funding is available, as was the case with the NLDTF funding , the NEA takes this platform to the doorstep of any interested school, providing much needed training to educators in the arts. Teachers, particularly at rural and township schools, do not always have the necessary specialized skills to support the development of learners in the arts. The Young Performers Showcase events provide opportunities in the various regions where top achievers, as identified during the annual Eisteddfod, can perform. An important feature of each Young Performers Showcase is the award ceremony where the achievements of participants in each region of the Eisteddfod are acknowledged. The certificates, medals and other awards that are presented at these events provide a strong incentive to young performers and create greater awareness of the arts. The National Eisteddfod Academy Young Performer Awards Competition provides a prestigious platform where the best young performers in all the various regions of the National Eisteddfod from the preceding year can come together and participate, compete and showcase their talents, across the full spectrum of artistic and cultural diversity. The activities of the NEA Adjudicators Forum are the life blood of the NEA. It provides a platform for deliberations, discussions and training regarding the adjudication of the performing arts. The Adjudicator s Forum set guidelines and criteria for adjudication, set and maintain a Code of Conduct for members and provide training to aspiring adjudicators and educators. I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

12 4. The challenge A review of the current position regarding access to and skills level in the arts reveals the following challenges Marginalized state of the arts Although the new curriculum for our country gave recognition to the Arts as an area of knowing, the lack of funding for the arts still highlights the continued marginalized state of the arts. Historic imbalances necessitate additional funding and additional training in order to include and support the development of learners from disadvantaged areas up to a national level. Historic imbalances The legacy of the past is still evident in the huge imbalance between the performance level in the arts of learners from town / private schools and learners from township areas. The challenge remains to address the disadvantaged position of learners from previously disadvantaged areas in comparison with learners in private and town schools by exposing them (including learners with special educational needs) to the magic of the arts through and participation in arts activities at their doorstep, including elements of the arts not always available in these schools. Potential for growth Without funding many talented historically disadvantaged learners will remain marginalized with regards to participation and involvement in the arts. Although there is an abundance of talent amongst these learners, they are not able to participate on equal footing with learners from more advantaged communities. Experience has shown that their achievements are on par with other learners in their age group when attending town or private schools where learners often attend extra-curricular classes in the arts or are trained by staff members of the school with the necessary knowledge and experience. Low skills level of educators Teachers in rural and township schools do not always have the necessary specialized skills to support the development of learners in the arts. The low skills level, lack of formal qualifications in the arts and lack of motivation of many teachers or potential adjudicators from previously disadvantaged communities remains a challenge. Divided community Interaction between advantaged and previously disadvantaged communities is of the utmost importance to build trust and understanding, and to support nation building. Now, almost 15 years into our new democracy many communities still exist in silos with no contact or outreach to others. A possible solution to the problem could be provided by a project that creates a platform for youths to showcase their potential and by so doing identifies talented learners, utilizes the magic of the performing arts to develop skills and self-esteem in learners, builds the community through exposure and involvement in arts and culture activities. The NEA has focused strongly on these issues over recent years and has critically and creatively developed and aligned the National Eisteddfod Academy in order to address the problem from various angles. To rectify this would surely not be an once-off event, but an ongoing process. It also does not make sense to address these problems in isolation. The activities of the National Eisteddfod Project are ideally structured to make a meaningful contribution in this regard. Governance structure & staff A representative Board of Directors, appointed at an Annual General Meeting, determines the strategic direction of the association. A fulltime Chief Executive Officer and an administrative office manage the day-to-day operation of the organization. Additional temporary staff members and assistants support the annual roll-out of the festival in the various areas. Programmes and projects Core activities of the NEA in this regard include: I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

13 o o o o o o Prospectus development. Processing of entries. Scheduling of events. Scheduling of adjudicators. Processing of results. Acknowledgement of outstanding achievements at regional gala events. Eisteddfod activities in 2015 attracted more than entries from, Limpopo, Mpumalanga, Kwa-Zulu Natal, Eastern Cape, Northern Cape, North West, Free State and Mozambique, involving almost individual participants. The NEA Prospectus provides the guidelines for participation in the annual NEA Eisteddfod in all art forms (music, drama, dance and visual arts), providing for all 11 Languages and Sign language as well as learners with different abilities over the whole spectrum (including very talented participants to the Learning disabled, Blind and Partially sighted, Physically handicapped and Mentally challenged participants). The NEA also published an Anthology, with examples of prescribed poetry in all our official languages. Adjudicators Forum The Adjudicators Forum serves the development of aspiring adjudicators and the establishment of child-centeredness and uniformity in adjudication standards. NEA Showcase Concerts These events provide opportunities in the various regions where top achievers, as identified during the annual Eisteddfod, can perform. An important feature of each NEA Showcase Concert is the award ceremony where the achievements of participants in each region of the Eisteddfod are acknowledged. The certificates, medals and other awards that are presented at these events provide a strong incentive to young performers and create greater awareness of the arts. National Eisteddfod Academy Young Performer Awards Competition This is a platform where the best youth performers as identified during the preceding year, can compete and showcase their talents in music, dance and drama. Initially launched in 2004 as a next level of participation for diploma winners in the various regions of the National Eisteddfod and Dikonokono Festival, this competition is also open for top achievers in all other existing eisteddfods and festivals. Recipients of diploma awards (90% and higher) in all eisteddfods and festivals during the previous year are invited annually to enter for the NEA Young Performer Awards. Since the first year, more than 1000 participants have entered this event annually. A process of preliminary and semifinal events adjudicated by a panel of adjudicators, culminates in the final National Eisteddfod Academy Young Performer Awards Competition where the selected finalists compete for cash prizes and bursaries. NEA Arts Development Project The NEA Arts Development Project (previously known as the Dikonokono Arts and Culture Festival) is the developmental arm of the NEA that takes culture to the doorstep of any interested school. Teachers, particularly at rural and township schools, do not always have the necessary specialized skills to teach learners in the arts. Subsequently, many talented learners in these schools often do not have the opportunity to develop their artistic ability. With the support of funding from sponsors like the NLDTF, NAC, ACT and RMB this project supported schools in previous years by: Exposing learners (including learners with special educational needs) in rural and other communities to the magic of the arts through training and participation in the arts. I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

14 Providing exposure to talented learners in the various arts disciplines and supporting their development through participation in the annual Eisteddfod and the NEA Showcase Concerts during August October, as well as the annual NEA Young Performer Awards Competition. Providing training and support to educators in the arts and culture learning area. Motivating young performers through the acknowledgement and showcasing of their achievements. Fostering awareness and pride of our multi-cultural diversity. Any school may apply to participate in the NEA Arts Development Project. Previous disadvantaged schools or schools with previously disadvantaged learners may also apply for financial support. This project supports schools to create opportunities where learners can participate in an arts festival at its own doorstep. This normally takes place outside the timeframe of the annual National Eisteddfod (Sept Oct). A custom-made project plan for each institution regarding content, time-frame, etc. will be developed once their application has been approved. Services provided in this regard include the following: Processing of entries. Scheduling of events. Processing of participation slips and report forms. Printing of certificates. Presenting of training workshops for educators. Support with management plan for the event. Moderating of standard of adjudication. The participating school should provide the following: Venues and sound equipment (if required), as well as the Staff component to manage the event internally. Adjudication could be done by identified teachers from the school. The annual Eisteddfod, NEA Showcase Concerts and NEA Young Performer Awards Competition bring culture to the doorsteps in various communities where they provide opportunities, which otherwise would be absent in most communities, for young performers in the various art forms to participate, grow, gain experience and showcase their talents. Albertina Sisulu (National Patron: Dikonokono Festival ) & Malele Petje (CEO: Department of Education) at the signing of the Constructive Partnership Agreement between GDE and the NEA on 12 August 2002 I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

15 Present and Past Sponsors and Partners The National Eisteddfod Academy acknowledge with great appreciation the following sponsors and partners that supported and enabled the founding, development and growth of the organization as a vehicle for youth development in the arts. SPONSORS 2018 National Lottery Commission for the NEA Music, Dance and Theatre Development Project SPONSORS 2015 National Lottery Commission for the NEA Indigenous Arts Development Project Roodepoort Theatre SPONSORS 2014 Artslink.co.za Roodepoort Theatre SPONSORS 2013 Artslink.co.za Arts and Culture Trust PRINCIPAL SPONSOR National Lottery Distribution Fund OTHER SPONSORS AND PARTNERS Artslink.co.za National Arts Council Rand Merchant Bank Department of Education Damelin College Bramley Academy College Business and Arts South Africa UNISA Music Foundation Ekurhuleni Metropolitan Council T.I.M.E. Southdowns College St. Andrew s School for Girls RMS Randfontein Rural Development Project Primedia Lifestyle Pieter Jacobs Vukile Property Fund Partnerships Department of Education The National Eisteddfod Academy has signed a constructive partnership with the Department of Education in August This partnership accepts that the various disciplines in arts and culture constitute unique ways of knowing which should be developed in all learners. Consequently, exposure to and involvement in arts and culture activities is the right of each and every learner. Given the pressure on our limited resources, it is also accepted that we should take hands in sharing resources and know-how in order to achieve these goals for the benefit of all learners. Therefore it was agreed that the activities of the National Eisteddfod Academy should in no way be seen as being in competition or opposition with any other programme of the Education Department. The strategic objective of this partnership is to support the Department of Education in creating opportunities for development in and exposure to arts and culture for each and every learner in in order to: Expose and develop learners in the various art disciplines in order to tap on hidden talent Create an awareness of arts and culture values in schools and communities Develop educators through active involvement in arts and culture programmes Develop awareness of career opportunities in arts and culture Promote equity and redress imbalances of the past in arts and culture activities Promote awareness and pride of our multi-cultural diversity. I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

16 ADJUDICATORS FORUM The Adjudicators Forum is an activity of the National Eisteddfod Academy, founded with the vision to strive for the upliftment of the self and community through the education and celebration of the performing and creative arts. The Adjudicators Forum achieves this by providing a platform for deliberations, discussions and training regarding the adjudication of the performing arts. In doing so the Adjudicators Forum acts as representative body to safeguard and promote the interest of the individual adjudicators and participants alike. The objectives of the Forum are to: manage the activities of the Forum in a way beneficial to the arts in general. set guidelines and criteria for adjudication. set and maintain a Code of Conduct for members. provide support to the NEA regarding adjudication, relevant procedures and syllabi. advise the management of the NEA regarding the appointment of adjudicators. provide training to aspiring adjudicators and educators. Membership of the forum is open for all citizens of the Republic of South Africa and any interested individuals may apply for membership. For more information contact the NEA Office or send an to edu@eisteddfod.co.za. Mr Ismael Mahomed Adjudicators Panel NEA Awards 2013 Mr Dan Lefoka NEA Board Member and Music Adjudicator I n t r o d u c t i o n a n d O v e r v i e w - Copyrighted NEA

17 PROGRAM OF EVENTS FOR 2018 NATIONAL EISTEDDFOD OF SOUTH AFRICA : REGIONAL ACTIVITY DATES FOR 2018 Proposed Activity Dates 2018 : Broad time frame: 13 Aug 12 October 2018 Detail of CURRENTLY available REGIONS / LOCAL AREAS PROVINCE SHOWCASE REGION LOCAL AREA Proposed Activity Dates for 2018 Showcase event 2018 Benoni / Boksburg Etwatwa Kathlorus 12 Sep 6 Oct 1 & 2 Nov Kemptonpark Roodepoort Theatre Springs Tembisa? Alexandra Auckland Park Bedfordview Benmore Glenvista Greenside 1 & 2 Nov Houghton 13 Aug 6 Oct Roodepoort Hyde Park Theatre Lenasia Melville Norwood Parktown Sandown Soweto? Blairgowrie Bryanston Dainfern Fairland Ferndale Gr. 0 3 (1 & 2) Fontainebleau 27-Oct Fourways 13 Aug 6 Oct Gr. 4-7 Kayalami 26 & 29 Oct Linden Seniors Lonehill 31 Oct Midrand Roodepoort Northcliff Theatre Sharonlea? Eastern Joburg Central/South Joburg North Centurion Pretoria 13 Aug 2 Oct Soshanguve Tshwane? Northern 12 Nov (proposed date) Heidelberg Vanderbijlpark 5 7 Sep To be confirmed Vereeniging? Southern D a t e s

18 PROVINCE SHOWCASE REGION LOCAL AREA Proposed Activity Dates for 2018 Showcase event 2017 Fochville Little Falls Merafong City Mogale City Muldersdrift 31 Aug 29 Sep 24 Oct Randfontein Roodepoort Roodepoort Theatre Ruimsig Weltevredenpark Westonaria? International International Maputo 30 Aug 1 Sep To be confirmed Kwazulu Natal Kwazulu Natal? Limpopo Bela-Bela Sep Limpopo Makhado 3 6 Sep To be confirmed Limpopo Polokwane Aug Limpopo? Western Limpopo Mpumalanga Mbombela Sep 20 Oct (Nelspruit) Mpumalanga Hazyview Mpumalanga Malelane 13 Sep Mpumalanga Middelburg / Aug 19 Oct (Middelburg) Mpumalanga Piet Retief / Aug Mpumalanga? North West Delareyville North West Klerksdorp North West Christiana To be confirmed To be confirmed North West Potchefstroom North West Rustenburg North West? Northern Cape Kathu Aug Northern Cape Kuruman Northern Cape Postmasburg Northern Cape Upington Northern Cape? Western Cape Western Cape Hermanus To be confirmed Western Cape? Mpumalanga North West Northern Cape? = Potential new LOCAL AREA within the region D a t e s

19 NEA YOUNG PERFORMER & YOUNG ARTIST AWARDS COMPETITIONS 2019 PLEASE NOTE: All Diploma recipients of the previous year (excluding reading and improvised / unprepared categories) qualify to enter for this competition. Please note that qualifying plays and other larger productions may only be entered in the form of an extract. Young Performer Awards Competition : Closing Date for Entries Dec Early Bird entries 9 Feb Participation Dates NEA Young Performer Awards Competition Venues: To be confirmed FIRST ROUND QUARTER FINAL ROUNDS SEMI-FINAL ROUNDS FINAL ROUND 18 Feb - 19 March April 12 April May May 2019 RECORDED ENTRY ON DVD: Recorded entries allow talented performers anywhere in the country to participate in the first round without the need to travel to Roodepoort. This will cut costs for these participants significantly. A panel of adjudicators will adjudicate all events and recordings. The feedback for recorded performances will be ed / faxed to the relevant participants. Participants should take careful note of the requirements for recorded entries. The requirements for recording an entry on DVD is available on the NEA website. ( Any participant that proceeds to a next round will have to perform live in any subsequent rounds. Proposed Eisteddfod Activity Dates August 5 October 2019 CLOSING DATE FOR ENTRIES IN Online Entries : Hardcopy entries : Please note: Online entries are cheaper than hardcopy entries Online entries: 30 June 2018 Late Bird Online entries (subject to a higher fee) : 3 Aug 2018 Lost Bird Online entries (subject to a higher fee) : 31 Aug 2018 Please note: A higher entry fee is charged for hardcopy entries Hardcopy entries: 22 June 2018 Late Hard copy entry (subject to a higher fee) 5 : 30 June Subject to change. 4 Any changes to or extension of deadlines will be announced on the website and Facebook page. 5 Will NOT be accepted without proof of payment! D a t e s

20 ENTRY FEES AND CLOSING DATE FOR ENTRIES IN 2018 In order to qualify for the fee as listed below, proof of payment should reflect a date within the relevant framework. The entry fees and closing date for entries for 2018 are as follows*: ONLINE ENTRIES Deadline: Standard Online entries Deadline: Late Bird Online entries Deadline: Lost Bird Online entries HARDCOPY ENTRIES Deadline: Hard Copy Entry fee 30 June 3 Aug 31 Aug 22 June NEA Confidence Builder (1 participant) R 80 R 100 Not applicable R 100 Individual entries (1 participant) R 185 R 195 R 285 R 200 Ensemble groups (2 5 participants) R 250 R 260 R 350 R 280 Small groups (6 10 participants) R300 R 320 R 400 R 350 Medium sized groups (11 20 participants) R330 R 350 R 430 R 380 Large groups (entry fee as per number of participants) participants R 350 R 375 R 450 R participants R 380 R 410 R 480 R participants R 410 R 440 R 510 R participants R 470 R 500 R 570 R participants R 550 R 570 R 650 R participants R 620 R 650 R 720 R participants R 730 R 760 R 830 R 780 Full shows/productions R 1900 R 1950 R 2025 R 1960 * Any extension of closing dates will be announced on the website. Entries may be submitted in hard copy format or directly online by using the internet. Hard copy entries refer to all versions of entries submitted on an entry form (paper copy and faxed or e- mailed copies of the completed entry form). Please note that a higher fee is charged for hard copy entries. REQUIREMENTS FOR PARTICIPATION IN EISTEDDFOD 2018: SUBMISSION OF REGISTRATION FORM IS REQUIRED: All institutions / studios / independent parents or participants must register ONLINE or download, complete and submit a Registration form Kindly note: Registration is free of charge. Registration is essential for management purposes (processing of entries, scheduling, invitations, etc.). R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

21 SUBMISSION OF ENTRIES IS REQUIRED Entries can be submitted as follows: o Online (via the NEA website o By completing and submitting an entry form (by hand, fax or mail) (please refer to entry fees above!) Entry fee or proof of payment is to be submitted with the entry. No entries will be processed if entry fees are outstanding. Entry fees are not refundable. OTHER FEES AND CHARGES FOR 2018 Fees for late entries will be announced on the website Cost of changing item numbers and/or names of participants o The NEA accepts NO responsibility for incorrect entries as it is the participant s responsibility to ensure that the information provided on the entry form is correct. o Once the participation schedule has been finalized, any changes regarding entry numbers and/or names of participants are subject to the payment of an administration cost of R75.00 per incorrect entry. These requests should be submitted in writing with proof of payment attached to entry@eisteddfod.co.za or by fax to (Only requests received at this address or fax number will be processed, provided proof of payment has been attached). Entrance fee at venues: An entrance fee of R35.00 per person will be charged at the venue. Seasonal tickets will be available at R90.00 each. A higher fee of R45.00 R50.00 per person will be charged at specialized venues for contemporary music and dancing to cover high cost of sound engineers and rental cost of these venues. Admission for participants, pre-schoolers or learners in school uniform is free. CONTACT AND BANKING DETAILS NATIONAL EISTEDDFOD ACADEMY, PO BOX 1288, RANDBURG, 2125 TEL: (011) FAX: (011) entry@eisteddfod.co.za Hand deliveries: NEA OFFICE, 1 st Floor, 284 Oak Avenue, FERNDALE, RANDBURG Bank details for direct bank / internet deposits: ABSA, Northcliff, Branch code Account no (Cheque account) Important! Fax/ proof of payment to the fax number / address above. Online entries: please quote PAYREF number and / or the name of the participant and institution. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

22 RULES AND REGULATIONS ASPECTS TO CONSIDER WITH ENTRIES By submitting an entry for an event in the annual activities of the NEA, the participant agrees to the Rules and Regulations of the National Eisteddfod Academy pertaining to the annual Eisteddfod as outlined in this Prospectus and accepts the decision of the NEA management about all matters regarding this event as final. CONDITIONS The eisteddfod is open to everyone, on the following conditions: o There are no limits to the number of entries a participant may partake in. o Participants should observe the time allowed per item as outlined in this Prospectus. o Participants should adhere to copyright where applicable. o The NEA and its host venues are indemnified against any loss, theft or injury sustained during the festivals. o Participants agree to adhere to the Rules and Regulations in this section, as well as the specific guidelines provided at the beginning of each section in this Prospectus. GRADING AND AGE Each participant will be adjudicated on his/her performance, and not according to what is assumed that other learners of his/her age can do. The application of this principal is non-negotiable. ENTRY FEES The correct amount should accompany all entries. No entries will be processed if the entry fees are outstanding. Entry fees are not refundable. SUBMISSION OF ENTRIES KINDLY NOTE: It is the participant s responsibility to use the correct form, to ensure that he is entered for the correct item and that the information submitted on the entry form is correct, including the spelling of names. The category and item number needs to be filled in accurately. Refer to Other Fees and Charges for cost implications of incorrect entries. Entries may be submitted by using any of the following methods: ENTRIES ON ENTRY FORMS Kindly take note of the difference in entry forms to be used for individual, small groups and large group items. Individual entries: All entries for a particular participant could be provided on the Entry Form for Individual Entries, where possible. (One entry form can be used for up to 12 entries per individual.) Use more forms when necessary. Ensemble and Small Group entries: The Entry Form for Small Groups should be completed for all entries involving 2 10 participants. The names and contact details of all the participants in the group should be provided on the form. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

23 Medium and Large group entries (11 or more participants): All entries for medium / large groups should be recorded on the Entry Form For Large Groups. Only one entry should be recorded per form. (The names of the members of the group should be forwarded in MsExcel or MsWord format if personalized certificates for each member of the group is required). The exact number of members in the group should be provided on the form. Multiple entries using the same item number (e.g., a teacher entering a whole class for prescribed poetry): When using this form, it is important to provide the date of birth and cell phone number of each participant (if at all possible!). Kindly refer to the guidelines on the completion of the entry form at the beginning of each section. The highest grade of a participant determines the grade for the group. A separate entry form should be completed for each individual participant/small group/large group. All the information as required should be provided (including date of birth and cell phone numbers). Hard copies of the completed entry forms may be submitted to the NEA before the closing date in any of the following ways: o Hand delivered to the NEA office, 1 st Floor, 284 Oak Ave, Ferndale, Randburg o By fax to (011) o By to entry@eisteddfod.co.za. o By normal mail to PO Box 1288, Randburg, 2125 ONLINE SUBMISSION OF ENTRIES An ONLINE platform provides for the online submission of entries. Hard copy entries are subject to a higher entry fee. A link to the online platform is available on the NEA webpage CLOSING DATE FOR ENTRIES Different dates apply for Online and hardcopy / faxed / ed entries. Refer to the Programme of events section for more details. (Any changes to these dates will be announced on and Facebook.) LATE ENTRIES An earlier date for hard copy entries (paper, fax, ) applies due to the fact that these entries need to be captured and checked BEFORE the school holidays in order to finalize the participation schedules on time. Hard copy entries (on paper, faxed or ed) submitted after the closing date for entries will be accepted subject to the payment of a Late entry charge. Proof of payment should be submitted with the entry. Alternatively entries may also be submitted online at no extra cost until the deadline for online entries comes into play. Refer to the Programme of events section for more details regarding the various closing dates for entries. Changes to the closing date for entries (if any), will be announced on the website. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

24 ADJUDICATION The corporate strategy of the NEA is to set and maintain the highest levels of integrity and credibility in the adjudication of the various events at the annual festival. The NEA annually presents training and moderation sessions for adjudicators in an attempt to establish uniformity in adjudication standards as far as are humanly possible. Management will appoint the most competent adjudicators in all respects. Management will accept their decisions as final. Experience over years has proved that discontent with the outcome of an adjudication session has more to do with an unfulfilled anticipated outcome, than with the credibility of the adjudication. Experience has also shown that the qualifications and judgment of an adjudicator that awarded mostly diplomas during any session has never been questioned. NO person may approach the adjudicator before / during / after the session to discuss the outcome of the adjudication, particularly in the instance when he/she is unhappy with the outcome. Should this happen, all proceedings will be stopped immediately and this person will be ordered to leave the room and will not be allowed to attend any further performances. Proceedings will continue once order has been restored. However, the NEA considers any feedback on events and adjudication as of critical importance in maintaining the integrity and credibility of the organization. Therefore all complaints should be submitted in writing and should be accompanied by the report form of the adjudicator in question, within 7 days of the event, for Attention: The CEO, National Eisteddfod Academy (Fax: ; info@eisteddfod.co.za.). Kindly note that NO complaint will be dealt with telephonically. When possible, all issues that can be dealt without delay will be resolved immediately. Please do not necessarily expect written feedback in these instances. OWN CHOICE A copy of own choice material should be available if requested by the adjudicator. MAXIMUM DURATION OF PERFORMANCES Participants are not allowed to exceed the maximum time limits as allocated per item. Adjudicators have the right to terminate ANY performance that exceeds the maximum limit as it could impact negatively on the flow of the programme and will cause the remainder of the programme to run behind schedule. DEFINITION OF PHASES Foundation phase : Grades R 3 Intermediate phase : Grades 4 6 Senior phase : Grades 7 9 FET phase : Grades Primary school level : Any combination of grades on primary school level (Gr. 0 7) Secondary school level : Any combination of grades on secondary school level (Gr. 8 12) Open section : Out of school (past Gr. 12). DUPLICATE ENTRIES OF THE SAME ITEM No participant may enter and perform the same item in more than one area of the National Eisteddfod in a given year. There is no limit on the number of entries per category. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

25 SCHOOLS/STUDIOS All participants entered under the name of a school should be bona fide learners of that specific institution. Schools should acknowledge studios where applicable and vica versa. When learners from a registered member are entered privately, those entries will be grouped with the other entries received from that registered member. When applicable, studios are kindly requested to provide the name of the relevant school for each participant on their entry forms. Only schools / institutions / studios that have registered with the National Eisteddfod Academy can be acknowledged on certificates. The NEA database provides for acknowledgement of both the school and trainer. The name of the school as well as the studio will be printed on the certificate if this information was provided on the entry form. Participants will be scheduled according to the region as selected by the school. SCHEDULING OF EVENTS Any special requests regarding the scheduling of events should be submitted with the entries, but NOT LATER than the closing date for entries. IMPORTANT: Any special request should be submitted on the SPECIAL REQUEST FORM. Details of participation will be published online or will be ed to participating bodies that requested it on their registration profile, 2 prior to the first adjudication session in the relevant region. Participants should not wait for this information before they start their preparations for their relevant items and should rather prepare in advance in order to be ready to perform on the first day in each region! It is the participant s responsibility to provide the correct entry number. Failure to do so will result in the processing of incorrect information for which the NEA is not accountable. Once the schedule has been finalized, no changes can be accommodated. SPECIAL REQUESTS Any special requests regarding the scheduling of events should be submitted with the entries, but NOT LATER than the closing date for entries for the particular region. IMPORTANT: ALL special request should be submitted on the SPECIAL REQUEST FORM. The NEA will endeavour to accommodate these circumstances whenever possible, but can give no guarantee in this regard. HOW AND WHERE WILL THE PERFORMANCES TAKE PLACE? Live Performances: Events will be scheduled at available venues according to the REGION and LOCAL AREA, as selected by the institution, studio or individual upon registration. All events that cannot be accommodated at appropriate venues within the selected LOCAL AREA, will be scheduled at appropriate venues within the selected REGION. This could possible the case with events that require specialized venues (e.g. classical music, contemporary music with backing tracks and dance events). DVD Entries: Recorded entries will be adjudicated at the NEA Office or at a venue where the videos can be viewed as arranged by the NEA office. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

26 SPECIAL ENTRIES The NEA always attempts to accommodate the needs and requests of all participants. Therefore participants have the option to submit special requests pertaining to unavailable dates in the eisteddfod period. In order to provide for unforeseen circumstances, the NEA also allowed for the rescheduling of other problematic events in the past. However, due to the misuse of this facility, the rescheduling of events has become unmanageable. Subsequently, management has decided to abandon the concept of rescheduling all together. This has been replaced by a system of special entries. Special entries provide for those candidates who have missed their events as originally scheduled. They will be allowed to submit a special entry at the normal entry fee to replace the event that they couldn t attend. These special entries will be scheduled at a later date towards the end of the eisteddfod on a date and time as determined by the NEA. No special requests regarding the scheduling of these special entries will be allowed. THE CLOSING DATE FOR THE SUBMISSION OF SPECIAL ENTRIES IS 5 WORKING DAYS PRIOR TO THE LAST DATE OF ADJUDICATION IN ANY PARTICULAR REGION. Procedure: Complete a new entry form for the particular event. Attach the original participant slip for the event. Attach proof of payment (normal rate). Fax to or to entry@eisteddfod.co.za Please note: entries will only be accepted at this address. Special Entries submitted to any other address will automatically be deleted. Kindly note that you will not receive notification for Special Entries well in advance. Participants need to be prepared to perform on short notice. No correspondence and requests pertaining the rescheduling of events other than the procedure as outlined above, will be allowed. GUIDELINES FOR PARTICIPANTS & PARENTS As every participant deserves the opportunity to be a champion in his own right, kindly take note of the following: o All officials & participants should be treated the way you would like to be treated. o Venue controllers will allow no changes in the programme. o For obvious reasons, NO participant/parent/trainer/member of the audience may approach the adjudicator before/during/after a session. o NO person may approach the adjudicator before / during / after the session to discuss the outcome of the adjudication, particularly in the instance when he/she is unhappy with the outcome. Should this happen, all proceedings will be stopped immediately and this person will be ordered to leave the room and will not be allowed to attend any further performances. Proceedings will continue once order has been restored. o No refreshments or smoking will be allowed in the venue. o All cell phones should be switched off in the venue, o Entrance fee of R35.00 per person will be charged at the venue. Seasonal tickets will be available at R90.00 each. o Entrance fee of R45.00 R50.00 per person will be charged at selected specialized venues for contemporary music and dancing in order to cover the high cost of sound engineers and rental cost of these venues. Admission for participants, pre-schoolers or learners in school uniform is free. R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

27 REQUIREMENTS FOR SUBMITTING A RECORDED PERFORMANCE GUIDELINES FOR RECORDING THE PERFORMANCE: A professional recording is not required. The camera position should represent the "eyes of the adjudicator", without zooming in and out, moving around with the camera, changing of camera angles, etc. Position the camera in a position where the full performance area as will be utilized by the performer, will be visible in the view finder. If necessary, zoom in/out until this can be obtained and then leave the camera stationary. Background Make use of a plain or neutral background as far as possible. Be aware of the contrast with the background, e.g. do not perform with a black costume against a black backdrop. Lighting Please ensure that there is sufficient light on stage or wherever the performance is being recorded. Light should come from the front to prevent shades on the face(s). (E.g.: do not record in front of a window with the light coming from the back.) Do not use any lighting effects when recording drama items. Lighting effects may be used when recording dance or contemporary music items as long as it does not affect the visibility of the performance. (It is difficult to adjudicate a performance that happens in the dark!) Sound Please ensure that the accompaniment (live accompaniment or recorded backing tracks) does not outshine the voice(s) when recording vocal and instrumental items. The recording should display a good balance between the voice/instrument and the accompaniment. Solos with backing tracks should be recorded exactly as how an adjudicator will be able to hear it under normal circumstances - no direct sound feed between mixer and recording devices is allowed. Recording the performance Write your NAME & SURNAME, Grade & School (where applicable), ITEM NUMBER and a BRIEF DESCRIPTION OF THE ITEM (e.g. English Monologue, Vocal solo, Jazz, etc.) clearly in PRINT on an A3 or A4 page. Hold this "label" up in front of the camera so that the detail is clear in the view finder and keep it there. Start the recording by pushing the record button and hold it for a count of 10 and then pause the recording. Get rid of the white page and get into the starting position for your performance. Then push the record button again and continue with the performance until the end. Do not at all stop or pause the recording during the performance. If anything goes wrong, you need to start all over again, including holding up the "label". Finalizing the recording The first step is to import the recording from the camera onto computer. IMPORTANT: Do NOT edit the video in any way (including auto tuning of voices). Copying the recording onto DVD Once the recording has been imported, select the appropriate file and copy and burn it onto an unused DVD. After the file has been burnt onto the DVD, eject the DVD and finalize it if it is requested. Then put the DVD back into the DVD drive and check whether you can open and play the file on your computer. If this was done successfully, clearly mark the DVD with the NAME & SURNAME of the participant(s) as well as the ENTRY NUMBER. Final step Put the DVD in a cover, attach a copy of the entry form and put everything (preferably!) in a bubble envelop and mail or courier to the address as provided below. More than one DVD can be included in one envelope if needed. You are advised to register the envelope and to mail the tracking number to entry@eisteddfod.co.za together with a copy of the entry form. (For more information, refer to the complete instructions on the next page). R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

28 SUBMISSION OF AN ENTRY FOR A RECORDED ENTRY on DVD Complete and submit the entry form ONLINE: o All the details of the entry can be submitted ONLINE. (Use the link to online entries on the web site ( No limit on the number of entries allowed. o Clearly mark you DVD with the NAME & SURNAME of the participant(s), ENTRY NUMBER and the ENTRY REFERENCE NUMBER that will as provided when submitting an entry ONLINE). Complete and submit the entry form in hard copy format (paper / fax / ): o Complete a separate entry form for EACH RECORDED PERFORMANCE ON DVD to be submitted. o Clearly mark you DVD with the NAME & SURNAME of the participant(s) and the ENTRY NUMBER. o A attach a copy of this entry form to the cover of EACH DVD that you will be submitting. Copying the recording onto DVD Once the recording has been imported, select the appropriate file and copy and burn it onto an unused DVD. After the file has been burnt onto the DVD, eject the DVD and finalize it if it is requested. Then put the DVD back into the DVD drive and check whether you can open and play the file on your computer. If this was done successfully, clearly mark the DVD with the NAME & SURNAME of the participant(s) as well as the ENTRY NUMBER. Final step Put the DVD in a cover, attach a copy of the entry form and put everything (preferably!) in a bubble envelop and mail or courier to the address as provided above. More than one DVD can be included in one envelope if needed. You are advised to register the envelope and to mail the tracking number to entry@eisteddfod.co.za together with a copy of the entry form. Only ONE performance should be copied on a DVD. Use a separate DVD for EACH entry/performance/recording. Finally submit the entry by mail / courier according to the process as outlined All DVD entries should reach the NEA BEFORE 16:00 on 31 August SUBMISSION OF A RECORDED ENTRY VIA DROPBOX Completing the entry form ONLINE: o Submit all the details of the entry ONLINE. (Use the link to online entries on the web site ( No limit on the number of entries allowed. o Finalize the recording of the performance as outlined above. o Set up a Dropbox account on your computer o Create a folder on your Dropbox, using your NAME and the ENTRY REFERENCE NUMBER (that will as provided when submitting an entry ONLINE) to label the folder. o Upload your recorded performance to this folder on your Dropbox account. o a link to this file by sharing it with entry@eisteddfod.co.za. o The NEA will confirm receipt of this link asap, however if you do not receive confirmation within 7 days, please you NAME and the ENTRY REFERENCE NUMBER to info@eisteddfod.co.za. o If needed, info@eisteddfod.co.za for assistance regarding the Dropbox process. DELIVERY / POSTAL ADDRESS: DVD entries can be hand delivered / mailed / couriered to the following address: By hand: By registered mail: Couriered by Postnet: National Eisteddfod Academy Unit 103, First floor 284 Oak Avenue RANDBURG 2194 National Eisteddfod Academy PO Box 1288 RANDBURG 2125 Postnet Fontainebleau Shop 16, Village Shopping Centre Cnr. Rabie and 4th Street, Fontainebleau, 2032 R u l e s a n d R e g u l a t i o n s - Copyrighted NEA

29 ACKNOWLEDGEMENT OF ACHIEVEMENT CERTIFICATES & DIPLOMAS All participants that enter the annual eisteddfod organized by the NEA will be adjudicated by members of the NEA Adjudicators Forum. All participants will receive certificates (Diploma*, Gold, Silver or Bronze) according to the criteria as outlined below: SETTING THE SCENE Generally speaking an objective measurement of any performance in the arts is very difficult, if not impossible. Ample examples of this are to be found in the arts industry/ professional world where a performance might be applauded by one and despised by another review. Within this context it is of critical importance to be reminded that the NEA considers the eisteddfod process to be an educational and developmental tool that promotes the interests of both the participant in particular and the arts in general. The adjudication of any event should then sensibly provide for the basic human desire for recognition when adjudicating and giving feedback to the talented learner (who might follow a career in the arts and who requires meaningful feedback); majority of participants (who might become the future supporters of the arts, and who will gain selfconfidence, assertiveness and the courage to take a stand in this world). In doing so the adjudicator should never lie or give false feedback to any participant. At all times the individual achievement of each participant, within the framework of his own developmental phase, should be considered and acknowledged. CRITERIA Having said that, one can now consider the fact that the performance or presentation of any art work requires certain measureables or yardsticks 6 that refer to the skills level of the performer and his/her knowledge and understanding pertaining to the ars form and particular piece. Within the unique makeup of each individual performer or artist, these elements work together in producing a result that can be rated in general terms as: Excellent above the typical / ideal level on most yardsticks Good well above the minimum level on most yardsticks Acceptable - just above the minimum level on most yardsticks Below Expectation - below the minimum level on most yardsticks The critical challenge is to define an ideal or typical level of performance in the arts (in this context not to be confused with an idealistic / supreme / ultimate level). For this purpose the NEA considers this ideal or typical level to be when all the basic requirements pertaining to the objective measurables / yardsticks of the art form are sufficiently met and executed with ease. This stage lies well above the minimum level and goes hand in hand with a progression from conscious awareness to unconscious unawareness. The preceding level of just above the minimum level implies that the candidate is in the process of gaining control, although this might not always be well maintained. In real terms the ideal level is probably the highest level that the majority of all participants might be able to achieve. Given this frame of reference, the NEA system of awards and certificates can now be defined as follows: 6 Yardsticks in this context refer to all the elements of the relevant discipline that contribute towards a successful performance. Also refer to the example of a rubric tool on page 32. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

30 DIPLOMA is awarded for an excellent performance where the participant has performed above the ideal / typical level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks / measurables are above the ideal / typical level. An excellent performance is not necessarily perfect in all aspects, however a performance on this level will most definitely display originality ( spark ), creativity and sincerity. * A special Junior Diploma will be awarded to learners in Foundation Phase (Gr. 0-3) to acknowledge the special requirements when working with small children. Within the framework of the diploma the adjudicator has the freedom to express the level of achievement on a scale of (This information will be for the use of the NEA office only). GOLD is awarded for a good performance where the participant has performed well above the minimum level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks / measurables are well above the minimum level. A good performance is not necessarily perfect in all aspects, but generally displays a high level of skills, knowledge & understanding pertaining to most of the yardsticks / measurables, as well as some initiative/creativity. SILVER is awarded for a performance that one can described as acceptable / satisfactory / adequate. The participant has performed just above the minimum level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks /measurables are just above the minimum level. Although the basic skills, knowledge and understanding are present; the candidate has not acquired full control and still has to work on one or more of these aspects. BRONZE is awarded for a performance that is below expectation and indicates an performance below the minimum level on more than one yardstick. Although the candidate has developed some skills, knowledge and understanding relevant to the genre, it is still below the minimum level with regard to more than one aspect. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

31 ADDITIONAL REGIONAL AWARDS Over and above the certificates that will be awarded at each adjudication session according to the criteria outlined above, the NEA will also give special awards to participants that delivered outstanding performances during these events. These awards will be formally presented at the NEA Showcase Concerts in the different regions. In order to identify the recipients of these awards, the NEA will consider the marks (%) as allocated by the adjudicators. (Although no % marks are recorded on the feedback to participants, adjudicators are required to record these marks for use by the NEA office only.) The NEA reserves the right to change the minimum requirements of any award without notification. Additional awards include the following: ITEM WINNER CERTIFICATES A participant with the highest mark (%) in any given item in a region will receive an Item winner certificate, stating e.g. that he/she was the item winner in Narrative Poetry, Gr. 1. Other examples of items are the following: Narrative Poetry, Gr. 2; Classical Ballet Solo, Gr. 7; Vocal solo, Inspirational music with backing track, Gr. 8; etc. Should a participant be the winner in more than one item, all these achievements will be listed on one certificate, although the implication is then that each event that he won, warrants a separate award. Minimum requirement: Achievement on diploma level (90% and higher). When there were many entries and adjudication of any given item was done over more than one session, all the entries for that item are grouped together in order to determine the winning candidate (i.e. participant with the highest mark). Achievement on this level can be compared to achievement on a district level. MEDAL AWARDS A participant with the highest mark (%) in any given category in a region will receive a medal and Category winner certificate, stating e.g. that he/she was the category winner in Narrative Poetry, Junior. Broadly defined a category is a combination of similar items, often grouped into phases, or in a junior or senior section. A category should involve at least 10 individual participants or groups. An example of a category is as follows: Narrative Poetry, Junior : o This category can comprise of the following items: Narrative Poetry Gr. 3, Narrative Poetry Gr. 4, Narrative Poetry Gr. 5, Narrative Poetry Gr 6, Narrative Poetry Gr. 7, provided that at least 10 candidates participated in these events. Should a participant be the winner in more than one category, all these achievements will be listed on one certificate, although the implication is then that each category that he won, warrants a separate award. He will thus receive a medal for each category that he won. Minimum requirement: Achievement on diploma level (with a percentage of 91% and higher). Should more than one participant share the top position, a medal will be awarded to each of them. Each participant in a winning group item with 5 and less participants will receive a medal. Only one medal will be awarded to larger groups (16 and more participants). When there were many entries and adjudication of any given item was done over more than one session, all the entries for that item are grouped together in order to determine the winning candidate in the category (i.e. participant with the highest mark). In the event of a participant obtaining the highest mark in any given item (item winner), as well as the highest mark in a grouping of similar items (medal award), both awards will be printed on ONE certificate, stating that he was also the category winner as well as the item winner in the listed event. Achievement on this level can be compared to achievement on a district level. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

32 SPECIAL AWARDS NEA Ambassador Award This is awarded to individual participants and groups in the annual Eisteddfod based on the highest marks obtained in any given item. This award can be distinguished by the exclusive use of a special Ambassador Award seal. For the purpose of this award all the results in all regions are considered. The number of NEA Ambassador Awards may differ from year to year, but will be awarded to a maximum of 3% of the total number of individual participants and groups in the given year. Achievement on this level can therefore be compared to achievement on national level in a specific item. Top 5/10 Junior and Senior Award: Regional The top 5 to 10 participants (junior and senior) in each region will be identified and ranked according to their total achievement (excluding group work) in all sections. This mark is calculated by allocating a numerical value to each level of achievement as awarded by the adjudicators for every item (excluding group work) a candidate has participated in, as well for any subsequent award (e.g. item winner, category winner, etc.) according to the following scale: Certificate (1 mark), Silver (5 marks), Gold (10 marks), Diploma (30 marks), Item winner (10 marks), Category winner (30 marks) and Ambassador Award (90 marks). The final results are calculated by the computer based on these values. Since 2012 only the highest result in any item is considered for the calculation of the total, e.g. when a participant obtained 2 diplomas in Narrative Poetry, Gr. 5, only the event with the highest mark (e.g. 93% compared to 90%) will be considered. Based on this formula a participant with e.g. 3 diplomas in Unprepared Reading Grade 4 will receive 30 marks towards his total, compared to 3 x 30 in the past. Achievement on this level can be compared to achievement on a district level. PRESTIGE AWARDS Overall Best Individual Achievement: Regional In each region a framed certificate with a Prestige Award seal is awarded to a participant with the overall best achievement in a genre e.g. Overall Best Achievement in Speech and Drama. These awards can be awarded to Junior and Senior participants in the following genres: o Speech and Drama o Dance o Classical Music (vocal & instrumental) o Contemporary Music (vocal & instrumental) o Crossover Music (vocal & instrumental) o Creative work o Learners with different abilities The final mark is obtained by calculating the total value of the participant s achievements in the given category (excluding all group items), as well for any subsequent awards according to the following scale: Certificate (1 mark), Silver (5 marks), Gold (10 marks), Diploma (30 marks), Item winner (10 marks), Category winner (30 marks) and Ambassador Award (90 marks). The final results are calculated by the computer based on these values. Since 2012 only the highest result in any item is considered for the calculation of the total, e.g. when a participant obtained 2 diplomas in Narrative Poetry, Gr. 5, only the event with the highest mark (e.g. 93% compared to 90%) will be considered. Based on this formula a participant with e.g. 3 diplomas in Unprepared Reading Grade 4 will receive 30 marks towards his total, compares to 3 x 30 in the past. Achievement on this level can be compared to achievement on a district level. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

33 Overall Best Regional Achievement (Schools and Institutions) The Prestige Awards for overall best achievement (individual/schools/institutions) in each region are determined by the sum total of the results achieved by all participants entered by any given institution. (The sum total is calculated by allocating a numerical value to each level of achievement as awarded by the adjudicators to every participant in the institution according to the following scale: Certificate (1 mark), Silver (5 marks), Gold (10 marks), diploma (30 marks), Item winner (10 marks), Category winner (30 marks) and Ambassador Award (90 marks). The final results are calculated by the computer based on these values. Contrary to individual achievement, all achievements of participants will be considered, irrespective of the number of entries by the same candidate in the same item. These awards can be awarded to Primary schools Secondary Schools Pre-Primary Schools Schools for learners with different abilities Studios (music, dance, drama, etc.) Overall Best Performing School in NEA activities ( National) The school that achieved the highest total in the annual eisteddfod (as determined by the sum total of the results achieved by participants entered by that school) will receive a special award as the Best Performing School. This will be awarded at the final event of the annual NEA Awards in the following year. NEA YOUNG PERFORMER AWARDS COMPETITION The NEA Young Performer Awards is a prestigious competition comprising of four rounds where the best of the best are being adjudicated by a panel of adjudicators for each arts discipline. It is presented annually during March May and involves a process of elimination (First Round, Quarter Final, Semi-Final and Final Round) where adjudicators expect from each participant an outstanding and true performance that displays originality ( spark ). The expected level of skills, knowledge and understanding relevant to the performance is exceptionally high (being cute is not enough!). At the end of each round a limited number of candidates are selected for participation in the next round. All recipients of diplomas or similar awards (90% and higher) in the NEA during the preceding year may enter for the NEA Young Performer Awards competition in the categories for which they have received diplomas or similar awards (excluding all areas of unprepared, improvisational or creative work). Top achievers in regions where the NEA Eisteddfod platform is currently not available may also register and enter subject to the payment of the applicable entry fees. NEA participants may also enter events for which diplomas was awarded in any other festival or event. Participation in the First Round does not warrant any additional award as the participant already qualified for participation though his / her achievement in the previous year.) The NEA will however give awards to participants in all subsequent rounds. Certificates will be awarded to the top achievers in the various phases/grades of the various categories during the elimination rounds. Achievement on this level can be compared to achievement on a provincial and national level as follows: o Quarter Final: Participation on provincial level. o Semi Final: Participation on national level (the junior and senior winners in music dance and drama are announced at this round; they are then invited to participate as winners in their genres in the final round). o Final: National winner. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

34 GUIDELINES FOR THE EVALUATION OF EISTEDDFOD AWARDS The acknowledgement of achievement is often one of the primary drivers of participation in sport activities and the arts. This acknowledgement of achievements in the arts also played an important role to elevate the status of arts participation in schools and communities. Award systems at schools often comprise of different level of awards, with a minimum requirement linked to each level. In this regard schools often find it difficult to compare achievements in sport with those in the arts. Some schools totally ignore the arts in this regard and others develop guidelines that determine the way in which they try to strike a balance between achievements in sport and cultural activities. The NEA respects the sovereignty of schools in this regard and can only suggest guidelines of how to evaluate achievements in the arts. To maintain the integrity and credibility of their own awards systems, schools also have to consider the credibility and track record of awards presented by any organization. At the same time they should also consider the relative weight that should be attached to the different organizations based on the scope of each organization. (Awards offered by a small local organization should not have the same value as those presented by organizations with a larger scope and footprint). In this regard schools may consider the fact that the NEA: has a clear set of values that includes integrity and credibility; annually manages and oversees the adjudication of more than 10,000 entries in all art forms (involving more than 25,000 participants) eisteddfod activities are presented in various provinces (recently in, North West, Free State, Limpopo and Mpumalanga, Eastern Cape, KZN, and Northern Cape); has developed clear standards that define the various levels of achievement and governs the adjudication process; carefully selects adjudicators and presents training workshops for adjudicators annually; has reasonably standardized the various levels of achievement in NEA eisteddfod activities over a period of 10 years. Lastly, the achievement of previous winners of the NEA Awards Competition in other international competitions and professionally is an indication of the high standard of this competition. Given this background the NEA suggests the following: Achievements in the NEA Eisteddfod, presented annually from August to October, could be compared to achievements on internal and district level. Given the fact that many institutions work on a system where numeric values are allocated to different awards, the following numerical values for NEA certificates and awards received at the NEA Eisteddfod (that also could assist to counteract diploma hunting ) are suggested: Silver = 5 Gold = 10 Diploma = 30 Item Winner = 10 Category Winner = 30 Ambassador Award = 90 Number 1 on the regional Top 10 = 90 Overall Best Individual Achievement in a Genre (regional) = 90 Achievements in the NEA Young Performer Awards Competition, usually presented from March to May, could be compared to achievements on provincial and national level. (Participation in the First Round does not warrant any additional award as the participant already qualified for participation though his / her achievement at the NEA Eisteddfod in the previous year). Invitation to Quarter Final= Participation on provincial level. Invitation to Semi-Final=Participation on national level. Invitation to Final = National Winner. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

35 The challenge for schools is often to evaluate awards and achievements by learners in extramural activities, arts and culture in particular. The NEA recommends that eisteddfod achievements could be divided into the following levels that could also be aligned with different levels of awards as awarded by schools: Level 1 Level 2 Level 3 Level 4 Awards on level 1 could include awards like certificates presented to individuals / groups to acknowledge achievement. The main focus of level 1 awards is to promote participation in various activities, both internally and on a district / regional level. Numerous achievements on this level might enable a learner to qualify for an award on level 2, either in the same or subsequent years. A learner normally has to accumulate a predetermined number of marks to qualify for an award, e.g. 50 marks. This can be achieved by a combination of NEA certificates where the values are as follows: Awards on level 2 could involve awards known as colours. This award is usually something that can be attached to the school uniform (e.g. badges) Level 2 awards are normally reserved for achievements on a broader, regional level, e.g. school district. Numerous achievements on this level might enable a learner to qualify for an award on level 3, either in the same of subsequent years. For a level 2 award a learner has to accumulate a predetermined number of marks to qualify, e.g. 90 marks. (In the eisteddfod context an additional prerequisite might be that at least one diploma will be required. Awards on level 3 involve awards like special chords, etc. that is attached to and added to the normal school blazer. Level 3 awards are normally reserved for participation on a broader, provincial level. The award cannot be achieved by a mere accumulation of marks, and additional requirements can apply. Achievement in specific events: NEA Awards Competition: Selection for Semi-final round = Participation on provincial level. Awards on level 4 are symbolized by special blazers. Level 4 awards are reserved for achievements on a national or international level. NEA Awards Competition Participation in Final Round national winner Silver = 5 marks Gold = 10 marks Diploma = 30 marks E.g. 5 x gold=50 marks 1 diploma +2 x gold =50 marks This award could involve an achievement in specific events: NEA Young Performer Awards Competition: Selection for Quarter Final Round = 45 Annual eisteddfod: Number 1 on Top 10 = 90 Overall Best Individual Achievement in a Genre / Region = 90 Awards on this level could further include the following awards for specific items where the marks allocated should be added to the original score: Item Winner: + 10 marks Category Winner: + 30 marks Ambassador Award = 90 Multiple awards on level 2, e.g. 2 x Ambassador Award 6 x diploma awards 3 x category winner 4 x item winner Example: If the minimum requirement for awarding colours (a level 2 award) is 100 marks at school A, it could be managed by achieving the following: o Participant participated in four items and received three diplomas and one gold certificate. o Participant participated in only one item, but received a diploma for the item, was Category Winner with the item and also received an Ambassador Award. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

36 GUIDELINES FOR ADJUDICATION: A RUBRIC EXAMPLE Adjudication is a topic for serious contention in the arts. The very subjective nature of it is augmented by the challenge to deal with the subjective element as applicable to the o Performer o Teacher o Parent o Listener (audience) o Adjudicator The perception of each of the above-mentioned stakeholders is determined by his/her own map (background pertaining to specific knowledge and understanding, skills & technique, experience, (and often!) likes and dislikes) of the art form in question. The challenge that faces the adjudicator is to evaluate the objective elements of the performance in as far as it demonstrate knowledge and understanding (of e.g. Style Adherence, Knowledge and Understanding of Genre, Correctness (playing/saying/singing the correct pitch/text) and use of the appropriate technique (Articulation, Projection, Tonal Control (dynamics, tone-variation), Intonation, Balance, Microphone Technique, Vocal control (dynamics, modulation, tone-variation), Speech Rhythm and Pauses, use of Space, Levels, Movement/Gesture, etc.) to create an overall effective performance. Every seasoned adjudicator/teacher/performer/listener knows that he cannot escape his own map when performing/teaching/adjudicating. Surely he/she also knows that there is no way in which a totally objective, clearly measurable (for example) 3 out of 5, or 66% or 89% mark can be allocated to any performance. Any mark allocated to, or judgment passed regarding a performance, is at its best only a snapshot of an individual s impression. However, how imperfect it might be, and knowing that the individual map will determine his/her perception, the value of adjudication lies in that provides the performer with feedback regarding his progress to mastery. From this perspective it is then possible to say that o A: the participant delivered a performance that was o o o o excellent and sincere; displays originality ( spark ); displayed an exceptionally high level of skills, knowledge & understanding. o B: Or that the participant delivered a performance that was o o o satisfactory, displaying the basic skills, knowledge and understanding; evidence of the fact that the candidate still has to work on one or more of these aspects., etc. In view of these descriptions, compared with the criteria provided below, performance A will receive a diploma award, while performance B will receive a Silver award. DIPLOMA is awarded for an excellent performance where the participant has performed above the ideal level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks / measurables are above the ideal level. An excellent performance is not necessarily perfect in all aspects, however a performance on this level will most definitely display originality ( spark ), creativity and sincerity. GOLD is awarded for a good performance where the participant has performed well above the minimum level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks / measurables are well above the minimum level. A good performance is not necessarily perfect in all aspects, but generally displays a high level of skills, knowledge & understanding pertaining to most of the yardsticks / measurables, as well as some initiative/creativity. SILVER is awarded for a performance that one can described as acceptable / satisfactory / adequate. The participant has performed just above the minimum level on most yardsticks this is to say that the skills level, knowledge & understanding pertaining to the yardsticks /measurables are just above the minimum level. Although the basic skills, knowledge and understanding are present; the candidate has not acquired full control and still has to work on one or more of these aspects. C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

37 For those in need of even more detailed guidelines the following rubrics for drama 7 (which by NO MEANS claims to be exhaustive!) might be useful. Junior Primary level Vocal strength Control over movement and gesture Focus Energy Emotional Involvement Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained above average Brilliantly attained Senior Primary level Projection Articulation Tone-variation Movement / Gesture Use of space/levels Focus Comprehension of content Preparation/presentation Stage energy Emotional involvement Characterisation Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained above average Brilliantly attained Secondary School level Projection Articulation Tone-variation Speech rhythm Vocal dynamics/modulation/pauses Movement / Gesture Use of space/levels Focus Comprehension of content Comprehension of background and period Preparation/presentation Stage energy Emotional involvement Handling of transitions Subtext General characterisation Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained above average Brilliantly attained As would be clear from the next example, the following 3 factors are important in adjudication: o knowledge o understanding and o level of technical mastery as applicable to the art form in question. 7 Courtesy of Adrian Freeman, Pro Alphen Park School C e r t i f i c a t e s a n d A w a r d s - Copyrighted NEA

38 NEA YOUNG PERFORMER AWARDS COMPETITION PREVIOUS WINNERS NEA YOUNG PERFORMER AWARDS 2018 GOLD MEDALLIST: SILVER MEDALLIST: BRONZE MEDALLIST: MOST INSPIRING PERFORMER: GRADE 0-3 ARTIST AWARD: GRADE 4-7 ARTIST AWARD: SENIOR ARTIST AWARD: Vaughan Mclea, Helpmekaar Kollege, trained by Susan Mouton Lebeko Mosunkutu Redhill School, trained by Dr. Nita Wolff Marielle Maritz Hoërskool Zwartkop, trained by Issie Venter Dramaskool Prestige College Marimba Band, Prestige College Gabriella Seeliger Bryanston parallel Medium School & Stephan Eykelhof Bryanston Parallel Medium School Abigail Olivier Trained By Marlize Kenmuir Art Studio Joayne Jenni Li St Johns College CATEGORY WINNERS: ENTRY LEVEL (GR. 0-3) Classical Music Shawna Jiang American international School, trained by Noted By Toni Contemporary Music Tannah Proctor Steyn City School, trained by Kim Witbooi Speech & Drama Caitlyn Sarah Mclean The King's School West Rand Dance Isabella Purdon Trinity house Randpark Ridge, trained by Jump Dance Studio INTERMEDIATE LEVEL (Gr. 4-6) Classical Music Lebeko Mosunkutu Redhill School, trained by Dr. Nita Wolff Crossover Music Jaimie Piguet Reddam House Helderfontein, trained by Gerri Durrheim Contemporary Music Mihla De Oliveira Marist Brothers Linmeyer, trained by Graca Teixeira Drumming Academy Speech & Drama Paul Harber Sharonlea Primary School Dance Melissa Van Rooyen Woodhill College, trained by Nelmari Bomman SENIOR LEVEL (GR. 7-9) Classical Music Vaughan Mclea Helpmekaar Kollege, trained by Susan Mouton Contemporary Music Shani Mclea Helpmekaar Kollege, trained by Judy Page Dance Kelly Baker St Andrews School for Girls, trained by Red Robynne Studios Speech & Drama Sabrina Freeman Agliotti Curro Aurora Private School FET LEVEL (GR. 8 OPEN) Contemporary Music Alida De Bruyn And Helpmekaar Kollege Gustav Klingbiel Speech & Drama Minke Marais Hoërskool Noordheuwel, trained by Dramatix Speech & Drama Nicole Philips Maragon Ruimsig Dance Adrienne De Jager Hoërskool Monument, trained by Tania Jansen GROUPS Contemporary Music Prestige College Prestige College Marimba Band Dance Kinders Van Afrika & Celeste Mouton School Of Dance Gevlekte Droom Dance Cherene Van Tonder, Ludik's Acro Dance Studio Juane Grobler, Marine Maartens, Zihandri Lange, Carla De Beer, Keira Pienaar & Katelyn Rose Speech & Drama Ring A Rosie Hoërskool Noordheuwel N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 33

39 NEA YOUNG PERFORMER AWARDS 2017 GOLD MEDALLIST: CLEO FILANDER - VAALPARK ARTICON HOëRSKOOL Category Winner: FET Level (Grade 10-Open) - Contemporary Music Category Winner: FET Level (Grade 10-Open) - Crossover Music SILVER MEDALLIST: ALEXIA MUNN - SAHETI SCHOOL Category Winner: Entry Level (Grade 0-3) Dance BRONZE MEDALLIST: JIMMIE ROOS GUMBOOTS GROUP - Jimmie Roos School for Boys with special needs Category Winners: Groups OVERALL WINNERS: ENTRY LEVEL (GR. 0-3): ALEXIA MUNN - SAHETI SCHOOL INTERMEDIATE PHASE (GR. 4-6): XIAO-CHI JUAN - BRYNEVEN PRIMARY SCHOOL SENIOR PHASE (GR. 7-9): WILLIE NAUDÉ - HOëRSKOOL MONUMENT FET PHASE (GR. 10 Open Section): CLEO FILANDER- Piano Own composition - VAALPARK ARTICON HOëRSKOOL OVERALL WINNER: GROUPS: JIMMIE ROOS GUMBOOTS GROUP - Jimmie Roos School for Boys with special needs MOST INSPIRING PERFORMER: JANCO DE LANGE - LAERSKOOL VRYHEIDSMONUMENT JUNIOR ARTIST AWARD: ERIKA MONNIG - LAERSKOOL LYNNWOOD STUDIO SENIOR ARTIST AWARD: MEGHAN HOFFMANN - ST PETERS COLLEGE CATEGORY WINNERS: Category Winner: Entry Level (Grade 0-3) Contemporary Music Anja Engelbrecht Laerskool Unika Dance Alexia Munn Saheti School Speech And Drama Janco De Lange Laerskool Vryheidsmonument Category Winner: Intermediate Level (Grade 4-6) Classical Music Shaylan Bhundia St Johns College Contemporary Music Shani Mclea Laerskool Louw Geldenhuys Dance Intermediate Level SHARNÉ STEELE And Wilcarina And Annabelle School Of ZARA VIEIRA Dancing Speech And Drama Graytin Pretorius Maragon Private School Sage Dinwoodie Reddam House Helderfontein Category Winner: Senior Level (Grade 7-9) Classical Music Willie Naudé Hoërskool MONUMENT Contemporary Music Jodi Langston Waterstone College Crossover Music Paige Körner Crawford College Lonehill Dance Senior Juan-Pierre Moss Hoërskool Monument Speech And Drama Minke Marais Hoërskool NOORDHEUWEL Category Winner: FET Level (Grade 10-Open) Classical Music Claudio Marcelo Alho Music At Your Fingertips Exclusive Sergio Zampolli School Contemporary Music Cleo Filander VAALPARK ARTICON Hoërskool Crossover Music Cleo Filander VAALPARK ARTICON Hoërskool Dance Tamsyn Leigh Dexter Southdowns College Speech And Drama Tayla Owen-Jones Heronbridge College N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 34

40 Category Winners: Groups Contemporary Music Dance Small Groups Dance Large Groups Speech And Drama Groups Indumo Yolutsha Kerisha Naidoo, Reevaksha Naidoo, Aaharya Naidoo, Tenisha Naidu & Priyanka Pillay Jimmie Roos Gumboots Group Sir Pierre Van Ryneveld High School Dominican Convent School Shivangi Dance Company Jimmie Roos School For Boys With Special Needs Sir Pierre Van Ryneveld High School Classical Music Groups Lindenkoor Hoërskool Linden NEA YOUNG PERFORMER AWARDS 2016 GOLD MEDALLIST: ROXANNE VAN OUDTSHOORN ENTRY LEVEL (Gr. 7 9) (Dainfern College Trained by Miroslav Chakaryan) Overall Winner: Senior Level (Gr. 7-9) Category Winner: Classical Music Senior Level (Gr. 7-9) SILVER MEDALLIST: DAINFERN COLLEGE HS MARIMBA BAND (Dainfern College Music Department) Overall Winner: FET Level (Gr. 10 Open) Category Winner: Contemporary Music Groups BRONZE MEDALLIST: SANDILE JAY MAHLANGU - FET Level (Gr Open) (Trained by Frontstage Performing Arts & Production Studio) Overall Winner: FET Level (Gr. 10 Open) OVERALL WINNER: ENTRY LEVEL (GR. 0-3): RAHL SINGH (Maragon Pvt School) Category Winner Contemporary Music Entry Level (Gr. 0 3) OVERALL WINNER: ENTRY LEVEL (GR. 4-6): CARINA NAUDé (Laerskool Helderkruin Trained by Monument High School Music Magnet) Category Winner Classical Music: Entry Level (Gr 4 6) MOST INSPIRING PERFORMER: RANDFONTEIN PRIMARY BLUE PRINT-WAR READY (Randfontein Primary School) Category Winner: Dance - Groups JUNIOR ARTIST AWARD: XIAO-CHI JUAN (Bryneven Primary School) SENIOR ARTIST AWARD: PHILIP HAUSSAMER (The Sketch Art Studio) CATEGORY WINNERS: ENTRY LEVEL (GR. 0-3) Classical Music Lilian Genevieve Geekie Laerskool Louw Geldenhuys Trained by Tiensie Lategan Studio Speech & Drama Janco de Lange Trained by Sonja Myburg Dramaskool Dance Tatijana Ignjatov Bishop Bavin School INTERMEDIATE LEVEL (Gr. 4-6) Crossover Music Robert van den Steen Dainfern College Contemporary Music Dirja Lekas Trained by Let's Sing The Right Way Speech & Drama Katlego Mokgosi Sharonlea Primary School Dance Warrick Naude Maragon Private School Trained by Mario Gomez Hip Hop Dance Academy N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 35

41 SENIOR LEVEL (GR. 7-9) Crossover Music Erik Oosthuizen Midstream College - Trained by Studio Cha Contemporary Music Annelé Retief Southdowns College Dance Ane Bierman Bryanston Parallel Medium School Trained by Russian School of Ballet Speech & Drama Henro Verhoef Laerskool Drie Riviere Classical Music Loyiso Khoali Saheti School Crossover Music Alexander Daneel June Kraus Academy Contemporary Music Jessica de Wet Hoërskool Noordheuwel Speech & Drama Trunelle van der Linde Helpmekaar Kollege - Trained by Elle Chapman-Mclea School Of Music And Theatre Dance Tamsyn Leigh Dexter Southdowns College GROUPS Speech & Drama Sir Pierre van Ryneveld Sir Pierre van Ryneveld Choral Verse NEA YOUNG PERFORMER AWARDS 2015 GOLD MEDALLIST: ALTHEA STEYNBERG & NEO MOTSATSE Gr. 7-9 (Tiensie Lategan Studio) Overall Winner: Senior Level (Gr. 7-9) Category Winner: Classical/Crossover Music Senior Level (Gr. 7-9) SILVER MEDALLIST: HENNO WILLIAM Gr. 4-6 (Respiro Studio) Overall Winner: Intermediate Level (Gr. 4-7) Category Winner: Contemporary Music Intermediate Level (Gr. 4-7) BRONZE MEDALLIST: FALLON MONDLANE - FET Level (Gr Open) (June Kraus Academy) Category Winner Contemporary Music: FET Level (Gr. 10 Open) Joint Overall Winners: FALLON MONDLANE & ISABELLA SPIVEY - FET Level (June Kraus Academy) OVERALL WINNER: ENTRY LEVEL (GR. 0-3): MALAN DU PLESSIS (Stage Bright Musicians) Category Winner Classical/Crossover Music Entry Level (Gr. 0 3) OVERALL WINNER: GROUP SECTION MONAS DANCE GROUP Category Winner Groups - Dance OVERALL BEST ACHIEVEMENT: YOUNG ARTIST AWARD: KATYA LUDICK (Hoërskool Noordheuwel) Category Winner Creative Work Senior Level (Gr. 8 - Open) MOST INSPIRING PERFORMER: CANTONA JAMES (Randfontein High School) CATEGORY WINNERS: ENTRY LEVEL (GR. 0-3) Speech & Drama Janco de Lange Sonja Myburg Drama Skool Contemporary Music Fadzai, Ndou The King s College & Prep. School Dance Warrick Naudé Maragon Private School Creative work Xiao-Chi Juan Bryneven Primary School JUNIOR LEVEL Speech & Drama (Gr. 4 6) Stefan de Wit Sonja Myburg Dramaskool Classical/Crossover Music (Gr. 4 6) Keamogetswe Modise Randfontein High Dance (Gr. 4 6) Ané Bierman Bryanston Parallel Medium Creative Work (Gr. 4 7) Chantel da Silva Laerskool Unika INTERMEDIATE PHASE (7-9) Speech & Drama Minke Marais Hoërskool Noordheuwel Contemporary Music Annelé Retrief Southdowns College Dance Tamsyn Leigh Dexter Southdowns College FET LEVEL (GR. 10 OPEN) Speech & Drama Cantona James Randfontein High School N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 36

42 Classical Music James Deacon St Stithians Boys College Crossover Music Michelle Smorfitt St Peter s College Dance Winita Main GROUPS Music: Classical Style Monnaskoor Hoërskool Monument Speech & Drama Sir Pierre van Ryneveldt NEA YOUNG PERFORMER AWARDS 2014 GOLD MEDALLIST : FALLON MONDLANE Gr. 9 (June Kraus Academy) Overall Winner: Senior Level (Gr. 8 Open) SILVER MEDALLIST : TIANA DE OLIVEIRA Gr. 10 (Grace Teixeira Drumming Academy) BRONZE MEDALLIST: KHANYISILE MKHIZE (Greenside High School) Winner Contemporary Music: Senior Level (Gr. 8 Open) OVERALL WINNER: ENTRY LEVEL (GR. 0-3): XIAO-CHI JUAN (Bryneven Primary School) Winner Classical Music Entry Level(Gr. 0 3) OVERALL WINNER: JUNIOR LEVEL (GR. 4-7): ANELE PONTES (Orange Grove Primary School) Winner Contemporary Music (Gr. 4 7) BEST GROUP PERFORMANCE: SHIZZLE DIZZLE - Open Section (Blink Dance Studio) OVERALL BEST ACHIEVEMENT: CREATIVE WORK: MARIZA HAZAKIS (Crawford College - Lonehill) Winner Creative Work Senior Level (Gr. 8 - Open) MOST INSPIRING PERFORMERS: ADAM BOTHA - Gr. 3 (Laerskool Fairland) ANéLE PONTES Gr. 5 (Orange Grove Primary School) CATEGORY WINNERS: Entry Level (Gr. 0-3) Classical Music Xiao-Chi Juan Bryneven Primary School Crossover Music Anika De Beer Bryanston Parallel Medium School Speech & Drama Adam Botha Laerskool Fairland Dance Warrick Naude Maragon Private School Creative work Marie-Louise Theron Bryanston Parallel Medium School Junior level (Gr. 0-7) Creative work (Gr. 0 7) Katya Ludick Hoërskool Noordheuwel Speech & Drama (Gr. 4 6) Stefan De Wit Sonja Myburg Drama studio Classical Music (Gr. 4 7) Benjamin Valkin King David Primary School Contemporary Music (Gr. 4 7) Anele Pontes Orange Grove Primary School Dance (Gr. 4 7) Samantha Bhoola Ashton College International Intermediate Phase (7-9) Speech & Drama Mikaela Mondlane Upstage Concepts Senior Level (Gr. 8 - Open) Creative work Marisa Hazakis Crawford College [Lonehill] Classical Music Althea Steynberg Tiensie Lategan Studio Crossover Music Amy Joy Rigby Heronbridge College Contemporary Music Khanyisile Mkhize Greenside High School Speech & Drama Lerato Tshabalala Crawford College [Lonehill] Dance Saskia Hinsberger The Turning Point Studio N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 37

43 Groups Music: Classical Style Linden Koor Hoërskool Linden Speech & Drama Spreekkoor Hoërskool Noordheuwel Dance Jannas Pom-Poms Hoërskool Jan Viljoen NEA YOUNG PERFORMER AWARDS 2013 GOLD MEDALLIST : ANDRÉ BREET Overall Winner: Senior Level (Gr. 8 Open) Winner Classical Music SILVER MEDALLIST : MEGAN PISTORIUS (Sonja Myburg Drama skool) Winner Speech & Drama: Intermediate Phase (Gr. 7-9) BRONZE MEDALLIST: KATLEEN VIDEIRA (Art of Motion) Winner Dance: Senior Level (Gr. 8 Open) OVERALL WINNER: ENTRY LEVEL (GR. 0-3): LEANDRY SMITH (Anton- Van Wouw Primary School) Winner Crossover Music OVERALL WINNER: JUNIOR LEVEL (GR. 4-7): JENIQUE HOUGAARD (Laerskool Kenmare) Winner Crossover Music OVERALL BEST ACHIEVEMENT: CREATIVE WORK: ROSSINA NAIDOO (Crawford College - Lonehill) Winner Creative Work MOST INSPIRING PERFORMER: ENTRY LEVEL (GR. 0-3) Jabulani Tshimong (Molaetsa Primary School) MOST INSPIRING PERFORMER: SENIOR LEVEL (GR. 8-OPEN) WINNER CONTEMPORARY MUSIC: SENIOR LEVEL (GR. 8 OPEN) Tiana de Oliveira (Graca Teixeira Drumming Academy) CATEGORY WINNERS: Entry Level (Gr. 0-3): Winner Creative Work Gianna Leah Guilherme Maragon Private School Winner Classical Music William Chien Dainfern College [Music Dept] Winner Crossover Music Amory Smith Anton- Van Wouw Primary School, Trained by Studio Cha Winner Contemporary Music Kayla Fraenkel Monument Primary, Trained by Luan De Beer Vocal Coaching Winner Dance Jabulani Tshimong Molaetsa Primary School Junior Level (Gr. 4-7): Winner Creative Work Maurits Laubser Laerskool Louis Trichardt Winner Classical Music Althea Steynberg Tiensie Lategan Studio Winner Contemporary Music Robin Du Plessis Bryanston Parallel Medium, Trained by June Kraus Winner Dance Alexia Bazzo Art of Motion Winner Speech and Drama Kaelin Wills Maragon Private School, Trained by Linda Theron Studio Senior Level (Gr. 8 Open section): Winner Speech and Drama Nwabisa Phikwa Hillbrow Theatre Project Winner Crossover Music Jason Day & Merrick Kyle The King s School ( West Rand) N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 38

44 Groups Senior Level (Gr. 8 Open section) Winner Classical Music Groups: Johannesburg Youth Symphonic Wind Band (Johannesubrg Youth Orchestra Company) Winner Dance Groups: Alula (Blink Dance Studio) NEA YOUNG PERFORMER AWARDS 2012 Overall Best Performer : André Breet Best Senior Performer: André Breet Best Junior Performer: Althea Steynberg (Tiensie Lategan Ateljee) Best Foundation Phase Performer: Iman Bulbulia Most inspiring Performer: Kedibone Rasekhula CATEGORY WINNERS: Speech & Drama: Leané Oosthuizen (C.J. Cillié Drama- Ateljee) Winner: Speech & Drama (Grd. 0-3) Jordan Dowds (Crawford Prep Lonehill) Winner: Speech & Drama (Grd. 4-6) Kediboni Rasekhula (Hillbrow Theatre Project) Winner: Speech & Drama - Senior Music: Althea Steynberg (Tiensie Lategan Ateljee) André Breet (Hoërskool Florida Musieksentrum) Amory Smith (Studio Cha) Chloé Marais (Studio Cha) Nico Thomaides (Saheti School/ June Kraus Academy) Jenique Hougaard (Laerskool Kenmare) Jared Keshwar (Crawford College Lonehill) Kylah Jasmin Barry (Windsor House Academy) Dance: Carla Bruwer (Replay Hip Hop Academy) Shaunell Schoonraad (Hoër Volkskool Heidelberg) Melissa Purdon (Just Sing) Winners Senior Section (Groups) Khayelihle Dhladhla, Kelebogile Musi, Banele Nkosi, Mutshinya Nkhwatshirema & Eshley Parache (Footworkz) The Underworld (Stiehla Dance Studio) Winner: Classical Music - Junior Winner: Classical Music - Senior (Piano) Winner: Crossover Music Foundation phase (tie) Winner: Crossover Music - Senior Section Senior Winner: Contemporary Music - Junior Section Winner: Contemporary Music - Senior Section (Instrumental) Winner: Contemporary Music - Senior Section (Vocal) Winner: Dance - Junior Section Winner: Dance Senior Section Winner: Dance Senior Section Winners Senior Section (Small Groups) Winners: Dance - Large Groups NEA YOUNG PERFORMER AWARDS 2011 Overall Best Performers: Dominican Indumo Yoluisha - Marimba Band (Dominican Convent School) Best Senior Performer: Rynhard du Preez (Sonja Myburg Dramaskool) Best Junior Performer: Stephan Verhoef (Sonja Myburg Dramaskool) Most inspiring Performer: Iman Bulbulia (Kingsmead College) N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 39

45 CATEGORY WINNERS: Speech & Drama: Kaelin Wills (Maragon Private School) Winner: Speech & Drama (Grd. 0-3) Lize-Mari Ellis (Laerskool AG Visser) Winner: Speech & Drama (Grd. 4-6) Willie Jansen Van Rensburg (Sonja Myburg Dramaskool) Winner: Speech & Drama (Grd. 4-6) Stephan Verhoef (Sonja Myburg Dramaskool) Winner: Speech & Drama - (Grd. 7-9) Busisiwe Khanyile (St Mary's DSG Pretoria) Winner: Speech & Drama - Senior (English) Rynhard Du Preez (Sonja Myburg Dramaskool) Winner: Speech & Drama - Senior (Afrikaans) Music: Iman Bulbulia (Kingsmead College) Winner: Classical Music - Junior Section - (Gr. 0-3) Grace Magubane (Christine Dercksen) Winner: Classical Music - Senior Section (Vocal) André Breet (Hoërskool Florida Musieksentrum) Winner: Classical Music - Senior (Piano) Isabella Snyman (June Kraus Academy) Winner: Crossover Music - Junior Section Alexandra Snyman (June Kraus Academy) Winner: Crossover Music - Senior Section Senior Jason Strong (Grade 10) (Confident Kids) Winner: Contemporary Music - Senior Section (Instrumental) Cara Pistorius (Grade 10) (Hoërskool Menlopark) Winner: Contemporary Music - Senior Section (Vocal) Ruben Pieterse (Studio Cha) Winner: Contemporary Music - Junior Section (Vocal) Dance: Reze-Tiana Wessels (Duncan Studio Of Celtic Dance) Winner: Dance - Junior Section Basheer Moolman (Ferndale High School) Winner: Dance Senior Section Winners Senior Section (Groups) Kristin Hattingh, Kate Hurley, Aryn Lee Harris, Nicola Moore & Neil Roberts (Duncan Studio Of Celtic Dance) Winners Senior Section (Groups) Winners: Traditional Music G J Van Aswegen, Buddy Marais, Jean-Elize Marais (Hoërskool Monument/Laerskool Protearif) Dominican Indumo Yoluisha - Marimba Band (Dominican Convent School) Winners: Traditional Music - Western Instruments Winner: Traditional Music - African Instruments NEA AWARDS 2010 Winner and overall best performer Robert Webb (Maragon Private School) Overall best performer of the evening with a total prize money of R10,000 for his performance of Roald Dahl s The Witches. He also received the award for the overall best performance in speech and drama and was also awarded as the best junior drama performer. Runner-up Nolene van der Merwe (Hoërskool Linden) & Dominican Juniors Marimba Band (Dominican Convent School) The Marimba band also received the award for overall best music performance and the award for the most inspiring performance. Best Senior Performer Speech and Drama Contemporary Music Classical Music Best Junior Performer Speech and Drama Contemporary Music Dance Performance Derick Kunz (C.J. Cilliers Drama Studio) Nolene van der Merwe (Hoërskool Linden) Nerine Gouws (Tiensie Lategan Studio) Robert Webb (Maragon Private School) Alexandra Snyman (Just Sing Studio) Reze-Tiana Wessels (Bryanston Parallel Medium) Best Dance Group Gumboot dancers from Cornerstone College. They also received the award for the overall best dance performance N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 40

46 Adjudicators Special Junior Awards in Speech and Drama Onkgopotse Tsitsi (The King s School West Rand) Mitchell Harris (Lyzandra Drama Studio) NEA AWARDS 2009 Best Senior Performers: Dance Contemporary Music Classical Music Speech and Drama Best Junior Performers: Speech and Drama Dance Classical Music Contemporary Music Visual Arts Best Junior Best Senior Death Rattle (Morné du Toit, Laurie du Toit, Anthony Joubert, Rafael da Costa and Brandon Smith) (Frontstage Studio, Middelburg) Julian Hepburn (Pretoria Boys High School) Jason Mayr (Tiensie Lategan Music Studio) Arno Daiber Ziske van Dyk & Izel Potgieter (Maritza Uys Studio, Komatipoort) Kristin Hattingh & Reze-Tiana Wessels (Bryanston Parallel Medium) Wilmien Janse van Rensburg (Laerskool Jan CIllliers) Hannah Reynolds (Leoni Els Studio, Tshwane) Elani Nell (Frontstage, Middelburg) Johan Gebhardt (Hoërskool Monument, Krugersdorp) Most Inspiring Junior Performer Best Large Group Performers Scholarships Academy College Scholarship Creative Arts Scholarship Damelin College Bramley Ying-Shan Tseng (Teacher - Elize Welthagen) Gospel Choir of Lenz Public School, Soweto Julian Hepburn (Pretoria Boys High School) Gordon Rikhotso (Delta Park School) NEA AWARDS 2008 Best Senior Performer: Speech & Drama R5000 Suné Nieuwoudt (Ars Pulcerrimus Drama Studio) Contemporary Music R5000 Claudia Brown-Coleman (Trés Animé Studio) Dance R5000 Leagile Mpete (Monnyth Dance House) Classical Music R5000 Ta Tria Koritsia (Tiensie Lategan Studio)) Best Junior Performer: Speech & Drama R1000 Willie Janse van Rensburg (Sonja Myburgh Drama Studio) Classical Music R1000 Jason Mayr (Tiensie Lategan Studio) Contemporay Music R1000 Julian Hepburn (Pretoria Boys High) Dance R1000 Rachel Beth Davidson (Deutsche Internationale Schule JHB) Damelin College Scholarship: Overall Best Performance Sune Nieuwoudt (Ars Pulcerrimus Drama Studio): Damelin College Creative Arts Award: Yvette Ndobe (Sekolo SA Borokgo) The NEA Award for best performance large groups: Speech & Drama R3 000 English Mini Play (Abbots College Northcliff) Music R3 000 Koor (Hoërskool Linden) Dance R3 000 Traditional Dancers (Greenside High School) NEA AWARDS st Prize: R5 000 : Camille Bracher Dance (Ballet Theatre African) 2nd Prize: R3 000 : Violanta Odendaal - Drama (Laerskool Jan van Riebeeck) 3rd Prize: R2 000 : Sulani Steenkamp - Recorder (Christine McLachlan) N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 41

47 Damelin College bursary : Kgothatso Kekana Recorder (Mamelodi High School) Maudée Montierre Singing (Virtuoso Performing Arts) The NEA Award for best performance groups: Advanced Marimba Band (Parktown High School for Girls) NEA AWARDS st Prize: R5 000 : Andile Ndlovu Dance (Ballet Theatre African) 2nd Prize: R3 000 : Jason Mayr Recorder (Tiensie Lategan Studio) 3rd Prize: R2 000 : Abigail Walsh Violin (St. Andrews School for Girls) 4th Prize: R1 500 : Tharina Bouwer - Speech and drama (Laerskool Fontainebleau) Damelin College bursary :Thabiso Ntsime - Contemporary vocal (Town View High School) The NEA Award for Best Performance in Classical Music (sponsored by Edumusic): o 1 st prize R1000: Jason Mayr recorder (Tiensie Lategan Studio) o 2 nd prize R500: Abigail Walsh - violin (St. Andrews School for Girls ) The NEA Award for best performance in Contemporary music: o 1 st prize R1000: Cobus Smuts & Tyrone Meyer (Lizette Jonker Studio) The NEA Award for best performance in Dance: o 1st prize R1000: Andile Ndlovu (Ballet Theatre African) The NEA Award for best performance in Speech and Drama: o 1 st prize R1000: Byron-Sean Botha (Drama Studio) o 2 nd prize R500: Cameron Botha (Drama Studio) The NEA Award for best performance groups was shared by: o Hoërskool Linden Choir (R1500) o Nokulunga Youth Group Traditional Choir (R1500) NEA AWARDS ST Prize: R5 000 : Samantha Van Gysen Violin (Kwa Zulu Natal) 2 ND Prize: R2 500 : Berdene Du Toit - Drama (Hoërskool RANDBURG) 3 RD Prize: R1 000 : Camille Bracher - Ballet (Ballet Theatre Afrikan) 4 TH Prize: R 500 : Stefanie M. Rynboom Piano (Diane Coutts) 4 TH Prize: R 500 : Jason Mayr Recorder (Tiensie Lategan Ateljee) NEA AWARDS 2004 JUNIOR SECTION: 1 ST PRIZE: Nadene Marais Drama (Laerskool Fontainebleau) 2 ST PRIZE: Chineade Philips Drama (Hartzstraat Primary School) 3 ST PRIZE: Tarina Labuschagne - (Linda Theron Ateljee) SENIOR SECTION: 1 ST PRIZE: Marise Kruger Drama (Dainfern College) 2 ST PRIZE: Robert Winson Drama (Trinity House High School) 3 ST PRIZE: Makhotso Ramphele - (Dainfern Collge) GROUPS: 1 ST PRIZE: Prestige College Senior Choir - Music N E A Y o u n g P e r f o r m e r A w a r d s C o m p e t i t i o n 42

48 PART 2 NEA Confidence Builder Copyrighted NEA 2018 (This document may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.) C o n f i d e n c e B u i l d e r Copyrighted NEA

49 NEA Confidence Builder The MAGIC of the performing Arts as an educational tool is entrenched in the action of performance. This action of performing for other people provides the participant with confirmation of his value as human being and fulfils his basic need for respect and recognition, building self-respect and self-esteem. Many participants are often FRIGHTENED by the mere idea of performing in front of other people or to be adjudicated. Therefore they never experience the effect of this MAGIC in their lives. Other participants (and parents) might prefer to enjoy the OPPORTUNITY provided by the Eisteddfod to perform and participate, but WITHOUT the competitive edge! The newly introduced NEA Confidence Builder will provide a possible solution for both: The NEA Confidence Builder provides for the participant that needs to build confidence and self-esteem without the fear for failure and the pressure to be adjudicated. The NEA Confidence Builder provides for participants that would like to perform without being subjected to the competition element. The NEA Confidence Builder does not involve any grading system, in other words no marks or awards will be presented. Subsequently, the NEA Confidence Builder does not involve any pressure, comparison or competition. Brief feedback will be provided on what you have achieved (not about what you can t do!) The most important achievement will be to enjoy your performance! The NEA Confidence Builder can be used by both the serious and not so serious performer as a tool to practise a public performance at a somewhat cheaper entry fee. C o n f i d e n c e B u i l d e r Copyrighted NEA

50 NEA CONFIDENCE BUILDER: The NEA CONFIDENCE BUILDER will provide an opportunity for parents and schools that are not comfortable with a competitive approach, but would like to expose participants to an opportunity to perform in public without the threatening feeling of being adjudicated. The NEA CONFIDENCE BUILDER will also provide participants / schools entering for the mainstream eisteddfod with an additional platform to prepare for the upcoming eisteddfod events. The NEA CONFIDENCE BUILDER will also be available to schools / institutions that would like to enter a large number of participants for adjudication at the particular school. Schools in remote areas will also be able to utilize this option (T & C s apply. Please contact the NEA Office in this regard). The NEA CONFIDENCE BUILDER will be provided at a significantly lower fee with the SOLE PURPOSE to build confidence. Although the range of categories included in the Confidence Builder offering is limited, there is no limit on the number of NEA Confidence Builder events a participant may enter for. The NEA Confidence Builder offers the following OWN CHOICE categories: Speech and Drama Solo verse speaking (poetry) Poetry ensemble Prepared reading Music Vocal solo with piano accompaniment only Instrumental solo (acoustical instruments only) Maximum time allocation is strictly 2 minutes per performance. Entries will be scheduled and adjudicated at the beginning of the eisteddfod in all regions. All participants will receive a brief written report and certificate of participation. Adjudicators will not provide verbal feedback to participants at the end of sessions as is the case with the annual eisteddfod. NO GRADING or AWARDS (diploma, gold etc.) will be allocated. NO RESULTS will be provided or recorded. Confidence Builder events will not be considered for Showcase events or awards. All entries for the NEA Confidence Builder need to be submitted before the closing date for entries and no late entries for this offering will be accepted. C o n f i d e n c e B u i l d e r Copyrighted NEA

51 NATIONAL EISTEDDFOD OF SA - REGISTRATION FORM 2018 CONFIDENCE BUILDER Kindly complete all sections where applicable. Please note that the proposed dates for 2018 are from 13 August - 12 October. Kindly return this form ASAP by register@eisteddfod.co.za or fax: PART 1: Details of school / institution Kindly check the correctness of the information below. Please correct or update where necessary. A. ADDRESS AND CONTACT DETAILS: (Please print clearly) NAME OF SCHOOL / INSTITUTION / STUDIO / PARENT Ref. no. N/a Web Pass N/a POSTAL ADDRESS CODE: ADDRESS PHYSICAL ADDRESS: STREET & NUMBER GPS Co-ordinates (school) RESIDENTIAL AREA /TOWN TEL. NO. FAX NO. TELEFAX NO. Kindly indicate which of the following school calendars apply to you / your institution or studio (where applicable). 4 TERM PUBLIC SCHOOL CALENDAR 3 TERM CALENDAR (Independent school) 4 TERM CALENDAR (Independent school) OTHER B. DETAILS OF CONTACT PERSON / REPRESENTATIVE (if different from the information in A) NAME OF REPRESENTATIVE TELEPHONE NUMBER (Work) FAX NO. (Work) CONTACT NUMBER (After hours) HOME: CELL: ADDRESS of REPRESENTATIVE When is your birthday? Day: Month: C. PARTICIPANTS SLIPS Please provide me / us with copies of participant slips as indicated () Printed hard copies will be collected from the NEA Please participant slips to address as above Not required PART 2: Hosting of eisteddfod events (to be completed by schools / institutions only) Kindly indicate if you would be able to host eisteddfod events at your school. () If yes, the NEA office will contact you with more information: Cannot host any event in 2018 will participate at venues as provided by the NEA. Willing to host eisteddfod events in 2018 all participants welcome. Willing to host eisteddfod events in 2018, but only for learners from our school..../ /2018 Headmaster / Studio owner Name in block letters Date Parent C o n f i d e n c e B u i l d e r Copyrighted NEA

52 PART 3: Selected REGION and LOCAL AREA for 2018 Proposed Activity Dates for 2017: 13 Aug 12 October 2018 (For more information kindly refer to the notes below.) The? in grayscale blocks indicate the option to add a NEW LOCAL AREA not provided for on the list. Please select a region and local area! PROVINCE SHOWCASE REGION LOCAL AREA to select Benoni Boksburg Etwatwa Kathlorus Kemptonpark Springs Tembisa? Alexandra Auckland Park Bedfordview Benmore Glenvista Greenside Houghton Hyde Park Lenasia Melville Norwood Parktown Sandown Soweto? Blairgowrie Bryanston Dainfern Fairland Ferndale Fontainebleau Fourways Kayalami Linden Lonehill Midrand Northcliff Sharonlee? Centurion Pretoria Soshanguve Tshwane? Heidelberg Vanderbijlpark Southern Vereeniging? Eastern Joburg Central/South Joburg North Northern PROVINCE SHOWCASE REGION LOCAL AREA to select Fochville Little Falls Merafong City Mogale City Muldersdrift Randfontein Roodepoort Ruimsig Weltevredenpark Westonaria? International International Maputo Kwazulu Natal Kwazulu Natal? Limpopo Bela-Bela Limpopo Makhado Limpopo Modimolle Limpopo Musina Limpopo Polokwane Limpopo Vaalwater Limpopo? Mpumalanga Mbombela Mpumalanga Emhalhleni Mpumalanga Komatipoort Mpumalanga Lydenburg Mpumalanga Malelane Mpumalanga Middelburg Mpumalanga Steelpoort Mpumalanga? North West Delareyville North West North West Klerksdorp North West Madibeng North West Potchefstroom North West Rustenburg North West? Northern Cape Kathu Northern Cape Northern Cape Kuruman Northern Cape Postmasburg Northern Cape Upington Northern Cape? Western Cape Western Cape / Western Limpopo Mpumalanga Please indicate your Province, Region and Local area in the appropriate box above. Confidence Builder items will be adjudicated at the beginning of the eisteddfod. Adjudication might take place at a central venue per region if necessary. PLEASE SUBMIT COMPLETED FORM TO: Fax: entry@eisteddfod.co.za Proof of payment must be included. C o n f i d e n c e B u i l d e r Copyrighted NEA

53 NATIONAL EISTEDDFOD OF SOUTH AFRICA Closing date for hardcopy entries: 22 June. NEA Confidence Builder A. INSTITUTION OF BILLING NEA CONFIDENCE BUILDER - ENTRY FORM Complete all Sections A.1 Who is responsible for submitting and paying for this entry? SCHOOL STUDIO PARENT A.2. Please complete and attach a Registration form for this school/studio/parent to this entry form (Important: entries will not be accepted without a registration form and proof of payment) A.3 Please provide the name of the responsible person: A.4 Contact number for the responsible person: A.5 address of the responsible person: B. PROFILE OF PARTICIPANT NAME SURNAME COMPULSORY INFORMATION: Entries cannot be processed without an ID Number OR Date of Birth YEAR MONTH DAY Female Male ID number or Date of birth NAME OF SCHOOL (This refers to the public / private school the participant is attending and could be the same as in A2) School Grade ( when applicable) of parent / participant Cell No. of parent (1) *Kindly provide the disability code where applicable - - Language of communication Cell of parent (2) or participant: - - * A Blind / Partially sighted C Intellectually E Physically challenged challenged B Deaf/Hard of Hearing D Learning disabled Not Applicable CATEGORY Select Confidence Builder: Item Code: Speech and Drama items Vocal Solo Solo verse speaking (poetry) Instrumental solo Prose Afrikaans Poetry ensemble English Prepared reading IsiNdebele IsiXhosa Confidence Builder: Music items IsiZulu Vocal Solo with piano accompaniment Sepedi Instrumental solo (acoustical instruments only Sesotho TOTAL: Setswana Instrument: (e.g. piano, recorder,) when applicable: SiSwati Grade: TshiVenda HARD COPY ENTRY FEE: R XiTsonga Closing date for hardcopy entries: 22 June. NB Register and Enter ONLINE at a lower fee!! Entry fee Please note: Hard copy entry refers to entry on paper submitted by fax or . I accept that NO changes of the performance date will be allowed once the schedule has been finalized and that entry fees are not refundable. I accept the Rules applicable to THE Confidence Builder as outlined in the Prospectus. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during this festival. NAME IN PRINT SIGNATURE DATE C o n f i d e n c e B u i l d e r Copyrighted NEA

54 PART 3 Indigenous South African Arts Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

55 INDIGENOUS SOUTH AFRICAN ARTS What is indigenous art? Indigenous art is performed by indigenous people that lived in a place long before other people came to live there. In South Africa this in particular refers to the San and Nama people. However, many cultures that are now considered indigenous to our country, although not in the same sense that the San and Nama were, brought their innate culture with them as they migrated towards the south from various places since the 16 th century. In this sense Indigenous art also refers to home-grown art. Home-grown art then expresses the innate qualities that have developed and characterizes the different people of our land. Is an Indigenous African Arts Category necessary? Following the success of the NEA Indigenous Arts Development Project with the support on the National Lottery Commission in 2015, it was decided to compile a new Indigenous South African Arts Section in Prospectus Given the challenges of the urbanization of people and urban influences, as well as the apparent low level of interest in performances in indigenous languages amongst the youth, it is important to find ways to promote and preserve indigenous arts practices so that people should know where they come from, where they are and where they are going. The purpose of including Indigenous African Arts as separate section is to encourage and stimulate participation in indigenous dance, music, theatre and storytelling activities, as well as to promote and preserve indigenous languages. Ultimately, participating in the Eisteddfod will contribute towards greater awareness of and pride in our multi-cultural diversity by keeping tradition alive for generations to come by supporting communities both urban and rural - to rediscover, preserve and promote pride in their cultural heritage. In doing so, the National Eisteddfod of South Africa provides for Rediscovering our roots and creating interest and awareness of indigenous performing practices, creating a platform for indigenous performing arts activities in various communities that will also motivate learners and provide them with opportunities to showcase their potential; elevating the status of indigenous practices through the eisteddfod platform and acknowledgement of achievements improving performance standards by establishing adjudication standards for indigenous practices utilizing the magic of the performing arts to develop skills and self-esteem in learners, making it possible for young performers to discover themselves and to be aware of their latent talent. I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

56 How to take part in the festival? Any group or participant that would like to take part in the Festival must SUBMIT an entry by following the next steps: STEP 1: Familiarise yourself with the categories that are available in the Indigenous South African Arts Section of the Prospectus Select the category / categories that you want to enter for. Complete an entry form for EACH category / item that you want to enter for. Submit the entry form to the NEA Office. Alternatively you can register and enter ONLINE on the website: STEP 2: Start preparing for your performance. Pay attention to the authenticity of your performance regarding regalia, style of music, dance / movement. Speak to elders in your community for assistance in this regard. STEP 3: Adjudication of performances: o The adjudication will happen at a selected venues in your region. o The adjudication of the various indigenous performances will be performed by members of the NEA adjudication panel. o Each participant / group will receive an certificate award (diploma, gold silver or bronze) o The adjudicator(s) will also provide a written feedback report to each participant / group. The adjudicators will recommend to NEA who the best performers during the adjudication of the various events were. These performers could be invited to perform at special Showcase events that will acknowledge the best performers in the region. The normal entry fees will apply in the absence of sponsorships. Contact the NEA office on for more information in this regard. I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

57 Indigenous Arts Categories The following 2 broad categories can be entered for: South African Indigenous art South African Home-grown art. Participants may enter as individuals, small groups or large groups in any of the following languages / cultural groups. CULTURAL GROUPINGS and LANGUAGES: Table A* AFRIKAANS AFR SEPEDI SEP IsiNDEBELE NDE SESOTHO SOT IsiXHOSA XHO SETSWANA TSW IsiZULU ZUL SiSWATI SWA KHOISAN KHO TshiVENDA VED NAMA NAM XITSONGA TSO * To be used by communities for the expression of the characteristic traditional qualities of a particular cultural expression. For the use of any language within a modern context, please refer to the speech and Drama Section of this Prospectus. Participants can fall within any of the following school grade or out of school groups: Table C 00 Grade R 2 minutes 11 Grade 11 5 minutes 01 Grade 1 3 minutes 12 Grade 12 5 minutes 02 Grade 2 4 minutes 13 Foundation phase group 5 minutes 03 Grade 3 4 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 4 minutes 15 Senior phase group 5 minutes 05 Grade 5 4 minutes 16 FET Phase 6 minutes 06 Grade 6 4 minutes 17 Primary school group 5 minutes 07 Grade 7 4 minutes 18 Secondary school group 6 minutes 08 Grade 8 5 minutes 19 Open section 6 minutes 09 Grade 9 5 minutes 20 Senior citizens 6 minutes 10 Grade 10 5 minutes I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

58 INDIGENOUS SOUTH AFRICAN ARTS CATEGORIES, ITEM NUMBERS & DESCRIPTIONS Music and Dance section Indigenous music is not the usual folk music, e.g. izitibili, in other words the concert songs that choirs usually do with song and dance. In this section performers should represent a particular South African ethnic group. The performance should be authentic regarding regalia, style of music, dance/movement. MUSIC AND DANCE SECTION TABLE B MUSIC AND DANCE SECTION To enter this section, select the appropriate CODE / LANGUAGE / CULTURAL group in TABLE A. This section is open to individual performers, as well as small and large groups. The music / dance performance should represent a particular South African ethnic group and therefore it is important that: o The leader / group should research how, where and when that particular music/dance is performed. o This background information about the performance should be provided on the entry form. o On the day of the performance the participant(s) should also provide this information to the adjudicator in the format of a brief script that describes what the performance represents. o The performance should be authentic regarding regalia, style of music, dance/movement. A maximum time-limit of 5 minutes will be allowed for a performance in this category. Solos 1 Participant Duet 2 Participants Trio 3 Participants Quartet 4 Participants Quintet 5 Participants Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

59 Oral Tradition section Oral tradition refers to performance using spoken language and can include the following sub-sections (not rapping) in an indigenous South African language: (select language code) This section does not include modern poetry and drama in an indigenous language. This has been included in the Speech and Drama Section PRAISE POEMS Oral Tradition section Praise poems This genre that involves saying praises of a kin, or one s clan names, is found in most South African languages. It is usually performed on occasions where heroes - on the way to or from the battlefield - are honored for a job well done. It can also be used to praise kings or chiefs or a brave man or woman in the community. It is usually performed by one person. A maximum time-limit of 5 minutes will be allowed for the performance. PRAISE SONGS Praise songs A praise song is used for the same reasons as a Praise Poem, with the difference that it is performed by a group with a leader who functions as a soloist in the group, creating a situation of call and response. Any other appropriate praise song performer at indigenous occasions such as wedding, rituals, drinking parties and festivities characterizing the chosen cultural group. A maximum time-limit of 5 minutes will be allowed for the performance. STORY TELLING Story telling Story telling (e.g. izinganekwane; ditshomo; iintsomi) is about the oral history that is passed from one generation to the next through storytelling and reciting epic poems. A maximum time-limit of 5 minutes will be allowed for the performance. Solos : 1 Participant 1008 Solos : 1 Participant 1009 Duet : 2 Participants 1010 Trio : 3 Participants 1011 Quartet : 4 Participants 1012 Quintet : 5 Participants 1013 Small groups (6-10 Participants) 1014 Medium sized groups (11 20 participants) 1015 Large groups (21+ participants) 1016 Solos : 1 Participant 1017 Duet : 2 Participants 1018 Trio : 3 Participants 1019 Quartet : 4 Participants 1020 Quintet : 5 Participants 1021 Small groups (6-10 Participants) 1022 Medium sized groups (11 20 participants) 1023 Large groups (21+ participants) 1024 RECITING AFRICAN POEMS I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

60 Reciting African poems The presentation of a memorised poem, in an African language, using movement, voice and facial expression. Movements should enhance the spoken word and should be used as a personal interpretation and not a literal translation of the words into movement. Participants will be allowed to present new, unpublished poems. Participants in this section must provide copies of their poems to the adjudicator prior to their performance. A maximum time-limit of 5 minutes will be allowed for the performance RECITING AFRICAN POEMS PROSE Reciting African prose The presentation of a memorised poem, in an African language, using movement, voice and facial expression. Movements should enhance the spoken word and should be used as a personal interpretation and not a literal translation of the words into movement. Participants will be allowed to present new, unpublished poems. Participants in this section must provide copies of their poems to the adjudicator prior to their performance. A maximum time-limit of 5 minutes will be allowed for the performance AFRICAN DRAMA Drama Acting with an indigenous story line (not township theatre). A maximum time-limit of 5 minutes will be allowed for an individual performances. A maximum time-limit of 15 minutes will be allowed for a small or large group performance. A maximum of 2 minutes set-up time will be allowed for each performance Solos : 1 Participant 1025 Duet : 2 Participants 1026 Trio : 3 Participants 1027 Quartet : 4 Participants 1028 Quintet : 5 Participants 1029 Small groups (6-10 Participants) 1030 Medium sized groups (11 20 participants) 1031 Large groups (21+ participants) 1032 Solos : 1 Participant 1033 Duet : 2 Participants 1034 Trio : 3 Participants 1035 Quartet : 4 Participants 1036 Quintet : 5 Participants 1037 Small groups (6-10 Participants) 1038 Medium sized groups (11 20 participants) 1039 Large groups (21+ participants) 1040 Solos : 1 Participant 1041 Duet : 2 Participants 1042 Trio : 3 Participants 1043 Quartet : 4 Participants 1044 Quintet : 5 Participants 1045 Small groups (6-10 Participants) 1046 Medium sized groups (11 20 participants) 1047 Large groups (21+ participants) 1048 Home-grown music & dance This category refers to music / dance that is home-grown and linked to the people of our country. In this regard two main streams can be identified: Music / dance that relates to black people that came from all over Africa to South Africa. Over and above preserving the original traditions, they have developed music as a result of their interaction with other cultures that is distinctly homegrown (e.g. Kwaito, Marabi, Pantsula & Kofifi) I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

61 Music / dance that relates to people that came from other continents like Europe and the East, and over time has developed music that is distinctly home-grown (e.g. Boeremusiek, Cape Malay music). Home-grown Music / Dance Categories Home-grown categories include the following categories. Any music / dance that is considered to be home-grown may be entered for. Where necessary the participant(s) should provide a script that details the origins (what, where, when) of the performance. MARABI Marabi Marabi was the name given to a South African keyboard style (usually played on pedal organs, which were relatively cheap to acquire) that had something in common with American ragtime and the blues, played in ongoing cycles with roots deep in the African tradition. The sound of marabi was intended to draw people into the shebeens and then to get them dancing. It used a few simple chords repeated in vamp patterns that could go on all night - the music of South African pianist and composer Abdullah Ibrahim still shows traces of this form. This was usually found in the urban townships, in particular the Sophiatown and Alexandra townships. From there is spreads to rural areas where the clever township boys and girls show the rural people what they have learned in /Goli. (Refer to Table C for Grade codes and time frame) Read more: KWELA Kwela The term "kwela" is derived from the Zulu for "get up". The primary instrument of kwela, the pennywhistle, was a cheap and simple instrument and also susceptible to use as a solo or an ensemble instrument. Part of the popularity of the pennywhistle was perhaps based on the fact that flutes of different kinds had long been traditional instruments among the peoples of the more northerly parts of South Africa. The pennywhistle thus enabled the swift adaptation of folk tunes into the new marabi-inflected idiom. Lemmy Mabaso was one of South Africa's most famous pennywhistle stars, as well as Spokes Mashiane and Boy Masaka of Brits. Read more: (Refer to Table C for Grade codes and time frame) Solos 1 Participant Duet 2 Participants Trio 3 Participants Quartet 4 Participants Quintet 5 Participants Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 1 Participant Duet 2 Participants Trio 3 Participants Quartet 4 Participants Quintet 5 Participants Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) MBAQANGA The Mbaqanga is a mode of African-inflected jazz that had many and various practitioners. It developed out of the marabi and kwela. The cyclic structure of Marabi, combined with various traditional dance styles (such as the Zulu indlamu,) with a strong influence of the American big band swing, crystallised into the "African stomp" style, giving a notably African rhythmic impulse to the music and making it irresistible to its new audiences. (Exponents of Mbaqanga were the Solos : 1 Participant 1065 Duet : 2 Participants 1066 Trio : 3 Participants 1067 Quartet : 4 Participants 1068 I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

62 late Mahlathini with the Mahotella Queens, Soul Brothers, Dark City Sisters and Izintombi Zomqashio.) (Refer to Table C for Grade codes and time frame) Read more: ISICATHAMIYA The missionary emphasis on choirs, combined with the traditional vocal music of South Africa which also included choreography, gave rise to a mode of male a capella singing that blended various styles with an African indigenous approach. This style evolved in the hostels because of the migratory labour system. This tradition is still alive today in the Isicathamiya form, of which Ladysmith Black Mambazo are the foremost and most famous exponents. (Refer to Table C for Grade codes and time frame) Read more: Quintet : 5 Participants 1069 Small groups (6-10 Participants) 1070 Medium sized groups (11 20 participants) 1071 Large groups (21+ participants) 1072 Solos : 1 Participant 1073 Duet : 2 Participants 1074 Trio : 3 Participants 1075 Quartet : 4 Participants 1076 Quintet : 5 Participants 1077 Small groups (6-10 Participants) 1078 Medium sized groups (11 20 participants) 1079 MASKANDI Maskandi Maskandi is played on cheap, portable instruments, or modern instruments tuned or produced to imitate the polyphonic sounds of the old instruments. Traditionally, a maskandi muso had one song, a long one that evolved as the story of the musician's life grew. Maskandi is distinguished by an instrumental flourish that sets the tone at the beginning of each song, picked guitar style, and rapidly spoken sections of Zulu praise poetry, called "izibongo". The content is not always praise, though, and with pop, house and other influences colouring maskandi, it has become more about the storytelling ethic and the modern migrant culture, than simply about the musical style. (Refer to Table C for Grade codes and time frame) Large groups (21+ participants) 1080 Solos : 1 Participant 1081 Duet : 2 Participants 1082 Trio : 3 Participants 1083 Quartet : 4 Participants 1084 Quintet : 5 Participants 1085 Small groups (6-10 Participants) 1086 Medium sized groups (11 20 participants) 1087 Large groups (21+ participants) KOFIFI Kofifi is actually the place called Sophiatown. Music that was played there was very similar to African Jazz. People in Kofifi had a way of dancing to the music. Kofifi people would be identified by the way they used to dance to the music. Solos : 1 Participant 1089 Duet : 2 Participants 1090 Trio : 3 Participants 1091 Quartet : 4 Participants 1092 Quintet : 5 Participants 1093 Small groups (6-10 Participants) 1094 Medium sized groups (11 20 participants) 1095 I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

63 AFRICAN JAZZ African Jazz is music that was played particularly in the now Province. It was mostly found around Alexandra, Soweto and Sharpville. This was instrumental music and we still find a lot of it today. It is played by well-known performers such as Jonas Gwangwa and Hugh Masikela. Other exponents were groups such as the Alexandra All Star Band, Sharptown Swingsters etc. (Refer to Table C for Grade codes and time frame) PANTSULA Pantsula is a syncopated, quick-stepping, and low to the ground form of dance which evokes the urban street culture of which it is a part. GUMBOOT DANCE the gumboot dance (or Isicathulo) is an African dance that is performed by dancers wearing Wellington boots, commonly called gumboots In South Africa. Large groups (21+ participants) 1096 Solos : 1 Participant 1097 Duet : 2 Participants 1098 Trio : 3 Participants 1099 Quartet : 4 Participants 1100 Quintet : 5 Participants 1101 Small groups (6-10 Participants) 1102 Medium sized groups (11 20 participants) 1103 Large groups (21+ participants) 1104 Solos : 1 Participant 1105 Duet : 2 Participants 1106 Trio : 3 Participants 1107 Quartet : 4 Participants 1108 Quintet : 5 Participants 1109 Small groups (6-10 Participants) 1110 Medium sized groups ( participants) Large groups (21+ participants) 1112 Small groups (6-10 Participants) 1113 Medium sized groups ( participants) Large groups (21+ participants) 1115 I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

64 BOEREMUSIEK Boeremusiek is an instrumental folk music, dating from the period during which the people who practiced it where internationally known as "Die Boere" The Boers of South Africa. It is informal music that is played in a distinctive way and was primarily intended as accompaniment for social dancing. For the purpose of this conversation we exclude other kinds of Afrikaans music from the same period like ballads, serenades and music aimed at passive audiences. The concertina was, and is still to this day, the top lead instrument in Boeremusiek. Apart from the different types of concertinas that are found in Boeremusiek, there are different dance rhythms and variations in accompaniment. Source: WIKIPEDIA, Boeremusiek. (Refer to Table C for Grade codes and time frame) Solos : 1 Participant Duet : 2 Participants Trio : 3 Participants Quartet : 4 Participants Quintet : 5 Participants Small groups (6-10 Participants) Medium sized groups (11 20 participants) Large groups (21+ participants) CAPE MALAY MUSIC Cape Malay Music This cultural group developed a characteristic 'Cape Malay' music. An interesting secular folk song type, of Dutch origin, is termed the nederlandslied. The language and musical style of this genre reflects the history of South African slavery; it is often described and perceived as 'sad' and 'emotional' in content and context. The nederlandslied shows the influence of the Arabesque (ornamented) style of singing. This style is unique in South Africa, Africa and probably in the world. Solos : 1 Participant 1124 Duet : 2 Participants 1125 Trio : 3 Participants 1126 Quartet : 4 Participants 1127 Quintet : 5 Participants 1128 Small groups (6-10 Participants) Medium sized groups (11 20 participants) Large groups (21+ participants) Table C 00 Grade R 2 minutes 11 Grade 11 5 minutes 01 Grade 1 3 minutes 12 Grade 12 5 minutes 02 Grade 2 4 minutes 13 Foundation phase group 5 minutes 03 Grade 3 4 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 4 minutes 15 Senior phase group 5 minutes 05 Grade 5 4 minutes 16 FET Phase 6 minutes 06 Grade 6 4 minutes 17 Primary school group 5 minutes 07 Grade 7 4 minutes 18 Secondary school group 6 minutes 08 Grade 8 5 minutes 19 Open section 6 minutes 09 Grade 9 5 minutes 20 Senior citizens 6 minutes 10 Grade 10 5 minutes I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

65 CONTEXTUALISING INDIGENOUS ARTS 8 Arts: Indigenous: Western concept Traditional; belongs to a place and its peoples. For the people it was a way of life and not an art form. A. MUSIC 1.Pre-colonial era: Music according to ages and gender o Differentiation of music for different occasions: weddings, o wars (amahubo); historical events (amahubo); ukungcweka; o initiation; umsindo; ijadu; children s games; etc. o Structure and texture: different pentatonic scales; o Harmonies; rounds; leader; movement (differed according to type of song; o Instruments: African drum; umakhweyana/ugubhu; isitolotolo (later); ingulule/ingulube. 2. Colonial/Missionary and migratory labour era: o Amaqaba; imishongolo (mines); birth of new styles (mbube; Bhaca gum boot dance). o Baroque and Classical sound proliferation. 3. Contemporary era: To a large extent the indigenous art forms still exist, communities are learning them anew. o Mutual influences of neighbouring ethnic groups: Khoi dances now done by Tswanas. o Isicathamiya now very popular. o Maskandi music has grown in popularity. o Folk songs with choreography very popular with choirs. o Birth of other styles with western influences. o Commercialisation. B. Kings praises; clan names; fairy tales. 8 Notes courtesy of Mr. Ludumo Magangane I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

66 NOTES ON AFRICAN LANGUAGE POETRY 9 1. ORAL POETRY A profoundly misguided and biased conception underpinned the study of African language poetry right from its inception during the missionary period. The missionary period can be divided into three significant phases: The early missionary period, heavily immersed in the Eurocentric myth of the European Miracle, believed that all non- European societies were in different stages of development towards a European-type civilisation. They compared other cultural achievements to their own and dismissed those that did not match up. The second phase was fuelled by the radicalism shown by Boaz Franz, who unlike earlier armchair European intellectuals, researched among settled communities and found wealth of information on the cultural practices of the American natives. His findings sets the tone for renewed perspectives into the nature of native cultures. Accordingly there precipitated a slight review into the manner the missionaries dealt with the natives cultural phenomena. The final phase came at the time of the disintegration of the centrality of the European civilisation, during the early twentieth century and the period after the World War II. This period marked the dawning of colonialism in Africa and elsewhere. This was another development in which native cultures were perceived. It was around this period that different cultural practices were wholly accepted, as particular civilisations that should have never been compared with European civilisation in the first place. In accordance with dominant middle-class European thought, the African languages literary expression, particularly poetry in this regard, metamorphosed from irrelevancy to relevancy, from a remotely collection of incomprehensible pagan practices and utterances, to highly appraised poetic renditions. These were archaeological deposits of centuries of African wisdom and thought. Thus, in spite of a valuable collection of ethnic specific data that attested to the poetic qualities of numerous spoken utterances, the missionaries chose not to consider these as suitable material for poetic study in African languages. This was a given until at the time of the fall of the European Miracle. Missionary perceptions and actions contributed to the general view that Africans did not have history, culture, literature (or rather, expressive art); yet all the while those same missionaries collected and sent these archaeological deposits to overseas patrons for sponsorship and funding. When the oral art forms were finally considered to hold any relevance, they were taken out of context and preserved in books - as a result, they lost their living oral quality and vibrancy. In addition, the sense of continuity, that innate quality of oral traditional forms, was lost. As a result the oral art forms failed to make commentary that was abreast with the cultural dynamism that modern Africans experienced. At this point oral forms truly lost their relevancy, as the text and context of their existence radically changed. The preservation of the text in book form, fixated it to just that: A static form that were perceived in a different way as the nature of oral forms demanded. Equally, the shifting or change in context, removed the historical agency of the storyteller or the performer. As a result, the artist lost their sharpness and they became redundant. The once oral tradition could now be accessed in books as texts or written literature. Any hope of continuity in the oral forms in current studies and research is conducted amongst the illiterate and semi-literate groups of African societies (both urban and rural). These are the people who holds the key to the issues of the oral tradition and art form. Therefore, in the conceptualisation of the African language syllabi, academics/planners should not only confine their choice of materials to written texts but there should be a conscious effort to continually look beyond the texts, into society, to get new materials, composed by lay people. These oral and dynamic materials will provide a key to the trends and tropes of the oral art forms. The study of modern poetry presupposed that there are no poetry or poetic forms in indigenous languages. In order to dismiss this misconception, the post-apartheid approach to the study of poetry must strive to incorporate oral art forms. These poetic forms commence with idiomatic expressions. These are witticisms that are highly poetic or stylised. Then metaphorical utterances appear, proceeding to proverbs (axiomatic sayings incorporating ideological aspects of the society; proverbs are altruisms that have stood the test of time). Then the riddle art form also exists. This is highly crafted and intellectually stimulating questions, which in themselves are problems requiring attention. These riddles also test problem solving skills. Whilst the first three examples are composed by shorter cryptic expressions or observations that in certain instances are made up by two components: first the ideological and second, the metaphorical aspects, (as in the proverbs and the lullabies and short praises). These can be longer and sometimes quite elaborate in format. The former (ideological) forms are nursery rhymes and the latter form (metaphorical) is used at play scenes, composed mainly by boys at the pastures or girls at their dance ceremonies. However, adults can compose these for their children also, seeing in them certain qualities that deserve a critical comment or appraisal. It is significant to note that these short praises are foundation blocks on which accumulated praises will be laid upon. As the young person grows up, his personality, character; that is, his mantle, is continuously commented upon, and in this way he accumulates praises that will map out his history, marking him as an active historical agent, contrary to European thinking. The African history is written in his praises and therefore access to this history 9 Notes on African Poetry courtesy of Ms. B. Mhlambi (University of the Witwatersrand). For more information about Modern Poetry in African languages refer to the Speech and Drama Section in this Prospectus. I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

67 through language is vital in understanding what each individual did in his society/community. It can also indicate how he failed or refused to be a historical agent in his community. The next groups of poetic, oral art forms are extended surnames (izithakazelo) and praises (izibongo). These are lengthy poetic renditions, marking the chronological lineage of the patrimonial counterpart of the individual; in rare instances, the matrimonial side is included in these praises - but never in the extended surname, which focuses on the historical emergence of the patriarchal lineage only. Most of these oral forms have been lost, the reason being the nature of human memory; that is, they have been pushed to oblivion for some reasons or because of the nature of oral forms; there is always that danger of distortion, inaccuracy and so forth. However, the greater danger were with the pioneers who collected these forms. They left the parts out that did not understand. Example: With the extended surnames and oral praises of the Zulu monarchy: There is a notion that the Zulu history and Monarchy spans only the period around King Ndaba, who lived around the early eighteen century. This conveniently coincides with the arrival of the white people in the Southern tip of Africa, giving the impression that Zulu history was only recorded once the Europeans arrived; which of course was not the case. Overall, oral praises are normally joined to izithakazelo, which marks out the lineage of the clan, or of the family. Culturally, knowing ones izithakazelo and izibongo is significant because in the contemporary urbanised lifestyles, where the origin of the many people populating the cities is no longer known the result of historical factors such as land dispossessions, dislocation, forced removals and so forth these oral verbal forms can help prevent intermarrying of the people coming from the same clan. Two different surnames can seem, on the surface, to be representative of two different clans; however, by reciting the izithakazelo and izibongo/zwikhodo, lineages are mapped out, relations can be traced out and the impending incestuous relationship can be avoided. It is significant to note that clan names and the avoidance of incestuous relationships are more emphasized in Zulu culture. In other African cultures, the similarities of the patriarchal lineage are a welcome alternative. For example, in the Basotho ethnicities, they prefer the wealth to be paid by the groom s people to come back to the family coffers. They even have a saying attesting to that; Dikgomo de boela sakeng (the cows for lobola are returned to the kraal). And amongst the Swati, one of the Ndlovukati must bear a similar surname like that of the Swati Monarch and this matrimonial bond is called ukuteka (to make a wife of one s sister by similarity of surname). Although this practice started within the royal house, traditional Swati people generally practice it today. Equally, among the Lobedu, one of the Queen s male cousins is appointed to procreate with the existing Queen so that their offspring becomes the next Queen. The list goes on and on and different historical circumstances contributed to the shifting contours manifest in the observances of certain customs regarding izithakazelo and izibongo/zwikhodo. The poetic qualities of wisely contrived phrases are not confined to the above oral verbal art forms only but extend to different types of songs found in different indigenous language. These interact with oral poetry at levels which do not fall under the scope of this book. I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

68 PROVINCE NATIONAL EISTEDDFOD OF SOUTH AFRICA Indigenous South African Arts Entry Form (Use one form per entry) A. CONTACT DETAILS OF THE INSTITUTION / INDIVIDUAL RESPONSIBLE FOR THIS ENTRY REGION FOR PARTICIPATION NAME OF REGIONAL NEA REPRESENTATIVE NAME OF SCHOOL / GROUP NAME OF CONTACT PERSON AT THE SCHOOL / GROUP AREA CODE & FAX NO.: CELL. No. AREA CODE & TEL. NUMBER: ADDRESS: B. NAME OF THE PARTICIPANT /GROUP: (Please complete in print!) NAME OF GROUP & GRADE (as it should appear on the certificate) NAME OF TEACHER / TRAINER IMPORTANT! HOW MANY PARTICIPANTS IN THIS ITEM? (Kindly provide the EXACT number in the appropriate box.) A. CULTURAL GROUP & LANGUAGE B. INDIGENOUS ART SECTION C. GRADE Afrikaans Music and Dance Section Foundation phase IsiNdebele Indigenous Instrumental Music (Gr. 0 3) IsiXhosa Praise poems IsiZulu Praise songs Intermediate phase Khoisan Story telling (Gr. 4 6) Nama Reciting African Poem / Prose Senior phase Sepedi Drama (Gr. 7 9) Sesotho FET phase Setswana HOME-GROWN ART SECTION (Gr ) Siswati Marabi Primary School Tshivenda Kwela level (Gr. 0 7) Xitsonga Mbaqanga Secondary school Isicathamiya level (Gr. 8 12) Maskandi Open section Kofifi African Jazz Pantsula Boeremusiek Cape Malay Music Select only ONE box in each of the columns A, B and C NAME IN PRINT SIGNATURE DATE I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

69 A sincere word of thanks is extended to each and every one that contributed towards compiling the Indigenous South African Arts Section of this Prospectus. I n d i g e n o u s S o u t h A f r i c a n A r t s Copyrighted NEA

70 PART 4 NOVICE & ELEMENTARY LEVEL MUSIC SECTION Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa C h o r a l M u s i c - Copyrighted NEA

71 INSTRUMENTAL MUSIC NOVICE & ELEMENTARY LEVEL EXPLANATORY NOTES, RULES & DEFINITIONS The purpose of this section is to provide students of instrumental music with a performance platform that suits their development phases during the first 3 years of individual instrumental tuition. During this period most of the performance pieces is taken come from various tutor books. Generally speaking, a Novice is a participant that has received less than 18 months of teaching on an instrument. The next 18 months can be considered as the Elementary phase. This applies to all novices, irrespective of the TEACHING method (traditional classical or modern contemporary). The teaching period refers to a candidate s total exposure to music tuition. The Elementary category provides for students that, having passed the novice stage, are still performing pieces on an elementary level. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and contemporary pieces, etc. On completion of the novice and elementary phase students usually move on to playing pieces from the standard repertoire. As no one can never be too young or too old for learning to play an instrument, there is no limitations as far as age or school grade is concerned. For this reason, this section provides for novices and elementary level participants on both primary as secondary school level. It needs to be clarified that when a candidates proceeds through the Novice and Elementary phases at a faster pace as the average candidate, there is no need to limit the candidate to the limited options of the Novice & Elementary level. They can then with ease proceed to the wider options available in e.g. the Classical music or Contemporary music sections. Participants must provide their own instruments (where applicable) and should provide the adjudicator with a copy of their music prior to their performance. IMPORTANT: This section only provides for instrumental items No vocal items or items that require backing track facilities should be entered into this section! C h o r a l M u s i c - Copyrighted NEA

72 INSTRUMENTAL CODES FOR NOVICES AND ELEMENTARY LEVEL NOVICE LEVEL PIANO KEYBOARD ACCORDION RECORDER FLUTE CLARINET VIOLIN CELLO ACOUSTICAL GUITAR HARP TRUMPET SAXOPHONE DRUM KIT NA01 NA02 NA03 NA04 NA05 NA06 NA07 NA08 NA09 NA10 NA11 NA12 NA13 ELEMENTARY LEVEL PIANO KEYBOARD ACCORDION RECORDER FLUTE CLARINET VIOLIN CELLO ACOUSTICAL GUITAR HARP TRUMPET SAXOPHONE DRUM KIT NE01 NE02 NE03 NE04 NE05 NE06 NE07 NE08 NE09 NE10 NE11 NE12 NE13 IMPORTANT: Participants need to provide their own instruments in all instances. NO backing track facilities will be provided for any performances in the Novice / Elementary Level Section. CLASSICAL : NOVICE INSTRUMENTAL ITEM CODES NOVICE SOLO (Primary School) All primary school students who have been studying an instrument for less than 18 months should enter in this category. Kindly note that the 18 months refer to a student s total experience and involvement in music. As pieces for primary school novices are normally very short it may be repeated twice, or alternatively participants may present 2 very short pieces as one item. NOVICE SOLO (Secondary School) All secondary school students who have been studying an instrument for less than 18 months should enter in this category. Kindly note that the 18 months refer to a student s total experience and involvement in music. NOVICE - INSTRUMENTAL RECITAL Students who have been studying an instrument (piano, digital keyboard, recorder, violin, etc.) for less than 18 months may enter in this category. (Kindly note: the 18 months refer to a student s total experience and involvement in music). Participants should present a programme of 3 pieces. No piece that has been entered separately may be performed in this section. Participants must provide their own instruments (where applicable) and should provide the adjudicator with a copy of their music prior to their performance. SOLO 2008 SOLO 2009 SOLO* 2010 C h o r a l M u s i c - Copyrighted NEA

73 NOVICE PUPIL & TEACHER DUO Music tutor books often include small and simple concert pieces where the teacher s part provides some flair to the music. This category is particularly useful for learners who are very shy and reliant on the teacher and allows the opportunity to build their confidence. The presence of the teacher helps to create an environment where the participant can feel safe and secure. These pieces are normally very short and may thus be repeated. Alternatively participants may present 2 very short pieces as one item. Only students who have been studying for less than 18 months may enter in this category. *Although this is a duet, it will be treated as a solo for practical reasons, entry fees etc.) NOVICE ENSEMBLE This section provides for ensemble items performed by primary / secondary school students who have been studying an instrument for less than 18 months. The 18 months refer to student s total experience and involvement in music. These pieces are normally very short and may thus be repeated. Alternatively participants may present 2 very short pieces as one item. Part playing is not required and students may play in unison. Most of the instrument listed above, or a combination of these instruments may be included in the ensemble, e.g. digital keyboard, recorder, flutes, etc. SOLO* 2011 Duet 2012 Trio 2013 Quartet 2014 Quintet 2015 SMALL GROUP (5 10 members) MEDIUM SIZED GROUP (11-20 members) ELEMENTARY LEVEL: INSTRUMENTAL ITEM CODES INSTRUMENTAL PERFORMANCE ELEMENTARY LEVEL (Primary School) This category provides for primary school students that, having passed the novice stage, are still performing pieces on an elementary level. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and even contemporary pieces, etc. INSTRUMENTAL RECITAL - ELEMENTARY LEVEL (Primary School) This category provides for primary school students that, having passed the novice stage, are still performing pieces on an elementary level. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and even contemporary pieces, etc. Participants should present a programme of 3 pieces. No piece that has been entered separately may be performed in this section. Solo 2018 Duet 2019 Trio 2020 Quartet 2021 Quintet 2022 SMALL GROUP (5 10 members) MEDIUM SIZED GROUP (11-20 members) SOLO 2025 INSTRUMENTAL PERFORMANCE ELEMENTARY LEVEL (Secondary School) This category provides for secondary school students that, having passed the novice stage, are still performing pieces on an elementary level. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and even contemporary pieces, etc. Solo 2026 Ensemble : Duo 2027 Ensemble: Trio 2028 Ensemble: Quartet (4) 2029 Ensemble: Quintet (5) 2030 Small group: 6-10 participants Medium sized group: participants INSTRUMENTAL RECITAL ELEMENTARY LEVEL (Secondary School) C h o r a l M u s i c - Copyrighted NEA

74 Secondary school students that, having passed the novice stage, are still performing pieces on an elementary level, may enter for this category. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and even contemporary pieces, etc. Solo 2033 Participants should present a programme of 3 pieces. No piece that has been entered separately may be performed in this section. PUPIL & TEACHER DUO ELEMENTARY LEVEL (Primary School) Music tutor books often concert pieces where the teacher s part provides some flair to the music. This category is particularly useful for primary school learners who are very shy and reliant on the teacher and allows the opportunity to build their confidence. The presence of the teacher helps to create an environment where the participant can feel safe and secure. *Although this is a duet, it will be treated as a solo for practical reasons, entry fees etc.) PUPIL & TEACHER DUO ELEMENTARY LEVEL (Secondary School) Music tutor books often concert pieces where the teacher s part provides some flair to the music. This category is particularly useful for secondary school learners who are very shy and reliant on the teacher and allows the opportunity to build their confidence. The presence of the teacher helps to create an environment where the participant can feel safe and secure. *Although this is a duet, it will be treated as a solo for practical reasons, entry fees etc.) TABLE C: GRADES NOVICE AND ELEMENTARY LEVEL Solo 2034 Solo Grade R 2 minutes 11 Grade 11 4 minutes 01 Grade 1 3 minutes 12 Grade 12 4 minutes 02 Grade 2 3 minutes 13 Foundation phase group 5 minutes 03 Grade 3 3 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 3 minutes 15 Senior phase group 5 minutes 05 Grade 5 3 minutes 16 FET Phase group 5 minutes 06 Grade 6 3 minutes 17 Primary school group 5 minutes 07 Grade 7 3 minutes 18 Secondary school group 5 minutes 08 Grade 8 4 minutes 19 Open section 5 minutes 09 Grade 9 4 minutes 20 Senior citizens 5 minutes 10 Grade 10 4 minutes HOW TO SELECT THE APPROPRIATE CODE: E.g. for a piano Novice item select: PIANO NA01 + a novice instrumental item code + Grade Code SOLO 2008 = Novice Solo (Primary School) E.g. for an Elementary piano item select: PIANO NE01 + an elementary instrumental item code + Grade Code SOLO 2025 = Elementary Instrumental Recital C h o r a l M u s i c - Copyrighted NEA

75 PART 5 Choral Music Section Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa C h o r a l M u s i c - Copyrighted NEA

76 CHORAL MUSIC EXPLANATORY NOTES & DEFINITIONS DEFINITION CHORAL MUSIC A choir is a group of singers that usually comprises of different voice types (soprano, alto, tenor and bass or SATB in short). Primary school choirs however, will mostly only have soprano and alto voices that includes boys and girls. Choral music refers to the music written or arranged specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or even popular music repertoire. Most choirs are led by a conductor or choirmaster, who leads the performances with arm and face gestures. Choirs may sing without instrumental accompaniment, with the accompaniment of a piano or other instruments, and even backing tracks (refer to the Classical Crossover section in this regard. Choral music are mostly written in four part harmony, but there is no limit to the number of possible parts. Junior and inexperienced choirs often sing in unison. Various compositions / arrangements are available that also provide for 2- part and 3 part singing, over and above the usual 4-part harmony. For secondary schools the use of 3-part singing comprising of soprano, alto and bass are very useful (in this scenario the inexperienced male voices can join forces by singing in one part only). It is of great importance to note that choral singing in general is characterized by a very specific style and tonal quality. This is generally achieved by achieving o homogeneousness of tonal quality, o uniformity in the production of vowels and the articulation of consonants, etc. The Choral Music Category provides for the following: Classical music: This refers to all choral works composed or arranged in classical style Classical Crossover music: Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to this Prospectus of the National Eisteddfod of South Africa. Contemporary Choir music: In this context contemporary choir music refers to arrangements for choir of popular contemporary music, e.g. the music of ABBA, Queen, etc. Various arrangement, even with backing tracks are available for this purpose. C h o r a l M u s i c - Copyrighted NEA

77 CLASSICAL MUSIC DEFINITION 1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19 th centuries. This style is one of the categories within the broader definition of Classical Music as outlined in (1). CLASSICAL CROSSOVER STYLE DEFINITION Crossover music describes a style of music where two different styles are mixed: a) resulting from a mixture of two different artistic categories or styles, or from b) aspects of one category becoming popular in another. A simple example is Pavarotti s large contemporary style concerts where opera music amongst others were presented in the same style as a contemporary Pop or Rock show. Other examples are music with a strong Classical feel pertaining to the style of the music, instrumentation and orchestration, but also with contemporary characteristics (e.g. music performed by people like Josh Groban ( You raise me up ); the music of Richard Clayderman that is music with a Classical feel, but is intended for or appreciated by a wide public, and could be regarded as oversimplified for the sake of greater accessibility. Music from various Broadway productions like The Sound of Music, Showboat, and also music from productions like Phantom of the Opera falls in this category. It is important to note that the classical or traditional style of the music is the determining factor for inclusion in this category. If music sounds contemporary then it is contemporary and should be presented in the section for contemporary music. This includes the composition of new, modern works in a classical style with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category. CONTEMPORARY MUSIC The word contemporary is derived from 2 words: Con ( with or together ) and Tempo (from Latin tempus meaning time, In other words, the word means together with the times. The American Heritage Dictionary defines contemporary as 1. Belonging to the same period of time. 2. Of about the same age. 3. Current; modern. ( One can conclude that Contemporary music then is any music that is being written today or relatively recently, regardless of style or genre. Based on this understanding, one could argue that this description was equal valid to describe the music of e.g. Beethoven in his time. The term contemporary music therefore can mean a variety of things to a variety of people. For the purpose of setting the scope of this Prospectus, we can draw on the definition of contemporary music as: music that is currently being written, recorded and performed. Its genres would include (but would not be limited to) blues, country, electronic/dance, experimental, folk, funk, hiphop, jazz, metal, pop, rock, roots, and world.) (Source: The Australian Federal Government s Strategic Contemporary Music Industry Plan, 2010.) Using this definition as a guide, the question became, What is the music of today? The reality is that as time passes, things change. As new forms of music and instrumentation emerge, those become the new contemporary music, and old forms fade away or receive new names. Kari Juusela, (Dean of Berklee s College of Music Professional Writing Division) believes in embracing and teaching as many new styles of music as possible. (Berklee College was founded in 1945 on the principle that music could be taught through contemporary music or the music of the day ). ( The implication of this approach is that teachers involved in the teaching of contemporary music should - In this ever-changing musical world - continuously assess what constitutes contemporary music, and provide the students with a solid musical foundation that includes the rich musical heritage that brought us to this point. C h o r a l M u s i c - Copyrighted NEA

78 CHORAL MUSIC: RULES AND REGULATIONS There are no specific prescribed pieces in this category for choirs. All items are own choice. Important: Please take note of the number of songs to be performed for a specific item: o CONCERT PROGRAMME PERFORMANCES: the number of songs is limited to THREE. o PERFORMANCES OF SINGLE WORKS /SONGS: only ONE song per item. Senior choirs are encouraged to perform at least one song a cappella (unaccompanied). Time limit: Competitors should not exceed the time limit. A choral work may not be presented in more than one section. Although junior primary school choirs normally sing in unison, they are encouraged to include part-singing. Senior primary school choirs are expected to sing in two - or more parts. A choir should have at least 20 members (smaller groups should enter the vocal section). Copies of the choir programme must be submitted to the adjudicator prior to the performance. No copies of music for the traditional section are required. KINDLY NOTE: Backing tracks may only be used in the CLASSICAL CROSSOVER Section. CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the choir was entered incorrectly. It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks. Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. LIVE ACCOMPANIMENT Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument (i.e. a musical instrument that is not necessarily electronically amplified). Arrangements for accompanists should be made well in advance. Any choir without access to a piano or accompanist can contact the NEA office for contact details in this regard. TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance. FURTHER INFORMATION Any questions regarding the music category could be ed to info@eisteddfod.co.za. C h o r a l M u s i c - Copyrighted NEA

79 HOW TO COMPLETE THE CHORAL MUSIC ENTRY FORM Selecting an ITEM NUMBER involves three steps: ITEM NUMBER: TABLE A / TABLE B TABLE C V A The entry number comprises of three components provided in Tables A, B and C. o o o o Decide on the style of performance (NB classical music, cross-over music or contemporary music choral music have been divided into different sections. (Classical music is only presented acoustical ( live, in other words without any electronic amplification or instruments or backing tracks). The crossover and contemporary sections provide for the use of a backing track (in other words electronic assistance) for the presentation of an item in classical or contemporary style. Select the appropriate code from TABLE A, e.g. The code for a Mixed Choir or Chamber Choir is VA02. Decide on the Item description, as well as the NUMBER of PERFORMERS that will participate in the specific entry and select the appropriate code from TABLE B. The number of performers involved in the item determines the code in TABLE B. In this ecample 2001 represents a concert programme by a large group pf 21+ members. o Select the appropriate code for the phase as provided in Table C. This number goes into the last 2 open blocks provided for the item number. The code 18 = refers to a Secondary school group. C h o r a l M u s i c - Copyrighted NEA

80 SUMMARY OF CODES FOR CLASSICAL CHORAL MUSIC IMPORTANT: TABLE A: CHOIR CODES AND REQUIREMENTS It is the responsibility of the participant to select the appropriate code: COLUMN A : CLASSICAL LIVE MUSIC: The codes in column A should be used for ALL CLASSICAL acoustical performances ONLY. IMPORTANT: NO electronic equipment like microphones, CD players etc. will be provided at venues where these items will be performed. CLASSICAL VOCAL CATEGORIES MIXED CHOIR /CHAMBER CHOIR This category provides for performances by choirs comprising of male and female voices The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. Select the appropriate CHOIR code in table A + the applicable code in table B CHILDREN S CHOIR This category provides for performances by choirs comprising of young female and young unchanged voice male singers. The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. Select the appropriate CHOIR code in table A + the applicable code in table B. Although junior primary school choirs normally sing in unison, they are encouraged to include part-singing. Senior primary school choirs are expected to sing in two - or more parts, if possible. CHOIR: FEMALE VOICES This category provides for performances by choirs comprising of female voices. The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. Select the appropriate CHOIR code in table A + the applicable code in table B. A CLASSIC CONVENTIONAL ACCOUSICAL VA02 CLASSIC CONVENTIONAL ACCOUSICAL VA03 CLASSIC CONVENTIONAL ACCOUSICAL VA04 CLASSIC CONVENTIONAL ACCOUSICAL C h o r a l M u s i c - Copyrighted NEA

81 CHOIR: MALE VOICES This category provides for performances by choirs comprising of male voices. The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. Select the appropriate CHOIR code in table A + the applicable code in table B. CHOIR: SENIOR CITIZENS This category provides for performances by choirs comprising of Senior Citizens. The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. Select the appropriate CHOIR code in table A + the applicable code in table B. CHOIR (Differently abled participants) This category provides for performances by choirs with differently abled participants (e.g. blind and partially sighted or physically challenged participants)*. The number of choristers will determine the selection of the item code. o Chamber Choir : Medium sized group (11 20 members) o Choir: Large group (20+ members) Copies of the choir programme must be submitted to the adjudicator prior to the performance. *For practical reasons it is important to be informed of any of these challenges when scheduling events. VA05 CLASSIC CONVENTIONAL ACCOUSICAL VA06 CLASSIC CONVENTIONAL ACCOUSICAL VA07 CLASSIC CONVENTIONAL ACCOUSICAL C h o r a l M u s i c - Copyrighted NEA

82 CONCERT PROGRAMME TABEL B: CLASSICAL CHORAL MUSIC Medium sized group: 11 - The size of the group determines the code to be selected on the right! 20 participants 2000 Large group: 21+ participants 2001 Requirements: A programme consisting of 3 works in contrasting styles is to be presented. The choice of songs and balance of the programme selected will be taken into account for adjudication. Choirs may sing either accompanied (by acoustical instrument(s)) or a cappella (unaccompanied). Please note that the proficiency of the accompanist is important, since the overall artistic impression of the performance is assessed. A copy of the choir music must be submitted to the adjudicator prior to performance. TIME LIMITS: Choirs should not exceed the time limit. TABLE C 00 Grade R 4 minutes 13 Foundation phase (Gr. 0 3) 5 minutes 14 Intermediate phase group (Gr. 4 6) 6 minutes 15 Senior phase (Gr. 7 9) 8 minutes 16 FET Phase 12 minutes 17 Primary school (Gr. 0 7) 8 minutes 18 Secondary school (Gr. 8 12) 12minutes 19 Open section 12 minutes 20 Senior citizens 12 minutes 86 Primary and Secondary grades 12 minutes RELIGIOUS PROGRAMME Over and above that the music selected for a religious programme will be different to the music for the usual concert programme, all the other requirements as for a Concert Programme apply. Medium sized group: participants Large group: 21+ participants GOSPEL PROGRAMME Over and above that the music selected for a gospel programme will be different to the music for the usual concert programme, all the other requirements as for a Concert Programme apply. AFRICAN CONCERT SONGS The African concert songs refers to the usual folk music or izitibili of African choirs, in other words the concert songs that choirs usually do with song and dance. (This is not be confused with Indigenous music.) Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants Choirs may also select ANY of the codes for classical musical categories as provided below. Select the appropriate CHOIR code in table A + the applicable code in the following section. Please note the time limits per item as provided at the end of the list. C h o r a l M u s i c - Copyrighted NEA

83 CLASSICAL: VOCAL / INSTRUMENTAL CATEGORIES AND ITEM CODES MUSIC BY SOUTH AFRICAN COMPOSER This category provides for the performance of music by a South African composer. MUSIC FROM THE BAROQUE and earlier Baroque & earlier: Music from c Composers: Palestrina, Bach, Handel, Vivaldi, etc. MUSIC FROM THE CLASSICAL PERIOD Describes the style of music composed in Europe in the 18th and 19th centuries. MUSIC FROM THE ROMANTIC PERIOD Romantic: Music from c Composers: Liszt, Chopin, Tchaikovsky and others. MUSIC FROM THE IMPRESSIONISM Impressionism: Music from c Composers: Debussy, De Falla, Ravel 20 TH CENTURY COMPOSITION 20 th Century: Music since c and later: Schonberg, Stockhausen, Bartok and others 2046 Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants 2079 Medium sized group: participants Large group: 21+ participants 2087 EXTRACT FROM AN ORATORIO / OPERA / OPERETTE This category provides or the performance of extracts (e.g. aria and recitativo) in their original form from an oratorio, etc. OWN CHOICE This category allows the participant the freedom to enter any classical piece as an own choice. Please note that the composition should be performed as originally composed. OWN COMPOSITION ( Serious music ) This category is not intended for contemporary songs, etc., but creates an opportunity for the creation of new serious compositions. Medium sized group: participants Large group: 21+ participants 2095 Medium sized group: participants Large group: 21+ participants 2103 Medium sized group: participants Large group: 21+ participants 2111 TIME LIMITS per item: Choirs should not exceed the following time limits for the previous CHORAL ITEMS TABLE C 00 Grade R 3 minutes 13 Foundation phase (Gr. 0 3) 3 minutes 14 Intermediate phase group (Gr. 4 6) 4 minutes 15 Senior phase (Gr. 7 9) 5 minutes 16 FET Phase 6 minutes 17 Primary school (Gr. 0 7) 5 minutes 18 Secondary school (Gr. 8 12) 6 minutes 19 Open section 6 minutes 20 Senior citizens 6 minutes C h o r a l M u s i c - Copyrighted NEA

84 CLASSICAL CROSSOVER CHOIR MUSIC RULES AND GUIDELINES: CROSSOVER MUSIC BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD or memory sticks Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Backing track CD s should be handed to the sound technician at the beginning of a particular session. Backing track CD s should be clearly labelled with the choir s name, item number and particular track number. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will eventually be destroyed once adjudication in a particular region has been completed. SETUP & SOUND CHECKS For practical reasons setup and sound checks are not possible in the eisteddfod context. When setup time is required and possible, this should be arranged with the NEA Office well in advance of the performance date. SCHEDULING OF CROSSOVER MUSIC ITEMS The National Eisteddfod Academy reserves the right to schedule Crossover Music items with backing tracks at suitable venues where the necessary equipment will be available. If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. COPIES OF MUSIC In line with the tradition in classical music, a copy of all music to be presented in this section must be submitted to the adjudicator s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be expected. TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance: TABLE C 00 Grade R 3 minutes 13 Foundation phase (Gr. 0 3) 3 minutes 14 Intermediate phase group (Gr. 4 6) 4 minutes 15 Senior phase (Gr. 7 9) 5 minutes 16 FET Phase 6 minutes 17 Primary school (Gr. 0 7) 5 minutes 18 Secondary school (Gr. 8 12) 6 minutes 19 Open section 6 minutes 20 Senior citizens 6 minutes C h o r a l M u s i c - Copyrighted NEA

85 CODES FOR CROSSOVER CHOIR MUSIC TABLE A: CHORAL SECTION: CODES AND REQUIREMENTS IMPORTANT: For a detailed description of the choir categories, please refer to the SUMMARY OF CODES FOR CHORAL MUSIC as provided in the Classical Choral Music section. CLASSICAL CROSSOVER CHOIR CATEGORIES MIXED CHOIR /CHAMBER CHOIR CHILDREN S CHOIR CHOIR: FEMALE VOICES CHOIR: MALE VOICES CHOIR: SENIOR CITIZENS CHOIR (Differently abled participants) B CLASSICAL CROSSOVER VB02 VB03 VB04 VB05 VB06 VB07 TABEL B: CLASSICAL CROSSOVER CATEGORIES CLASSICAL CROSSOVER Any performance of classical music that would require the use of backing tracks and sound equipment (an important feature of contemporary music!) will be accepted in this category of the Crossover section. Medium sized group: participants 2134 Large group: 21+ participants 2135 (For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that this is not always possible. Although not ideal, participants will also be allowed to perform (sing/play) with a recorded version of the acoustical accompaniment in the event of an accompanists not being able to attend the session. These items should then be entered into this Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available.) CONTEMPORARY CLASSICAL This refers to music that is contemporary in its origin, but has a strong classical feel. The style may be executed in a classical style, but may have contemporary rhythms. This crossover genre developed in the 90 s as a way of bringing classical music to a new audience in a manner that they would comprehend. One of the first artists to start experimenting with this new genre was the tenor Luciano Pavarotti, who initially took shortened versions of classical compositions and performed it with his friends the Three Tenors. From there he started performing with pop artists in his series of benefit concerts: Pavarotti and Friends. Out of that came other artists like Vanessa Mae, Josh Groban, and Andréa Bocelli etc. This is a category for those people who want to do classical compositions or classically inspired music, but with a flare. Some of the songs in this category include: Examples: Medium sized group: participants Large group: 21+ participants Artist Song Date Josh Groban You Raise Me Up 2003 Russell Watson Magic Of Love 2001 Il Divo with Toni Braxton The Time Of Our Lives 2006 Sarah Brightman and Cliff Richard All I Ask Of You (which can also be used in the Musical Category) 1986 Filippa Giordano Habanera 1999 Andrea Bocelli and Celine Dion The Prayer 1998 C h o r a l M u s i c - Copyrighted NEA

86 GOLDEN OLDIES These are songs from the 20 s all the way into the 60 s and the songs are not songs that fit into Jazz. This is known as Traditional Popular Music. They are more the Pop songs of the era, they were considered to be the mainstream songs of the era, but they share little in common with the Pop songs of today. The songs had a theme of nostalgia (longing, missing); the theme could also be very light hearted. Examples are the following: Examples: Artist Song Date Marlene Dietrich Falling In Love Again 1930 Barbra Streisand People 1963 Vera Lynn We ll Meet Again 1939 Edith Piaf La Vie En Rose 1946 Doris Day Anything Is Possible 2002 Pete Seeger Where Have All The Flowers Gone 1962 Medium sized group: participants 2150 Large group: 21+ participants 2151 WORLD MUSIC This genre includes folk songs from around the world, but in a more contemporary environment with backing tracks, contemporary harmonies and rhythms. Every nation has their own brand of traditional folk music. Many of these songs are presented from time to time with a more contemporary feel, e.g. O solo mio as sung by Pavarotti. Other artists are The Chieftons, Enja, Yanni, Lady Smith Black Mambazo. This genre has therefore been included in this prospectus to give an opportunity for people to share their cultures with each other, and to represent greater cultural diversity in our category offerings. In this category the entrant will be able to perform traditional songs from around the world, including songs from our native South Africa. (With 11 different languages, each with distinctive song and dance cultures attached to each tongue, South Africa has a wealth of material to share!) This genre will give people the opportunity to explore these songs within a contemporary environment Examples: Song The Click Song Shosholoza Sarie Marais Greensleeves Frere Jacques Stella Polonia O Solo Mio Al lê die berge nog so blou Country S.A. (Xhosa) S.A. (Zulu) S.A. (Afrikaans) English French Polish Italian S.A. (Afrikaans) BROADWAY MUSICALS, Songs from This art-form has been around since the 18 th century and it started with singers, actors, jugglers, acrobats and magicians performing together in a show. Today the art-form basically consists of songs written for stage productions. Medium sized group: participants Large group: 21+ participants Songs entered in this section may include spoken word and dance sequences within the allocated time frame. (The implication is that ONLY ONE SONG is performed). Medium sized group: participants 2166 PLEASE NOTE: Please note that this section can only contain songs from a Broadway or West End musical and cannot contain music from motion pictures. (Participants that want to perform an extract from a Broadway music should also refer to: Music Productions for larger scale Broadway musical productions). Large group: 21+ participants 2167 Famous Musical Songwriters and Lyricists and Theme songs/productions: No. Artist Song/Productions Year 1. Gilbert And Sullivan` The Pirates Of Penzance Rogers And Hammerstein Oklahoma Carousel The King And I The Sound Of Music George And Ira Gershwin Porgy and Bess Sir Tim Rice and Lord Andrew Lloyd Webber Evita, Cats 1970 s C h o r a l M u s i c - Copyrighted NEA

87 CONTEMPORARY CHORAL MUSIC RULES AND GUIDELINES: CONTEMPORARY MUSIC BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD or memory sticks Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Backing track CD s should be handed to the sound technician at the beginning of a particular session. Backing track CD s should be clearly labelled with the choir s name, item number and particular track number. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will eventually be destroyed once adjudication in a particular region has been completed. SETUP & SOUND CHECKS For practical reasons setup and sound checks are not possible in the eisteddfod context. When setup time is required and possible, this should be arranged with the NEA Office well in advance of the performance date. SCHEDULING OF CONTEMPORARY MUSIC ITEMS The National Eisteddfod Academy reserves the right to schedule Contemporary Music items with backing tracks at suitable venues where the necessary equipment will be available. If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. COPIES OF MUSIC In line with the tradition in choral music, a copy of all music to be presented in this section must be submitted to the adjudicator s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be expected. TIME LIMITS PER ITEM Choirs should not exceed the following time limits: TABLE C 00 Grade R 3 minutes 13 Foundation phase (Gr. 0 3) 3 minutes 14 Intermediate phase group (Gr. 4 6) 4 minutes 15 Senior phase (Gr. 7 9) 5 minutes 16 FET Phase 6 minutes 17 Primary school (Gr. 0 7) 5 minutes 18 Secondary school (Gr. 8 12) 6 minutes 19 Open section 6 minutes 20 Senior citizens 6 minutes C h o r a l M u s i c - Copyrighted NEA

88 CODES FOR CONTEMPORARY CHOIR MUSIC TABLE A: CHOIR SECTION: CODES AND REQUIREMENTS IMPORTANT: For a detailed description of the choir categories, please refer to the SUMMARY OF CODES FOR CHORAL MUSIC as provided in the Classical Choral Music section CLASSICAL CONTEMPORARY CHOIR CATEGORIES MIXED CHOIR /CHAMBER CHOIR CHILDREN S CHOIR CHOIR: FEMALE VOICES CHOIR: MALE VOICES CHOIR: SENIOR CITIZENS CHOIR (Differently abled participants) B CLASSICAL CROSSOVER VC02 VC03 VC04 VC05 VC06 VC07 CONTEMPORARY CATEGORIES BLUES According to The Encyclopaedia Britannica blues is considered to be secular music of American Blacks. From its obscure origins among the southern blacks in the early 20 th century, the blues simple but expressive forms had become in the 60 s one of the most important influences on the development of popular music in the US. Blues went on to be the building block of Soul/R&B. As a musical style the blues are characterised by its expressive pitch inflections (blue notes), a three line textual stanza of the form AAB/ABC/ABA/ABB/AAA and a 12-measure form. Typically the first 2 and a half measures of each line are devoted to singing and the last measure and a half consist of an instrumental break that repeats, answers or compliments the vocal line. EXAMPLES: Famous Blues Artists And Their Songs: Medium sized group: participants 3006 Large group: 21+ participants 3007 No. Artist Song Title Year 1. B.B King The Thrill Is Gone John Lee Hooker Boogie Chillin Robert Johnson Malted Milk Ray Charles Georgia On Mind Stevie Ray Vaughn Hoochie Coochie Man 6. Eric Clapton Tears In Heaven 1992 COUNTRY & WESTERN This is a style of US popular music from the early 20 th century. The term country and western, is a compromise developed over time, after the genre started making it's appearance in the 50's and so it's been defined as any song or rendition that suggests a rural or southern atmosphere. Medium sized group: participants 3014 It ultimately traces its roots to the English Ballad tradition of the US south. Many of the themes of the lyrics are about divorce, separation, depression etc. EXAMPLES: Famous Country and Western Artists and their songs: Large group: 21+ participants 3015 Artist Song Title Year Patsy Cline Crazy 1961 Willie Nelson To All The Girls I Loved Before 1984 Kris Kristofferson Why Me 1973 Loretta Lynne Blue 1960 s Dolly Parton I Will Always Love You 1974 C h o r a l M u s i c - Copyrighted NEA

89 INSPIRATIONAL MUSIC This genre goes beyond style and looks to the content of the lyrics being sung. The songs have an uplifting message, which inspires the listener. The songs do not have a Christian message, just an inspirational message. Some of the songs that could be included in this genre are the following: Examples: Medium sized group: participants 3022 Artist Song Date Westlife Flying Without Wings 2000 Kelly Clarkson Moment Like This 2000 Will Young Anything Is Possible 2002 GOSPEL MUSIC, PRAISE & WORSHIP According to the Encyclopaedia Britannica: Gospel is a form of Black American Music derived from church worship services and from spiritual and blues singing. Gospel music spread through music publishing, concert performances, recording and radio and television broadcasts of religious services from Great Depression Days, i.e s. EXAMPLES: Famous Gospel Participants and their songs: Artist Song Title Year Mahalia Jackson The Potter s House 1930 s Shirley Ceaser Steal Away To Jesus 2001 The Edwin Hawkins Participants Oh Happy Day 1969 The Staple Participants I ll Take You There 1972 Aretha Franklin Amazing Grace 1971 CONTEMPORARY FOLK MUSIC If you look at a musical continuum you will have folk music at the one extreme, fine art/ classical music at the other extreme and in the middle you will have popular music and all its various subgenres. Folk music started off many hundreds of years ago as a method of conveying messages and stories from one generation to another. Seeing that people didn t have libraries, computers or any other method of storing historical information. Folk music as the name says, is the music of the people. Folk music today has not really changed, it is usually a commentary on what is happening in society at the particular time that the song is written. The songs therefore tend to be of a political nature. EXAMPLES: Famous Folk Artists And Their Songs: Large group: 21+ participants Medium sized group: participants Large group: 21+ participants Medium sized group: participants Large group: 21+ participants No. Artist Song Title Year 1. Bob Dylan Knocking On Heaven s Door Sarah McLachlan Angel John Denver Leaving On A Jet Plane Don McLean Vincent (Starry Starry Night) Donavan Atlantis 1969 JAZZ / BIG BAND According to the Encyclopaedia Britannica: Jazz is an often improvisational musical form, developed by the Afro-Americans and influenced by both the European Harmonic Structure and the African Rhythmic complexity. It also is often characterized by its use of blues and speech intonations. Famous artists in this genre include Ella Fitzgerald, Louis Armstrong, Bing Crosby, Fred Astaire and others. EXAMPLES: Famous Folk Artists And Their Songs: Medium sized group: participants 3046 No. Examples Year 1. Makin Whoppee! Smoke Get In Your Eyes The Way You Look Tonight Pennie From Heaven Over The Rainbow 1939 Large group: 21+ participants 3047 C h o r a l M u s i c - Copyrighted NEA

90 ROCK This genre has gone through many incarnations, one of the first pure rock bands were The Rolling Stones, who went on to influence every other Rock band since their inception in the 60 s. In the 70 s the genre split into 2 main forms: Glam Rock and Hard Rock. Medium sized group: participants In the 80 s the genre split once again into two main forms of Rock: Punk and Hair Rock (which included bands like Bon Jovi and Van Halen). Since then there have been a myriad of different rock genres: EMO, Grunge, Thrash Metal, Metal and SCREAMO just to name a few. Even South Africa has an own brand of Rock. This category will explore all the different genres of Rock. EXAMPLES: Famous Folk Artists And Their Songs: Artist Song Date Bon Jovi Livin On A Prayer 1987 The Rolling Stones Sympathy For The Devil 1968 Aerosmith I Don t Wanna Miss A Thing (can also be used 1998 in the Motion Picture Category) Guns n Roses Sweet Child O Mine 1988 Queen Bohemian Rhapsody 1975 My Chemical Romance Welcome To The Black Parade 2006 Sugardrive Road 1997 Just Jinjer Father And Father 1997 Karen Zoid Aeroplane Jane 2007 REGGAE This is Jamaica s popular musical and dance style originating in the mid-60 s. Traditional Afro- Jamaican reggae was further compounded by the North American Blues and R&B and Pop and Rock n Roll. In recent year Reggae has been highly influenced by Hip-Hop and Rap. Reggae originated as a music of the Jamaican poor, reflecting social discontent and the Rastafarian movement. Large group: 21+ participants Medium sized group: participants Instrumentation of Reggae is characterised by an electric bass played at high volume as a lead instrument. Around this an ensemble of organ, piano, drums and lead and rhythm guitar (who play short ostinato phrases, subdividing the beat into patterns of alternating tension and release). EXAMPLES: Famous Reggae Artists and Their Songs No. Artist Song Title Year 1. Jimmy Cliff I Can See Clearly Now Bob Marley And The Wailers Buffalo Soldier 1960 s 3. Ziggy Marley And The Melody Makers Tomorrow People Beenie Man feat Janet Jackson Felling It Boy UB40 Red, Red Wine 1988 LATIN AMERICAN This is considered any music that is based on the Latin American rhythms. The instrumentation usually consists of traditional Latin American instruments like: the marimbas, the steel drums, the timbale and the conga drums to name a few of the instruments. Large group: 21+ participants Medium sized group: participants 3063 EXAMPLES: Famous Latin American Artists and Their Songs: No. Artist Song Title Year 1. Jennifer Lopez Love Don t Cost A Thing Shakira Underneath Your Clothes Ricky Martin Living La Vida Loca Enrique Iglesias Rhythm Divine Julio Iglesias To All The Girls I ve Loved Before Large group: 21+ participants 3071 C h o r a l M u s i c - Copyrighted NEA

91 ROCK N ROLL This genre was made famous in the mid-50 s, strongly influenced by the Blues and Jazz as well as Gospel music from the South of the USA. The genre went on to dominate the charts for the duration of the 50 s and went on to influence emerging genres in the 60 s and contemporary music in general. This genre is considered to be the beginning of Contemporary music, as we know it today. Some of the songs that are included in this genre include: Medium sized group: participants 3078 EXAMPLES: Famous Latin American Artists and Their Songs Artist Song Date Elvis Presley Hound Dog 1956 Bill Haley and The Comets Rock Around The Clock 1955 Queen Crazy Little Thing Called Love 1979 Jerry Lee Lewis Great Balls Of Fire 1957 Little Richard Tutty Frutti 1955 Chuck Berry Johnny B Goode 1958 DISCO The disco genre is a genre that forms part of the dance music genre. Disco started in the early 70 s and rose to prominence in the mid-70 s. The genre dominated the Pop charts for the next 5 years and every mainstream artist experimented with the genre. The genre was highly produced and the producers were the people that dictated what would happen with the songs. The artists didn t write their own songs and the production on these songs was very lavish; including full orchestras, gospel choirs and bands. The songs needed the full orchestras, orchestrators, conductors, bands leaders and arrangers and as a result was very expensive to produce, will ultimately led to its demise. In the 80 s there was a big backlash against everything disco and only in the new millennium did the genre resurface on albums by big name pop artists. This genre will explore the world of disco: Large group: 21+ participants Medium sized group: participants Large group: 21+ participants 3087 EXAMPLES: Famous Latin American Artists and Their Songs: DANCE MUSIC Artist Song Date The Bee Gees Jive Talkin 1975 Donna Summer Could It Be Magic 1976 ABBA Dancing Queen 1976 Diana Ross The Boss 1979 Candi Staton Young Hearts Run Free 1978 Leo Sayer You Make Me Feel Like Dancing 1976 After the demise of disco, dance music changed from the organic, mainly orchestral form of the genre in the 70 s to a more synthetic, electronic form in the 80 s. The main difference between the dance music of the 70 s and 80 s initially was that the one form was electronic. Medium sized group: participants 3094 The genre has developed over the decades. The genre is very beat driven and the voices are not as important as the instrumentation. For this reason you will find that many dance vocalists are not the best vocalists in the world, because they don t have to be. Some of the songs that can be included in this genre are: Large group: 21+ participants 3095 EXAMPLES: Famous Latin American Artists and Their Songs: Artist Song Title Year Madonna Music 2000 Kylie Minogue Spinning Around 2000 Paula Abdul Straight Up 1988 Britney Spears Toxic 2003 Sophie Ellis-Bexter Murder On The Dance Floor 2003 C h o r a l M u s i c - Copyrighted NEA

92 URBAN MUSIC (R&B / HIP-HOP / SOUL / RAP) URBAN MUSIC encompasses the following contemporary genres: Soul, R&B and Hip-hop / Rap SOUL / R&B Defined by the Encyclopaedia Britannica as any number of closely related musical styles developed in the USA by black performers. Based on a mingling of European influences, Jazz, Blues and Gospel Music. Medium sized group: participants 3102 In the mid-50 s the term Rhythm and Blues was a term used by recording companies and trade publications (Like Billboard Magazine) to designate music intended for a black audience. EXAMPLES: Famous R&B Participants and their songs: Large group: 21+ participants 3103 No. Artist Song Title Year 1. Janet Jackson That s The Way Love Goes Whitney Houston I Will Always Love You Toni Braxton Un-Break My Heart TLC Waterfalls R Kelly I Believe I Can Fly 1996 Hip-Hop: Hip-Hop or Rap developed from the streets and ghettos in the late 70 s and 80 s where many youths were standing around with their beat boxes setting their poems to beats and movements. That is also where the break dancing movement developed. The artists do not sing, they speak rhythmically and poetically. The genre is highly influenced by the funk genre from the late 60 s and 70 s and it is even a little influenced by Jazz. In recent years rap artists have been incorporating a lot of R&B into their music and asking R&B artists to appear on their albums resulting in a new movement (that has incorporated rap and R&B together known as Hip-Hop). Many Rap artists have also incorporated a lot of Rock into their music, people like Emminen for example. EXAMPLES: Famous Hip-Hop/Soul Artists and Their Songs: No. Artist Song Title Year 1. Emminen Without Me Nelly feat Kelly Rowland Dilemma Will Smith feat Dru Hill & Kool Mo Dee Wild Wild West Jennifer Lopez feat Ja Rule Ain t It Funny Christina Aguilera feat Redman Dirty 2002 POP MUSIC Pop music is an imprecise category of modern music, which doesn t refer as much to the type of music as it refers to the prospective audience. Pop music is composed with the deliberate intent to appeal to the majority of the music listening public. The beauty of Pop music is that it is written in such a way, that the audience doesn t have to be educated in its inner workings in order for it to be appreciated. It s just music that people can listen to and enjoy. The form of the music is simple and follows a very simple verse chorus form. This type of music started evolving in The songs are usually less than 5 minutes, the instrumentation can include a full orchestra all the way down to a lone singer. The instruments that make the genre possible are: Electric Guitar, Bass, Guitar, Drums, Keyboard and Backing Vocals. Pop songs are generally marked by a heavy rhythmic element, a mainstream style and traditional structure (which they inherited from the Blues and Gospel music world). The genre relies on a memorable melody, catchy hooks and a verse chorus structure, with the chorus sounding sharply different from the verse (rhythmically and harmonically). Pop music stands for Popular Music and depending on the era the music will be different in its effort to communicate to the people of the day. The popular music of the 40 s was Jazz, the popular music of the 50 s was Rock n Roll, the 70 s was characterized by Disco and so on and so forth. The genre is ever changing and the best definition of the genre is what is happening on the charts at that time in the era. Medium sized group: participants Large group: 21+ participants C h o r a l M u s i c - Copyrighted NEA

93 EXAMPLES: Famous popular songs: No. Artist Song Album Genre Year 1 Patti Page How Much Is That Doggie In The 50 s Pop Novelty 1952 Window 2 Marc Bliztein Mack The Knife 50 s Pop Richie Valens La Bamba Richie Valens 50 s Latin Pop Brian Hyland Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini The Bashful Blonde 60 s Novelty Pop The Beach Boys California Girls Summer Days (And 60 s Pop 1965 Summer Nights!!) 6 Rod Stewart Do You Think I m Sexy Blondes Have More Fun 70 s Pop Elton John and Kiki Dee Don t Go Breaking My Heart Greatest Hits 70 s Pop Kylie Minogue The Loco-Motion Kylie Minogue 80 s Aus Pop Bon Jovi Livin On A Prayer Slippery When Wet 80 s Pop/Rock Toni Braxton Un-Break My Heart Secrets 90 s Urban Pop Jennifer Lopez Let s Get Loud On The 6 90 s Latin Pop Nelly feat Kelly Rowland Dilemma Nellyville 2000 s Hip-Hop Alicia Keys You Don t Know My Name The Diary Of Alicia Keys 2000 s Female Pop 2004 MOTION PICTURE THEMES Depending on the style of the music, some film music fit into the contemporary section, rather than the crossover section. Medium sized group: participants The most important part of this genre is the artist s characterization. The way the artist interprets the songs. These songs are often quite dramatic because they are trying to speak about a specific incident that occurred in the motion picture. Subsequently the dramatization of the song is very important. These songs also sometimes don t do so well in isolation and people understand the songs better in the context of the movie, because that was the purpose for which the song was written. The songs selected for this section need to be songs specifically written for a motion picture and cannot include songs that have been included in a motion picture. The point of this genre is the characterisation of the characters in the performance. Large group: 21+ participants EXAMPLES: Famous popular songs: No. Artist Song Title Year 1. Dolly Parton I Will Always Love You (from The Littlelest Whorehouse In Texas ) Irene Cara Fame (from Fame ) Madonna Into the Groove (from Desperately Seeking Susan ) 1985 C h o r a l M u s i c - Copyrighted NEA

94 PART 6 Vocal Music Section Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa V o c a l M u s i c C a t e g o r y - Copyrighted NEA

95 EXPLANATORY NOTES & DEFINITIONS VOCAL MUSIC The Vocal Music Category comprises of the following sections: Classical music: Vocal solos & Vocal ensembles Classical Crossover music: Vocal solos & Vocal ensembles Contemporary music: Vocal solos & Vocal ensembles An overview of all the categories are provided, followed by a summary of the various vocal and instrumental categories. MINIMUM DURATION Except for when the actual duration of a performance of the original composition is between 1 2 minutes (particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by other competitions. It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by junior performers. This can be done without creating an unmusically shortened versions. DEFINITION VOCAL SOLO AND ENSEMBLE This category provides for a performance by a solo voice or vocal ensemble. Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Participants should provide their own accompanists. In the junior section suitable songs that take the range and vocal ability of the young voice into consideration should be selected. The use of piano accompaniment is recommended. (Although the current trend is to enter learners to sing popular contemporary songs with backing tracks and microphones, even as early as from Grade 0, teachers are advised to allow junior pupils to sing age appropriate songs with piano accompaniment. The educational value of acoustical singing on the development of a musical ear should not be underestimated!) C l a s s i c a l V o c a l M u s i c - Copyrighted NEA

96 CLASSICAL MUSIC DEFINITION 1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19 th centuries. This style is one of the categories within the broader definition of Classical Music as outlined in (1). CLASSICAL CROSSOVER STYLE DEFINITION Crossover music describes a style of music where two different styles are mixed: a) resulting from a mixture of two different artistic categories or styles, or from b) aspects of one category becoming popular in another. A simple example is Pavarotti s large contemporary style concerts where opera music amongst others were presented in the same style as a contemporary Pop or Rock show. Other examples are music with a strong Classical feel pertaining to the style of the music, instrumentation and orchestration, but also with contemporary characteristics (e.g. music performed by people like Josh Groban ( You raise me up ); the music of Richard Clayderman that is music with a Classical feel, but is intended for or appreciated by a wide public, and could be regarded as oversimplified for the sake of greater accessibility. Music from various Broadway productions like The Sound of Music, Showboat, and also music from productions like Phantom of the Opera falls in this category. It is important to note that the classical or traditional style of the music is the determining factor for inclusion in this category. If music sounds contemporary then it is contemporary and should be presented in the section for contemporary music. This includes the composition of new, modern works in a classical style with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category. CONTEMPORARY MUSIC The word contemporary is derived from 2 words: Con ( with or together ) and Tempo (from Latin tempus meaning time, In other words, the word means together with the times. The American Heritage Dictionary defines contemporary as 1. Belonging to the same period of time. 2. Of about the same age. 3. Current; modern. ( One can conclude that Contemporary music then is any music that is being written today or relatively recently, regardless of style or genre. Based on this understanding, one could argue that this description was equal valid to describe the music of e.g. Beethoven in his time. The term contemporary music therefore can mean a variety of things to a variety of people. For the purpose of setting the scope of this Prospectus, we can draw on the definition of contemporary music as: music that is currently being written, recorded and performed. Its genres would include (but would not be limited to) blues, country, electronic/dance, experimental, folk, funk, hiphop, jazz, metal, pop, rock, roots, and world.) (Source: The Australian Federal Government s Strategic Contemporary Music Industry Plan, 2010.) Using this definition as a guide, the question became, What is the music of today? The reality is that as time passes, things change. As new forms of music and instrumentation emerge, those become the new contemporary music, and old forms fade away or receive new names. Kari Juusela, (Dean of Berklee s College of Music Professional Writing Division) believes in embracing and teaching as many new styles of music as possible. (Berklee College was founded in 1945 on the principle that music could be taught through contemporary music or the music of the day ). ( The implication of this approach is that teachers involved in the teaching of contemporary music should - In this ever-changing musical world - continuously assess what constitutes contemporary music, and provide the students with a solid musical foundation that includes the rich musical heritage that brought us to this point. C l a s s i c a l V o c a l M u s i c - Copyrighted NEA

97 VOCAL SOLO AND ENSEMBLES: RULES AND REGULATIONS There are no specific prescribed pieces in this category for choirs. All items are own choice. Arrangements for accompanists should be made well in advance. Any soloist without access to a piano or accompanist can contact the NEA office for contact details in this regard. Time limit: Participants should not exceed the time limit. A song work may not be presented in more than one section. Copies of the music must be submitted to the adjudicator prior to the performance. Classical music is only presented acoustical ( live, in other words without any electronic amplification or instruments or backing tracks). The crossover section provides for the use of a backing track (in other words with electronic amplification of the voice, or any other electronic assistance) for the presentation of an item in classical style. HOW TO COMPLETE THE MUSIC ENTRY FORM Selecting an ITEM NUMBER involves three steps: ITEM NUMBER: TABLE A / TABLE B TABLE C V A The entry number comprises of three components provided in Tables A, B and C. o o o o o o Decide on the style of performance (NB classical music, cross-over music and contemporary music have been devided into different sections). Decide on the Instrument for the performance (voice, piano, strings, etc.) Select the appropriate code from TABLE A, e.g. The code for VOCAL items is VA02 (provides for vocal solos as well as vocal groups with up to 10 members). Decide on the Item description, as well as the NUMBER of PERFORMERS that will participate in the specific entry and select the appropriate code from TABLE B. Select the appropriate grade code for the participant from Table C. Clearly print the selected code in the last 2 open blocks provided for the item number. Grade code 09 = a participant in Grade 9. VA will be the code for a Own Choice Gr 9 vocal solo in the classical category. C l a s s i c a l V o c a l M u s i c - Copyrighted NEA

98 CLASSICAL VOCAL MUSIC SUMMARY OF CODES FOR VOCAL SOLOS & VOCAL ENSEMBLES VOCAL CODES AND REQUIREMENTS IMPORTANT: TABLE A: It is the responsibility of the participant to select the appropriate code: COLUMN A : CLASSICAL LIVE MUSIC: The codes in column A should be used for ALL CLASSICAL acoustical performances ONLY. IMPORTANT: NO electronic equipment like microphones, CD players etc. will be provided at venues where these items will be performed. A CLASSICAL - LIVE MUSIC VOCAL solo / ensemble This category provides for a performance by a solo voice or vocal ensemble. Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Participants should provide their own accompanists. An electronic keyboard, as substitution for a piano, will be allowed. In the junior section typical children songs and traditional songs generally performed with piano accompaniment is recommended. (Although the current trend is to enter learners to sing popular contemporary songs with backing tracks and microphones, even as early as from Grade 0, teachers are advised to allow junior pupils to sing age appropriate songs with piano accompaniment. The educational value of acoustical singing on the development of a musical ear should not be underestimated!) VA01 CLASSICAL VOVAL TABLE B: ITEM CODES AND DESCRIPTIONS FOR CLASSICAL VOCAL CATEGORIES MUSIC BY SOUTH AFRICAN COMPOSER This category provides for the performance of music by a South African composer. MUSIC FROM THE BAROQUE and earlier Baroque & earlier: Music from c Composers: Palestrina, Bach, Handel, Vivaldi, etc. Vocal Solo 2040 Ensemble : Duo 2041 Ensemble: Trio 2042 Ensemble: Quartet (4) 2043 Ensemble: Quintet (5) 2044 Small group: 6-10 participants 2045 Vocal Solo 2048 Ensemble : Duo 2049 Ensemble: Trio 2050 Ensemble: quartet (4) 2051 Ensemble: quintet (5) 2052 Small group: 6-10 participants 2053 C l a s s i c a l V o c a l M u s i c - Copyrighted NEA

99 MUSIC FROM THE CLASSICAL PERIOD Describes the style of music composed in Europe in the 18th and 19th centuries. MUSIC FROM THE ROMANTIC PERIOD Romantic: Music from c Composers: Liszt, Chopin, Tchaikovsky and others. MUSIC FROM THE IMPRESSIONISM Impressionism: Music from c Composers: Debussy, De Falla, Ravel 20 TH CENTURY COMPOSITION 20 th Century: Music since c and later: Schonberg, Stockhausen, Bartok and others EXTRACT FROM AN ORATORIO / OPERA / OPERETTE This category provides or the performance of extracts (e.g. aria and recitativo) in their original form from an oratorio, etc. OWN CHOICE This category allows the participant the freedom to enter any classical piece as an own choice. Please note that the composition should be performed as originally composed. OWN COMPOSITION ( Serious music ) This category does not provide for contemporary songs, etc., but creates an opportunity for the creation of serious compositions. CONCERT PROGRAMME / RECITALS A program consisting of 3 pieces, contrasting in style and/or tempo and/or character must be performed. No piece that has been entered separately may be performed in this section. o Time limit Gr : 12 minutes o Time limit Open Section: 15 minutes Vocal Solo 2056 Ensemble : Duo 2057 Ensemble: Trio 2058 Ensemble: quartet (4) 2059 Ensemble: quintet (5) 2060 Small group: 6-10 participants 2061 Vocal Solo 2064 Ensemble : Duo 2065 Ensemble: Trio 2066 Ensemble: quartet (4) 2067 Ensemble: quintet (5) 2068 Small group: 6-10 participants 2069 Vocal Solo 2072 Ensemble : Duo 2073 Ensemble: Trio 2074 Ensemble: quartet (4) 2075 Ensemble: quintet (5) 2076 Small group: 6-10 participants 2077 Vocal Solo 2080 Ensemble : Duo 2081 Ensemble: Trio 2082 Ensemble: quartet (4) 2083 Ensemble: quintet (5) 2084 Small group: 6-10 participants 2085 Vocal Solo 2088 Ensemble : Duo 2089 Ensemble: Trio 2090 Ensemble: quartet (4) 2091 Ensemble: quintet (5) 2092 Small group: 6-10 participants 2093 Vocal Solo 2096 Ensemble : Duo 2097 Ensemble: Trio 2098 Ensemble: quartet (4) 2099 Ensemble: quintet (5) 2100 Small group: 6-10 participants 2101 Vocal Solo 2104 Ensemble : Duo 2105 Ensemble: Trio 2106 Ensemble: quartet (4) 2107 Ensemble: quintet (5) 2108 Small group: 6-10 participants 2109 Vocal Solo 2113 Ensemble : Duo 2114 Ensemble: Trio 2115 Ensemble: quartet (4) 2116 C l a s s i c a l V o c a l M u s i c - Copyrighted NEA

100 CLASSICAL CROSSOVER MUSIC RULES AND GUIDELINES: CROSSOVER MUSIC IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS. DEFINITION OF CLASSICAL CROSSOVER MUSIC Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to this Prospectus of the National Eisteddfod of South Africa : Generally speaking, Crossover music describes a style of music where two different styles are mixed. For the purposes of this Prospectus, Crossover Music will mean a style of music sung in a classical style with popular music instrumentation, harmony and rhythm. The label Classical Crossover music will be used to describe the music in this category. This includes the composition of new, modern works in a classical style with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category. COPIES OF MUSIC In line with the tradition in classical music, a copy of all music to be presented in this section must be submitted to the adjudicator s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be expected. CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly. It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks. Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD or memory sticks only. Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Backing track CD s should be handed to the sound technician at the beginning of a particular session. Backing track CD s should be clearly labelled with the participant s name, item number and particular track number. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will be destroyed once adjudication in a particular region has been completed. C l a s s i c a l C r o s s o v e r V o c a l M u s i c - Copyrighted NEA

101 SETUP & SOUND CHECKS For practical reasons setup and sound checks are not possible in the eisteddfod context. When setup time is required and possible, this should be arranged with the NEA Office well in advance of the performance date. SCHEDULING OF CROSSOVER MUSIC ITEMS The National Eisteddfod Academy reserves the right to schedule Crossover Music items with backing tracks at suitable venues where the necessary equipment will be available. If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. APPROPRIATENESS OF COSTUMES CROSSOVER MUSIC Although a costume could add to the stylistic feel of a performance, participants should note that a fancy, expensive costume will not add to obtaining a higher mark / score. Participants can obtain the same effect by wearing a neutral (black) costume with a suggestion of costume. This is of particular importance when participants enter for and have to present a number of items in the same sessions when numerous costume changes could cause a delay in the programme. LIVE ACCOMPANIMENT Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument (i.e. a musical instrument that is not necessarily electronically amplified). TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance. MINIMUM DURATION Except for when the actual duration of a performance of the original composition is between 1 2 minutes (particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by other competitions. It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by junior performers. This can be done without creating an unmusically shortened versions. FURTHER INFORMATION Any questions regarding the music category could be ed to info@eisteddfod.co.za. A specialist in this field will respond to your enquiry as soon as possible. C l a s s i c a l C r o s s o v e r V o c a l M u s i c - Copyrighted NEA

102 CROSSOVER VOCAL MUSIC SUMMARY OF CODES FOR VOCAL SOLOS & VOCAL ENSEMBLES VOCAL CODES AND REQUIREMENTS IMPORTANT: TABLE A: It is the responsibility of the participant to select the appropriate code: COLUMN A : The codes in column A should be used for Crossover Vocal entries ONLY. IMPORTANT: The basic sound equipment will be provided at selected venues for this purpose. Due to the cost involved a higher entrance fee could be charged at selected venues. A CLASSICAL - LIVE MUSIC VOCAL solo / ensemble This category provides for a performance by a solo voice or vocal ensemble. Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to this Prospectus of the National Eisteddfod of South Africa VB01 CLASSICAL CROSSOVER TABLE B: ITEM CODES AND DESCRIPTIONS: CLASSICAL-CROSSOVER VOCAL CATEGORIES CLASSICAL CROSSOVER* Any performance of classical music that would require the use of backing tracks and sound equipment (an important feature of contemporary music!) will be accepted in this category of the Crossover section. * This will allow a participant on violin or flute (or any instrument!) to perform in any category from the Classical section with a backing track in the Crossover section. Solo 2128 Ensemble : Duo 2129 Ensemble: Trio 2130 Ensemble: quartet (4) 2131 Ensemble: quintet (5) 2132 Small group: 6-10 participants 2133 (For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that this is not always possible. Although not ideal, participants will also be allowed to perform (sing/play) with a recorded version of the acoustical accompaniment in the event of an accompanists not being able to attend the session. These items should then be entered into this Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available.) CONTEMPORARY CLASSICAL This refers to music that is contemporary in its origin, but has a strong classical feel. The style may be executed in a classical style, but may have contemporary rhythms. This crossover genre developed in the 90 s as a way of bringing classical music to a new audience in a manner that they would comprehend. One of the first artists to start experimenting with this new genre was the tenor Luciano Pavarotti, who initially took shortened versions of classical compositions and performed it with his friends the Three Tenors. From there he started performing with pop artists in his Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) C l a s s i c a l C r o s s o v e r V o c a l M u s i c - Copyrighted NEA

103 series of benefit concerts: Pavarotti and Friends. Out of that came other artists like Vanessa Mae, Josh Groban, and Andréa Bocelli etc. This is a category for those people who want to do classical compositions or classically inspired music, but with a flare. Some of the songs in this category include: Examples: Small group: 6-10 participants 2141 Artist Song Date Josh Groban You Raise Me Up 2003 Russell Watson Magic Of Love 2001 Il Divo with Toni Braxton The Time Of Our Lives 2006 Sarah Brightman and Cliff Richard All I Ask Of You (which can also be used in the Musical Category) 1986 Filippa Giordano Habanera 1999 Andrea Bocelli and Celine Dion The Prayer 1998 GOLDEN OLDIES These are songs from the 20 s all the way into the 60 s and the songs are not songs that fit into Jazz. This is known as Traditional Popular Music. They are more the Pop songs of the era, they were considered to be the mainstream songs of the era, but they share little in common with the Pop songs of today. The songs had a theme of nostalgia (longing, missing); the theme could also be very light hearted. Examples are the following: Examples: WORLD MUSIC Solo 2144 Ensemble : Duo 2145 Ensemble: Trio 2146 Ensemble: quartet (4) 2147 Ensemble: quintet (5) 2148 Small group: 6-10 participants 2149 Artist Song Date Marlene Dietrich Falling In Love Again 1930 Barbra Streisand People 1963 Vera Lynn We ll Meet Again 1939 Edith Piaf La Vie En Rose 1946 Doris Day Anything Is Possible 2002 Pete Seeger Where Have All The Flowers Gone 1962 This genre includes folk songs from around the world, but in a more contemporary environment with backing tracks, contemporary harmonies and rhythms. Every nation has their own brand of traditional folk music. Many of these songs are presented from time to time with a more contemporary feel, e.g. O solo mio as sung by Pavarotti. Other artists are The Chieftons, Enja, Yanni, Lady Smith Black Mambazo. This genre has therefore been included in this prospectus to give an opportunity for people to share their cultures with each other, and to represent greater cultural diversity in our category offerings. In this category the entrant will be able to perform traditional songs from around the world, including songs from our native South Africa. (With 11 different languages, each with distinctive song and dance cultures attached to each tongue, South Africa has a wealth of material to share!) This genre will give people the opportunity to explore these songs within a contemporary environment. Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants Examples: Song The Click Song Shosholoza Sarie Marais Greensleeves Frere Jacques Stella Polonia O Solo Mio Al lê die berge nog so blou Country S.A. (Xhosa) S.A. (Zulu) S.A. (Afrikaans) English French Polish Italian S.A. (Afrikaans) C l a s s i c a l C r o s s o v e r V o c a l M u s i c - Copyrighted NEA

104 BROADWAY MUSICALS, Songs from This art-form has been around since the 18 th century and it started with singers, actors, jugglers, acrobats and magicians performing together in a show. Today the art-form basically consists of songs written for stage productions. Songs entered in this section may include spoken word and dance sequences within the allocated time frame. (The implication is that ONLY ONE SONG is performed). PLEASE NOTE: Please note that this section can only contain songs from a Broadway or West End musical and cannot contain music from motion pictures. (Participants that want to perform an extract from a Broadway music should also refer to: Music Productions for larger scale Broadway musical productions). Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants Famous Musical Songwriters and Lyricists and Theme songs/productions: No. Artist Song/Productions Year 1. Gilbert And Sullivan` The Pirates Of Penzance Rogers And Hammerstein Oklahoma Carousel The King And I The Sound Of Music George And Ira Gershwin Porgy and Bess Sir Tim Rice and Lord Andrew Lloyd Webber Evita, Cats 1970 s C l a s s i c a l C r o s s o v e r V o c a l M u s i c - Copyrighted NEA

105 CONTEMPORARY VOCAL MUSIC RULES AND GUIDELINES: CONTEMPORARY MUSIC IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS. CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly. It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks. Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only. Where hard copy entries have been submitted timeously, printout copies of the processed entries will be provided to schools / studios to assist in this regard. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. Only ONE backing track should be provided on a single CD. Backing track CD s should be clearly labelled with the name of the participant, item number and particular track number. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD or memory stick. Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Backing track CD s should be handed to the sound technician at the beginning of a particular session. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will eventually be destroyed by the sound technician once adjudication in a particular region has been completed. SETUP & SOUND CHECKS For practical reasons setup and sound checks are not possible in the eisteddfod context. When setup time is required and possible, this should be arranged with the NEA Office well in advance of the performance date. SCHEDULING OF CONTEMPORARY VOCAL ITEMS The National Eisteddfod Academy reserves the right to schedule Contemporary vocal items with backing tracks at suitable venues where the necessary equipment will be available. If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

106 AGE APPROPRIATENESS OF TEXT AND COSTUMES CONTEMPORARY MUSIC In the contemporary music section it is of particular importance that the age appropriateness of the text should be considered. The same apply to the choice of costume. Although a costume could add to the stylistic feel of a performance, participants should note that a fancy, expensive costume will not add to obtaining a higher mark / score. Participants can obtain the same effect by wearing a neutral (black) costume with a suggestion of costume. This is of particular importance when participants enter for and have to present a number of items in the same sessions when numerous costume changes could cause a delay in the programme schedule. KINDLY TAKE NOTE: The National Eisteddfod Academy does not support the tendency to enter pre-primary and primary school learners to sing songs that are applicable to adults. Although it might be cute for some when a 6 year old child sings I am to sexy for my shirt or Underneath your clothes, it is definitely not acceptable from an educational perspective. LIVE ACCOMPANIMENT Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument (i.e. a musical instrument that is not electronically amplified). TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance. MINIMUM DURATION Except for when the actual duration of a performance of the original composition is between 1 2 minutes (particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by other competitions. It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by junior performers. This can be done without creating unmusically shortened versions. FURTHER INFORMATION Any questions regarding the music category could be ed to info@eisteddfod.co.za. A specialist in this field will respond to your enquiry as soon as possible. C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

107 SUMMARY: CODES FOR CONTEMPORARY VOCAL SOLOS /ENSEMBLES VOCAL CODES AND REQUIREMENTS IMPORTANT: TABLE A: It is the responsibility of the participant to select the appropriate code: COLUMN A : The codes in column A should be used for Contemporary Vocal entries ONLY. IMPORTANT: The basic sound equipment will be provided at selected venues for this purpose. Due to the cost involved a higher entrance fee could be charged at selected venues. A CONTEMPORARY VOCAL CATEGORIES VOCAL solo / ensemble This category provides for a performance by a solo voice or vocal ensemble. Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Participants may perform with backing tracks or live accompaniment (solo instrument or even a band, however participants should provide their own accompanists for this purpose). In the junior section typical children songs and traditional songs generally performed with piano accompaniment is recommended. (Although the current trend is to enter learners to sing popular contemporary songs with backing tracks and microphones, even as early as from Grade 0, teachers are advised to allow junior pupils to sing age appropriate songs with piano accompaniment. The educational value of acoustical singing on the development of a musical ear should not be underestimated!) VC01 CONTEMPORARY VOCAL CATEGORIES TABLE B: ITEM CODES AND DESCRIPTIONS: CONTEMPORARY MUSIC - VOCAL CATEGORIES BLUES According to The Encyclopaedia Britannica blues is considered to be secular music of American Blacks. From its obscure origins among the southern blacks in the early 20 th century, the blues simple but expressive forms had become in the 60 s one of the most important influences on the development of popular music in the US. Blues went on to be the building block of Soul/R&B. As a musical style the blues are characterised by its expressive pitch inflections (blue notes), a three line textual stanza of the form AAB/ABC/ABA/ABB/AAA and a 12-measure form. Typically the first 2 and a half measures of each line are devoted to singing and the last measure and a half consist of an instrumental break that repeats, answers or compliments the vocal line. EXAMPLES: Famous Blues Artists And Their Songs: No. Artist Song Title Year 1. B.B King The Thrill Is Gone John Lee Hooker Boogie Chillin Robert Johnson Malted Milk Ray Charles Georgia On Mind Stevie Ray Vaughn Hoochie Coochie Man 6. Eric Clapton Tears In Heaven 1992 Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants 3005 C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

108 COUNTRY & WESTERN This is a style of US popular music from the early 20 th century. The term country and western, is a compromise developed over time, after the genre started making its appearance in the 50's and so it's been defined as any song or rendition that suggests a rural or southern atmosphere. It ultimately traces its roots to the English Ballad tradition of the US south. Many of the themes of the lyrics are about divorce, separation, depression etc. EXAMPLES: Famous Country and Western Artists and their songs: Solo 3008 Ensemble : Duo 3009 Ensemble: Trio 3010 Ensemble: quartet (4) 3011 Ensemble: quintet (5) 3012 Small group: 6-10 participants 3013 Artist Song Title Year Patsy Cline Crazy 1961 Willie Nelson To All The Girls I Loved Before 1984 Kris Kristofferson Why Me 1973 Loretta Lynne Blue 1960 s Dolly Parton I Will Always Love You 1974 INSPIRATIONAL MUSIC This genre goes beyond style and looks to the content of the lyrics being sung. The songs have an uplifting message, which inspires the listener. The songs do not have a Christian message, just an inspirational message. Some of the songs that could be included in this genre are the following: Examples: Artist Song Date Westlife Flying Without Wings 2000 Kelly Clarkson Moment Like This 2000 Will Young Anything Is Possible 2002 GOSPEL MUSIC, PRAISE & WORSHIP According to the Encyclopaedia Britannica: Gospel is a form of Black American Music derived from church worship services and from spiritual and blues singing. Gospel music spread through music publishing, concert performances, recording and radio and television broadcasts of religious services from Great Depression Days, i.e s. EXAMPLES: Famous Gospel Participants and their songs: Artist Song Title Year Mahalia Jackson The Potter s House 1930 s Shirley Ceaser Steal Away To Jesus 2001 The Edwin Hawkins Participants Oh Happy Day 1969 The Staple Participants I ll Take You There 1972 Aretha Franklin Amazing Grace 1971 CONTEMPORARY FOLK MUSIC If you look at a musical continuum you will have folk music at the one extreme, fine art/ classical music at the other extreme and in the middle you will have popular music and all its various sub-genres. Folk music started off many hundreds of years ago as a method of conveying messages and stories from one generation to another. Seeing that people didn t have libraries, computers or any other method of storing historical information. Folk music as the name says, is the music of the people. Folk music today has not really changed, it is usually a commentary on what is happening in society at the particular time that the song is written. The songs therefore tend to be of a political nature. Solo 3016 Ensemble : Duo 3017 Ensemble: Trio 3018 Ensemble: 3019 quartet (4) Ensemble: quintet (5) Small group: 6-10 participants Solo 3024 Ensemble : Duo 3025 Ensemble: Trio 3026 Ensemble: quartet (4) 3027 Ensemble: quintet (5) 3028 Small group: 6-10 participants 3029 Solo 3032 Ensemble : Duo 3033 Ensemble: Trio 3034 Ensemble: quartet (4) 3035 Ensemble: quintet (5) Small group: 6-10 participants C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

109 EXAMPLES: Famous Folk Artists And Their Songs: No. Artist Song Title Year 1. Bob Dylan Knocking On Heaven s Door Sarah McLachlan Angel John Denver Leaving On A Jet Plane Don McLean Vincent (Starry Starry Night) Donavan Atlantis 1969 JAZZ / BIG BAND According to the Encyclopaedia Britannica: Jazz is an often improvisational musical form, developed by the Afro-Americans and influenced by both the European Harmonic Structure and the African Rhythmic complexity. It also is often characterized by its use of blues and speech intonations. Famous artists in this genre include Ella Fitzgerald, Louis Armstrong, Bing Crosby, Fred Astaire and others. EXAMPLES: Famous Folk Artists And Their Songs: No. Examples Year 1. Makin Whoppee! Smoke Get In Your Eyes The Way You Look Tonight Pennie From Heaven Over The Rainbow 1939 ROCK This genre has gone through many incarnations, one of the first pure rock bands were The Rolling Stones, who went on to influence every other Rock band since their inception in the 60 s. In the 70 s the genre split into 2 main forms: Glam Rock and Hard Rock. In the 80 s the genre split once again into two main forms of Rock: Punk and Hair Rock (which included bands like Bon Jovi and Van Halen). Since then there have been a myriad of different rock genres: EMO, Grunge, Thrash Metal, Metal and SCREAMO just to name a few. Even South Africa has an own brand of Rock. This category will explore all the different genres of Rock. EXAMPLES: Famous Folk Artists And Their Songs: Artist Song Date Bon Jovi Livin On A Prayer 1987 The Rolling Sympathy For The Devil 1968 Stones Aerosmith I Don t Wanna Miss A Thing (can also be used in the 1998 Motion Picture Category) Guns n Roses Sweet Child O Mine 1988 Queen Bohemian Rhapsody 1975 My Chemical Welcome To The Black Parade 2006 Romance Sugardrive Road 1997 Just Jinjer Father And Father 1997 Karen Zoid Aeroplane Jane 2007 Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) 3043 Ensemble: quintet (5) 3044 Small group: 6-10 participants Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) 3051 Ensemble: quintet (5) 3052 Small group: 6-10 participants 3053 C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

110 REGGAE This is Jamaica s popular musical and dance style originating in the mid-60 s. Traditional Afro- Jamaican reggae was further compounded by the North American Blues and R&B and Pop and Rock n Roll. In recent year Reggae has been highly influenced by Hip-Hop and Rap. Reggae originated as a music of the Jamaican poor, reflecting social discontent and the Rastafarian movement. Instrumentation of Reggae is characterised by an electric bass played at high volume as a lead instrument. Around this an ensemble of organ, piano, drums and lead and rhythm guitar (who play short ostinato phrases, subdividing the beat into patterns of alternating tension and release). Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) No. Artist Song Title Year 1. Jimmy Cliff I Can See Clearly Now Bob Marley And The Wailers Buffalo Soldier 1960 s 3. Ziggy Marley And The Melody Makers Tomorrow People Beenie Man feat Janet Jackson Felling It Boy UB40 Red, Red Wine 1988 EXAMPLES: Famous Reggae Artists and Their Songs Small group: 6-10 participants 3061 LATIN AMERICAN This is considered any music that is based on the Latin American rhythms. The instrumentation usually consists of traditional Latin American instruments like: the marimbas, the steel drums, the timbale and the conga drums to name a few of the instruments. EXAMPLES: Famous Latin American Artists and Their Songs: No. Artist Song Title Year 1. Jennifer Lopez Love Don t Cost A Thing Shakira Underneath Your Clothes Ricky Martin Living La Vida Loca Enrique Iglesias Rhythm Divine Julio Iglesias To All The Girls I ve Loved Before 1984 ROCK N ROLL This genre was made famous in the mid-50 s, strongly influenced by the Blues and Jazz as well as Gospel music from the South of the USA. The genre went on to dominate the charts for the duration of the 50 s and went on to influence emerging genres in the 60 s and contemporary music in general. This genre is considered to be the beginning of Contemporary music, as we know it today. Some of the songs that are included in this genre include: EXAMPLES: Famous Latin American Artists and Their Songs: Artist Song Date Elvis Presley Hound Dog 1956 Bill Haley and The Comets Rock Around The Clock 1955 Queen Crazy Little Thing Called Love 1979 Jerry Lee Lewis Great Balls Of Fire 1957 Little Richard Tutty Frutti 1955 Chuck Berry Johnny B Goode 1958 Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants 3069 Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants 3077 C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

111 DISCO The disco genre is a genre that forms part of the dance music genre. Disco started in the early 70 s and rose to prominence in the mid-70 s. The genre dominated the Pop charts for the next 5 years and every mainstream artist experimented with the genre. The genre was highly produced and the producers were the people that dictated what would happen with the songs. The artists didn t write their own songs and the production on these songs was very lavish; including full orchestras, gospel choirs and bands. The songs needed the full orchestras, orchestrators, conductors, bands leaders and arrangers and as a result was very expensive to produce, will ultimately led to its demise. In the 80 s there was a big backlash against everything disco and only in the new millennium did the genre resurface on albums by big name pop artists. This genre will explore the world of disco: Solo 3080 Ensemble : Duo 3081 Ensemble: Trio 3082 Ensemble: quartet (4) 3083 Ensemble: quintet (5) 3084 Small group: 6-10 participants 3085 EXAMPLES: Famous Latin American Artists and Their Songs: DANCE MUSIC Artist Song Date The Bee Gees Jive Talkin 1975 Donna Summer Could It Be Magic 1976 ABBA Dancing Queen 1976 Diana Ross The Boss 1979 Candi Staton Young Hearts Run Free 1978 Leo Sayer You Make Me Feel Like Dancing 1976 After the demise of disco, dance music changed from the organic, mainly orchestral form of the genre in the 70 s to a more synthetic, electronic form in the 80 s. The main difference between the dance music of the 70 s and 80 s initially was that the one form was electronic. The genre has developed over the decades. The genre is very beat driven and the voices are not as important as the instrumentation. For this reason you will find that many dance vocalists are not the best vocalists in the world, because they don t have to be. Some of the songs that can be included in this genre are: EXAMPLES: Famous Latin American Artists and Their Songs: Artist Song Title Year Madonna Music 2000 Kylie Minogue Spinning Around 2000 Paula Abdul Straight Up 1988 Britney Spears Toxic 2003 Sophie Ellis-Bexter Murder On The Dance Floor 2003 URBAN MUSIC (R&B / HIP-HOP / SOUL / RAP) URBAN MUSIC encompasses the following contemporary genres: Soul R&B Hip-hop / Rap SOUL / R&B Defined by the Encyclopaedia Britannica as any number of closely related musical styles developed in the USA by black performers. Based on a mingling of European influences, Jazz, Blues and Gospel Music. In the mid-50 s the term Rhythm and Blues was a term used by recording companies and trade publications (Like Billboard Magazine) to designate music intended for a black audience. EXAMPLES: Famous R&B Participants and their songs: Solo 3088 Ensemble : Duo 3089 Ensemble: Trio 3090 Ensemble: quartet (4) 3091 Ensemble: quintet (5) 3092 Small group: 6-10 participants 3093 Solo 3096 Ensemble : Duo 3097 Ensemble: Trio 3098 Ensemble: quartet (4) 3099 Ensemble: quintet (5) 3100 Small group: 6-10 participants No. Artist Song Title Year 1. Janet Jackson That s The Way Love Goes Whitney Houston I Will Always Love You Toni Braxton Un-Break My Heart TLC Waterfalls R Kelly I Believe I Can Fly C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

112 Hip-Hop: Hip-Hop or Rap developed from the streets and ghettos in the late 70 s and 80 s where many youths were standing around with their beat boxes setting their poems to beats and movements. That is also where the break dancing movement developed. The artists do not sing, they speak rhythmically and poetically. The genre is highly influenced by the funk genre from the late 60 s and 70 s and it is even a little influenced by Jazz. In recent years rap artists have been incorporating a lot of R&B into their music and asking R&B artists to appear on their albums resulting in a new movement (that has incorporated rap and R&B together known as Hip-Hop). Many Rap artists have also incorporated a lot of Rock into their music, people like Emminen for example. EXAMPLES: Famous Hip-Hop/Soul Artists and Their Songs: No. Artist Song Title Year 1. Emminen Without Me Nelly feat Kelly Rowland Dilemma Will Smith feat Dru Hill & Kool Mo Dee Wild Wild West Jennifer Lopez feat Ja Rule Ain t It Funny Christina Aguilera feat Redman Dirty 2002 POP MUSIC Pop music is an imprecise category of modern music, which doesn t refer as much to the type of music as it refers to the prospective audience. Pop music is composed with the deliberate intent to appeal to the majority of the music listening public. The beauty of Pop music is that it is written in such a way, that the audience doesn t have to be educated in its inner workings in order for it to be appreciated. It s just music that people can listen to and enjoy. The form of the music is simple and follows a very simple verse chorus form. This type of music started evolving in The songs are usually less than 5 minutes, the instrumentation can include a full orchestra all the way down to a lone singer. The instruments that make the genre possible are: Electric Guitar, Bass, Guitar, Drums, Keyboard and Backing Vocals. Pop songs are generally marked by a heavy rhythmic element, a mainstream style and traditional structure (which they inherited from the Blues and Gospel music world). The genre relies on a memorable melody, catchy hooks and a verse chorus structure, with the chorus sounding sharply different from the verse (rhythmically and harmonically). Solo 3104 Ensemble : Duo 3105 Ensemble: Trio 3106 Ensemble: quartet (4) 3107 Ensemble: quintet (5) 3108 Small group: 6-10 participants 3109 Pop music stands for Popular Music and depending on the era the music will be different in its effort to communicate to the people of the day. The popular music of the 40 s was Jazz, the popular music of the 50 s was Rock n Roll, the 70 s was characterized by Disco and so on and so forth. The genre is ever changing and the best definition of the genre is what is happening on the charts at that time in the era. EXAMPLES: Famous popular songs: No. Artist Song Album Genre Year 1 Patti Page How Much Is That Doggie In The 50 s Pop Novelty 1952 Window 2 Marc Bliztein Mack The Knife 50 s Pop Richie Valens La Bamba Richie Valens 50 s Latin Pop Brian Hyland Itsy Bitsy Teenie Weenie Yellow The Bashful Blonde 60 s Novelty Pop 1960 Polka Dot Bikini 5 The Beach Boys California Girls Summer Days (And 60 s Pop 1965 Summer Nights!!) 6 Rod Stewart Do You Think I m Sexy Blondes Have More Fun 70 s Pop Elton John and Kiki Dee Don t Go Breaking My Heart Greatest Hits 70 s Pop Kylie Minogue The Loco-Motion Kylie Minogue 80 s Aus Pop Bon Jovi Livin On A Prayer Slippery When Wet 80 s Pop/Rock Toni Braxton Un-Break My Heart Secrets 90 s Urban Pop Jennifer Lopez Let s Get Loud On The 6 90 s Latin Pop Nelly feat Kelly Rowland Dilemma Nellyville 2000 s Hip-Hop Alicia Keys You Don t Know My Name The Diary Of Alicia Keys 2000 s Female Pop 2004 C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

113 MOTION PICTURE THEMES Depending on the style of the music, some film music fit into the contemporary section, rather than the crossover section. The most important part of this genre is the artist s characterization. The way the artist interprets the songs. These songs are often quite dramatic because they are trying to speak about a specific incident that occurred in the motion picture. Subsequently the dramatization of the song is very important. These songs also sometimes don t do so well in isolation and people understand the songs better in the context of the movie, because that was the purpose for which the song was written. The songs selected for this section need to be songs specifically written for a motion picture and cannot include songs that have been included in a motion picture. The point of this genre is the characterisation of the characters in the performance. EXAMPLES: Famous popular songs: Solo 3112 Ensemble : Duo 3113 Ensemble: Trio 3114 Ensemble: quartet (4) 3115 Ensemble: quintet (5) 3116 Small group: 6-10 participants 3117 No. Artist Song Title Year 1. Dolly Parton I Will Always Love You (from The Littlelest Whorehouse In Texas ) Irene Cara Fame (from Fame ) Madonna Into the Groove (from Desperately Seeking Susan ) 1985 OWN CHOICE Any song can be entered into the OWN CHOICE section. OWN COMPOSITION CONTEMPORARY STYLE An own composition may be presented in any contemporary style. Both the song and presentation thereof will be adjudicated. The number of entries is not limited. Please note: An original composition cannot include songs that include an already existing composition with the inclusion of new lyrics composed by the contestant. This is plagiarism and copyright infringement and will result in disqualification. E.g. you can't take the instrumentation of "Drunk In Love" and include new lyrics. BOTH the LYRIC and the MELODY should be ORIGINALLY COMPOSED by the participant(s) A COPY OF THE MUSIC SHOULD BE SUBMITTED TO THE ADJUDICATOR prior to the performance. Solo 3120 Ensemble : Duo 3121 Ensemble: Trio 3122 Ensemble: quartet (4) 3123 Ensemble: quintet (5) 3124 Small group: 6-10 participants 3125 Solo 3128 Ensemble : Duo 3129 Ensemble: Trio 3130 Ensemble: quartet (4) 3131 Ensemble: quintet (5) 3132 Small group: 6-10 participants CONTEMPORARY POP CONCERT PRESENTATION Participant should present a show in contemporary pop style with a 12 minutes time limit. Any number of songs can be included in the show, provided the time limit is not exceeded. The performance will be adjudicated on: stage performance interaction and communication with the audience 3133 Solo 3134 Ensemble : Duo 3135 Ensemble: Trio 3136 HINT: It is not possible to include an item in this category as originally presented for adjudication, in the Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. Ensemble: quartet (4) 3137 C o n t e m p o r a r y V o c a l M u s i c - Copyrighted NEA

114 PART 7 Instrumental Music Section Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa I n s t r u m e n t a l M u s i c C a t e g o r y 109 Copyrighted NEA 2018

115 INSTRUMENTAL MUSIC EXPLANATORY NOTES & DEFINITIONS The Insmtrumental Music Category comprises of the following sections: Classical music: Instrumental solos & instrumental ensembles Classical Crossover music: Instrumental solos & instrumental ensembles Contemporary music: Instrumental solos & instrumental ensembles An overview of all the categories are provided, followed by a summary of the various instrumental categories. DEFINITION This category provides for a performance by a solo instrument or instrumental ensemble. Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Participants should provide their own accompanists. IMPORTANT The National Eisteddfod of South Africa also provices for Novice instrumentalists, but recommend that they should be entered in the categories for Novices and Elementary level. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

116 CLASSICAL MUSIC DEFINITION 1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19 th centuries. This style is one of the categories within the broader definition of Classical Music as outlined in (1). CLASSICAL CROSSOVER STYLE DEFINITION Crossover music describes a style of music where two different styles are mixed: a) resulting from a mixture of two different artistic categories or styles, or from b) aspects of one category becoming popular in another. A simple example is Pavarotti s large contemporary style concerts where opera music amongst others were presented in the same style as a contemporary Pop or Rock show. Other examples are music with a strong Classical feel pertaining to the style of the music, instrumentation and orchestration, but also with contemporary characteristics (e.g. music performed by people like Josh Groban ( You raise me up ); the music of Richard Clayderman that is music with a Classical feel, but is intended for or appreciated by a wide public, and could be regarded as oversimplified for the sake of greater accessibility. Music from various Broadway productions like The Sound of Music, Showboat, and also music from productions like Phantom of the Opera falls in this category. It is important to note that the classical or traditional style of the music is the determining factor for inclusion in this category. If music sounds contemporary then it is contemporary and should be presented in the section for contemporary music. This includes the composition of new, modern works in a classical style with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category. CONTEMPORARY MUSIC The word contemporary is derived from 2 words: Con ( with or together ) and Tempo (from Latin tempus meaning time, In other words, the word means together with the times. The American Heritage Dictionary defines contemporary as 1. Belonging to the same period of time. 2. Of about the same age. 3. Current; modern. ( One can conclude that Contemporary music then is any music that is being written today or relatively recently, regardless of style or genre. Based on this understanding, one could argue that this description was equal valid to describe the music of e.g. Beethoven in his time. The term contemporary music therefore can mean a variety of things to a variety of people. For the purpose of setting the scope of this Prospectus, we can draw on the definition of contemporary music as: music that is currently being written, recorded and performed. Its genres would include (but would not be limited to) blues, country, electronic/dance, experimental, folk, funk, hiphop, jazz, metal, pop, rock, roots, and world.) (Source: The Australian Federal Government s Strategic Contemporary Music Industry Plan, 2010.) Using this definition as a guide, the question became, What is the music of today? The reality is that as time passes, things change. As new forms of music and instrumentation emerge, those become the new contemporary music, and old forms fade away or receive new names. Kari Juusela, (Dean of Berklee s College of Music Professional Writing Division) believes in embracing and teaching as many new styles of music as possible. (Berklee College was founded in 1945 on the principle that music could be taught through contemporary music or the music of the day ). ( The implication of this approach is that teachers involved in the teaching of contemporary music should - In this ever-changing musical world - continuously assess what constitutes contemporary music, and provide the students with a solid musical foundation that includes the rich musical heritage that brought us to this point. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

117 CLASSICAL INSTRUMENTAL MUSIC RULES AND GUIDELINES FOR CLASSICAL MUSIC DEFINITION 1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn, Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner. 2. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19 th centuries. This style is one of the categories within the broader definition of Classical Music as outlined in (1). 3. The following serves as a guideline for classifying classical music in the various style periods: Baroque & earlier: Music from c Composers: Palestrina, Bach, Handel, Vivaldi, etc. Classical: Music from c Composers: Haydn, Mozart, Beethoven Romantic: Music from c Composers: Liszt, Chopin, Tsjaikocvsky and others Impressionism: Music from c Composers: Debussy, De Falla, Ravel 20 th Century: Music since c and later: Schonberg, Stockhausen, Bartok and others GRADING For the sake of clarity it needs to be emphasized that entries are categorized according to school grades. Grading in this context has no link with the grading of external examining bodies as performance level indicator. (Also refer to the General guidelines in this regard.) Subsequently, with the exception of novices (that refer to participants with less than 18 month s experience in music) and elementary level students, participation is not subject to any level of achievement at any stage. NOVICE All students who have been studying for less than 18 months should enter in this category. However, the 18 months refer to a student s total experience and involvement in music. All Novices should be entered into the Novice & Elemenrary Level category. ELEMENTARY LEVEL Sstudents that, having passed the novice stage of 18 months, are still performing pieces on an elementary level can enter in this category. These pieces usually come from tutor books, are fairly easy and often are simplified arrangements of well-known folk tunes, classical pieces, and even contemporary pieces, etc. Very often it doesn t fit into the Classical categories as described above. All elemenrary level students should be entered into the Novice & Elemenrary Level category WORKS WITH MULTIPLE MOVEMENTS Only one movement of a sonata / concerto / suite may be performed in any given item. The Baroque flute / recorder sonata (comprising of various very short movements) and the Prelude and Fugue will be considered as ONE piece. (The Prelude and Fugue may also be presented separately, but time limits should be observed! Participants may perform a particular piece of music in one category only. No pieces performed in other categories may be performed in the Recital category or vice versa. Set-up time should be arranged well in advance of performance time. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

118 ACCOMPANIMENT Please note that the proficiency of the accompanist is important, since it could impact on the overall artistic impression of the performance. When accompaniment is required, an acoustical instrument should accompany participants in this section. A piano (or sometimes a digital piano) will be provided and no other electronic devices will be available. An electronic instrument that does not require additional sound equipment may also be used. ARRANGEMENTS FOR SOLO More advanced participants are encouraged to perform works as they were originally composed, rather than simplified arrangements. SOLO PERFORMANCES ON SYMPHONIC INSTRUMENTS Symphonic instruments (flute, violin, trumpet, etc.) may perform with piano accompaniment or unaccompanied. For Eisteddfod purposes all solo performances on strings, woodwind, brass, etc. should be entered in categories for solo performances (even though it might be accompanied by a piano) and will be adjudicated as solo performances. When the accompanist is also a student, the item might also be entered as a duet. ENSEMBLE WORK In the case of an ensemble the score must be written in 2 parts (duet); in 3 parts for a trio; in 4 parts for a quartet, etc. No continuous singing/playing in unison is allowed in this section. REPEATED SECTIONS / MULTI-VERSE SONGS General requirements (except if very short): o No repeats, except Da Capo repeats should be performed. o For vocal solos participants should prepare a maximum of 2 verses of multi-verse songs. USING RECORDED ACCOMPANIMENT For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that this is not always possible. Although not ideal, participants will be allowed to perform (sing/play) with a recorded version of the acoustical accompaniment in the event of an accompanists not being able to attend the session. These items should then be entered into the Classical Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available. COPIES OF MUSIC A copy of all music must be submitted to the adjudicator s assistant prior to the performance. PHOTOCOPIES The Copyright Act 98 of 1978, as amended, prohibits the use of photocopies without the written consent of the publishers. Consequently participants must play from an original copy and will be DISQUALIFIED IF THEY PLAY FROM PHOTOCOPIES ONLY (the use of some copies to assist in turning pages is allowed). Copies of the piece to be performed must be presented to the adjudicator. These copies will be destroyed afterwards. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

119 TIME LIMITS Any performance should stay within the prescribed timeframe. Exceeding the time limit could result in the termination of the performance. TABLE C : GRADES AND TIME LIMITS 00 Grade R 2 minutes 11 Grade 11 5 minutes 01 Grade 1 3 minutes 12 Grade 12 5 minutes 02 Grade 2 4 minutes 13 Foundation phase group 5 minutes 03 Grade 3 4 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 4 minutes 15 Senior phase group 5 minutes 05 Grade 5 4 minutes 16 FET Phase 5 minutes 06 Grade 6 4 minutes 17 Primary school group 5 minutes 07 Grade 7 4 minutes 18 Secondary school group 5 minutes 08 Grade 8 5 minutes 19 Open section 5 minutes 09 Grade 9 5 minutes 20 Senior citizens 5 minutes 10 Grade 10 5 minutes 86 Primary & secondary school group 5 minutes CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly. If the entries have been submitted timeously, printout copies of the processed entries will be provided to schools / studios to assist in this regard. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. FURTHER INFORMATION Any questions regarding the music category could be ed to info@eisteddfod.co.za. A specialist in this field will respond to your enquiry as soon as possible. HOW TO COMPLETE THE MUSIC ENTRY FORM Selecting an ITEM NUMBER involves three steps: TABLE A / TABLE B TABLE C W A The entry number comprises of three components provided in Tables A, B and C. o o o o Decide on the Instrument for the performance (piano, strings, flute, etc.) Select the appropriate code from TABLE A, e.g., the code for a flute solo performance with piano accompaniment will be WA02. Decide on the Item description, as well as the NUMBER of PERFORMERS that will participate in the specific entry and select the appropriate code from TABLE B. In this example 2056 is the code for a solo performance of a piece from the Classical Period. Select the appropriate grade code for the participant from Table C. Clearly print the selected code in the last 2 open blocks provided for the item number. Grade code 09 = a participant in Grade 9. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

120 CODES FOR CLASSICAL INSTRUMENTS TABLE A: INSTRUMENTAL CODES AND REQUIREMENTS IMPORTANT: It is the responsibility of the participant to select the appropriate code: COLUMN A : The codes in column A should be used for Classical Instrumental entries ONLY. IMPORTANT: NO electronic equipment like microphones, CD players etc. will be provided at venues where these items will be performed. A CLASSICAL MUSIC ACCORDION The accordion is a portable, freely vibrating reed instrument. It consists of a keyboard and bass casing that are connected by a collapsible bellows. Within the instrument are metal reeds, which create sound when air, generated by the movement of the bellows, flows around them and causes them to vibrate. The accordion is constructed from hundreds of pieces, and much of it is hand assembled. First constructed in the early nineteenth century, the accordion continues to evolve into an ever more versatile instrument. Source: DIGITAL PIANO / KEYBOARD The digital Keyboard has become a serious instrument in recent times with a number of examining bodies already providing for it up to Grade 8 and Fellowship level (Trinity College and London School of Music). Digital pianos / keyboards are musical instruments that produces its sounds using electronics. Such an instrument sounds by outputting an electrical audio signal that ultimately drives a loudspeaker. As the features of these instruments might differ depending on make and model, participants need to provide their own instruments when entering in this section. Digital piano / keyboard may be entered in this section (KA02) when no amplification is required (instruments with build-in loudspeakers). PIANO* *Use the code KA04 for items that require TWO pianos **When performing with a backing track, the participant must confirm with the sound technician if it would be possible to tune the sound track with the piano, if necessary. TWO PIANOS This category provides for items that would require TWO pianos, e.g. CONCERTO MOVEMENT where the accompaniment is to be performed on a second piano or an ENSEMBLE for TWO pianos. These items subsequently can only be scheduled at a venue where 2 pianos are be available. PIPE ORGAN KA01 CLASSICAL MUSIC KA02 CLASSICAL MUS KA03 KA04 KA05 This item will be adjudicated at a venue as determined by the NEA. The participant should contact the NEA office in order to arrange for the necessary preparation time. C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

121 RECORDER FLUTE PICCOLO CLARINET OBOE BASSOON COR ANGLAIS SAXOPHONE WA01 WA02 WA03 WA04 WA05 WA06 WA07 WA08 TRUMPET TUBA TROMBONE FRENCH HORN VIOLIN VIOLA CELLO DOUBLE BASS - BA01 BA02 BA03 BA04 SA01 SA02 SA03 SA04 ACOUSTICAL GUITAR An acoustic guitar is a guitar that produces sound acoustically by transmitting the vibration of the strings to the air as opposed to relying on electronic amplification (see Electric guitar). The sound waves from the strings of an acoustic guitar resonate through the guitar's body, creating sound. This typically involves the use of a board and a sound box to strengthen the vibrations of the strings. The main source of sound in an acoustic guitar is the string, which is plucked or strummed with the finger or with a plectrum. Source: HARP The harp is a stringed musical instrument which has a number of individual strings running at an angle to its soundboard, which are plucked with the fingers. SA05 CLASSICAL MUSIC SA06 Source: CLASSICAL MUSIC C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

122 SYMPHONIC PERCUSSION This category provides for any instruments or combination of instruments of the percussion family, including instruments of definite and indefinite pitch, e.g. Instruments of definite pitch: Instruments of indefinite pitch: Kettle drum (timpani) Tubular bells Celesta Xylophone Marimba Snare drum Tenor drum Bass drum Triangle Cymbals Gong Castanets Rattle This item can involve a performance by an individual player or more than one performer on a combination of the above-mentioned instruments. Maximum duration as per grade. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. PERCUSSION / Orff ensemble (Primary School) This item involves the performance on a variety of percussion instruments by lower grade / primary school children. Music has been published for such bands and many of the classics have been arranged for them where the percussion orchestration is supported by a piano that provides the melody and harmony. Own arrangements may be performed. The traditional Orff ensemble may also be entered in this section, as well as the. djembe (a rope-tuned skincovered played with bare hands, originally from West Africa.) MARIMBA The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. PA01 CLASSICAL MUSIC PA02 PA04 Participants need to provide their own instruments. MIXED INSTRUMENTAL ENSEMBLES (2 10 players) This category provides for any combination of instruments from the different instrument families, e.g. woodwind and strings, woodwind and brass, etc. CHAMBER ORCHESTRA (11-20 Players) Chamber orchestra (6 20 Players) can only be used in conjunction with the Code for groups in Table B of the Classical music section. Maximum performance time as per grade applies. More than one item may be performed as long as the total duration does not exceed the maximum performance time per grade. Enter according to the highest grade or school phase. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. Any combination of symphonic instruments may be used (e.g. strings, wind, brass, etc.) ORCHESTRA (more than 20 players) An orchestra will have more than 20 players. This code can only be used in conjunction with the Code for groups in Table B of the Classical music section. Maximum performance time as per grade applies. More than one item may be performed as long as the total duration does not exceed the maximum performance time per grade. Enter according to the highest grade or school phase. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. GA01 GA02 GA03 Any combination of symphonic instruments may be used (e.g. strings, wind, brass, etc.) OTHER INSTRUMENT NOT LISTED Any instrument not listed should be entered in this section. When entering online, please contact the NEA office ( or info@eisteddfod.co.za) with a request to add the name of the Other instrument not listed to the database. When submitting hardcopy entries, participants are requested to clearly provide the name of the instrument on the entry form OA01 C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

123 CLASSICAL CATEGORIES TABLE B: ITEM CODES AND DESCRIPTIONS FOR CLASSICAL INSTRUMENTAL CATEGORIES Important: From an educational perspective it is recommended that teachers / participants, as far as possible, attempt so select music originally composed to provide for the different skills level of particularly young performers, rather than using simplified versions of more complex works. The Novice and Elementary level category provide for this. CLASSICAL: VOCAL / INSTRUMENTAL CATEGORIES AND ITEM CODES MUSIC BY SOUTH AFRICAN COMPOSER This category provides for the performance of music by a South African composer. MUSIC FROM THE BAROQUE and earlier Baroque & earlier: Music from c Composers: Palestrina, Bach, Handel, Vivaldi, etc. MUSIC FROM THE CLASSICAL PERIOD Describes the style of music composed in Europe in the 18th and 19th centuries. MUSIC FROM THE ROMANTIC PERIOD Romantic: Music from c Composers: Liszt, Chopin, Tchaikovsky and others. Solo 2040 Ensemble : Duo 2041 Ensemble: Trio 2042 Ensemble: Quartet (4) 2043 Ensemble: Quintet (5) 2044 Small group: 6-10 participants 2045 Medium sized group: participants Large group: 21+ participants 2047 Solo 2048 Ensemble : Duo 2049 Ensemble: Trio 2050 Ensemble: quartet (4) 2051 Ensemble: quintet (5) 2052 Small group: 6-10 participants 2053 Medium sized group: participants Large group: 21+ participants 2055 Solo 2056 Ensemble : Duo 2057 Ensemble: Trio 2058 Ensemble: quartet (4) 2059 Ensemble: quintet (5) 2060 Small group: 6-10 participants 2061 Medium sized group: participants Large group: 21+ participants 2063 Solo 2064 Ensemble : Duo 2065 Ensemble: Trio 2066 Ensemble: quartet (4) 2067 Ensemble: quintet (5) 2068 Small group: 6-10 participants 2069 Medium sized group: participants Large group: 21+ participants 2071 C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

124 MUSIC FROM THE IMPRESSIONISM Impressionism: Music from c Composers: Debussy, De Falla, Ravel 20 TH CENTURY COMPOSITION 20 th Century: Music since c and later: Schonberg, Stockhausen, Bartok and others EXTRACT FROM AN ORATORIO / OPERA / OPERETTE This category provides or the performance of extracts (e.g. aria and recitativo) in their original form from an oratorio, etc. OWN CHOICE This category allows the participant the freedom to enter any classical piece as an own choice. Please note that the composition should be performed as originally composed. OWN COMPOSITION ( Serious music ) This category does not provide for contemporary songs, etc., but creates an opportunity for the creation of serious compositions. Solo 2072 Ensemble : Duo 2073 Ensemble: Trio 2074 Ensemble: quartet (4) 2075 Ensemble: quintet (5) 2076 Small group: 6-10 participants 2077 Medium sized group: participants Large group: 21+ participants 2079 Solo 2080 Ensemble : Duo 2081 Ensemble: Trio 2082 Ensemble: quartet (4) 2083 Ensemble: quintet (5) 2084 Small group: 6-10 participants 2085 Medium sized group: participants Large group: 21+ participants 2087 Solo 2088 Ensemble : Duo 2089 Ensemble: Trio 2090 Ensemble: quartet (4) 2091 Ensemble: quintet (5) 2092 Small group: 6-10 participants 2093 Medium sized group: participants Large group: 21+ participants 2095 Solo 2096 Ensemble : Duo 2097 Ensemble: Trio 2098 Ensemble: quartet (4) 2099 Ensemble: quintet (5) 2100 Small group: 6-10 participants 2101 Medium sized group: participants Large group: 21+ participants 2103 Solo 2104 Ensemble : Duo 2105 Ensemble: Trio 2106 Ensemble: quartet (4) 2107 Ensemble: quintet (5) 2108 Small group: 6-10 participants 2109 Medium sized group: participants Large group: 21+ participants 2111 C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

125 CONCERTO MOVEMENT One movement from a concerto must be performed. The time limits should be observed. IMPORTANT: Please contact the NEA office in advance if the duration of the performance will exceed the allocated time per grade. o Time limit Gr. 1-4: 5 minutes o Time limit Gr. 5-9: 6 minutes o Time limit Gr : 8 minutes o Time limit Open Section: 10 minutes IMPORTANT: Piano concerto entries would require the use of TWO pianos: Use the following combination of codes: KA Applicable Grade code CONCERT PROGRAMME / RECITALS A program consisting of 3 pieces, contrasting in style and/or tempo and/or character must be performed. No piece that has been entered separately may be performed in this section. o Time limit Gr. 1-4: 5 minutes o Time limit Gr. 5-9: 8 minutes o Time limit Gr : 12 minutes o Time limit Open Section: 15 minutes PUPIL & TEACHER ENSEMBLE (duo, trio, etc.) During the course of their teaching, teachers of symphonic instruments often perform standard works (duos, trios, etc.) from the repertoire with their learners, which (in line with the normal rules and regulations ) would have to be entered in the open section. This category allows these candidates to enter for pupils/teacher ensembles according to their own grade. Example: a flute teacher has 2 grade 10 students that she would like to expose to music for trios. This category allows her to enter these students in a category where only the students will be adjudicated. (NB This category is not for Novice players see Novice section) SOLO 2112 Solo 2113 Ensemble : Duo 2114 Ensemble: Trio 2115 Ensemble: quartet (4) 2116 Ensemble: quintet (5) 2117 Small group: 6-10 participants 2118 Medium sized group: participants 2119 Large group: 21+ participants 2120 Ensemble : Duo 2121 Ensemble: Trio 2122 Ensemble: quartet (4) 2123 Ensemble: quintet (5) 2124 Small group: 6-10 participants 2125 Medium sized group: participants 2126 Large group: 21+ participants 2127 C l a s s i c a l I n s t r u m e n t a l M u s i c Copyrighted NEA

126 CLASSICAL CROSSOVER RULES AND GUIDELINES: CROSSOVER MUSIC MUSIC IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS. DEFINITION OF CLASSICAL CROSSOVER MUSIC Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to this Prospectus of the National Eisteddfod of South Africa : Generally speaking, Crossover music describes a style of music where two different styles are mixed. For the purposes of this Prospectus, Crossover Music will mean a style of music played in a classical style with popular music instrumentation, harmony and rhythm. The label Classical Crossover music will be used to describe the music in this category. This includes the composition of new, modern works in a classical style with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category. The performance of any classical composition that would normally require piano or orchestral accompaniment, can be entered as a CLASSICAL CROSSOVER item that will allow for the use of backing tracks and sound equipment (an important feature of contemporary music!). COPIES OF MUSIC In line with the tradition in classical music, a copy of all music to be presented in this section must be submitted to the adjudicator s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be expected. CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly. It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks. C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

127 Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD only as cassette recorders is not always available for playback purposes. Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Rewritable CD s (CD-RW) are not always reliable. Backing track CD s should be handed to the sound technician at the beginning of a particular session. Backing track CD s should be clearly labelled with the participant s name, item number and particular track number. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will eventually be destroyed by the sound technician once adjudication in a particular region has been completed. SETUP & SOUND CHECKS It is the participant s responsibility to arrange well in advance of the performance time for the necessary times for set-up and sound checks if required. SCHEDULING OF CROSSOVER MUSIC ITEMS The National Eisteddfod Academy reserves the right to schedule Crossover Music items with backing tracks at suitable venues where the necessary equipment will be available. If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance. TABLE C : GRADES AND TIME LIMITS 00 Grade R 2 minutes 11 Grade 11 5 minutes 01 Grade 1 3 minutes 12 Grade 12 5 minutes 02 Grade 2 4 minutes 13 Foundation phase group 5 minutes 03 Grade 3 4 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 4 minutes 15 Senior phase group 5 minutes 05 Grade 5 4 minutes 16 FET Phase 5 minutes 06 Grade 6 4 minutes 17 Primary school group 5 minutes 07 Grade 7 4 minutes 18 Secondary school group 5 minutes 08 Grade 8 5 minutes 19 Open section 5 minutes 09 Grade 9 5 minutes 20 Senior citizens 5 minutes 10 Grade 10 5 minutes 86 Primary & secondary school group 5 minutes C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

128 SUMMARY OF CROSSOVER INSTRUMENTAL CODES TABLE A: INSTRUMENTAL CODES AND REQUIREMENTS IMPORTANT: It is the responsibility of the participant to select the appropriate code: COLUMN A : The codes in column A should be used for CLASSICAL CROSSOVER INSTRUMENTAL MUSIC performances ONLY. IMPORTANT: The basic sound equipment will be provided at selected venues for this purpose. Due to the cost involved a higher entrance fee could be charged at selected venues. CLASSICAL CROSSOVER ACCORDION The accordion is a portable, freely vibrating reed instrument. It consists of a keyboard and bass casing that are connected by a collapsible bellows. Within the instrument are metal reeds, which create sound when air, generated by the movement of the bellows, flows around them and causes them to vibrate. The accordion is constructed from hundreds of pieces, and much of it is hand assembled. First constructed in the early nineteenth century, the accordion continues to evolve into an ever more versatile instrument. Source: DIGITAL PIANO / KEYBOARD KB01 CLASSICAL CROSSOVER KB02 The digital Keyboard has become a serious instrument in recent times with a number of examining bodies already providing for it up to Grade 8 and Fellowship level (Trinity College and London School of Music). Digital pianos / keyboards are musical instruments that produces its sounds using electronics. Such an instrument sounds by outputting an electrical audio signal that ultimately drives a loudspeaker. As the features of these instruments might differ depending on make and model, participants need to provide their own instruments when entering in this section. CLASSICAL CROSSOVER PIANO* **When performing with a backing track, the participant must confirm with the sound technician if it would be possible to tune the sound track with the piano, if necessary. PIPE ORGAN KB03 CLASSICAL CROSSOVER KB05 This item will be adjudicated at a venue as determined by the NEA. The participant should contact the NEA office in order to arrange for the necessary preparation time. C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

129 RECORDER FLUTE PICCOLO CLARINET OBOE BASSOON COR ANGLAIS SAXOPHONE BAGPIPE WB01 WB02 WB03 WB04 WB05 WB06 WB07 WB08 WB09 TRUMPET TUBA TROMBONE FRENCH HORN VIOLIN VIOLA CELLO DOUBLE BASS - BB01 BB02 BB03 BB04 SB01 SB02 SB03 SB04 ACOUSTICAL GUITAR An acoustic guitar is a guitar that produces sound acoustically by transmitting the vibration of the strings to the air as opposed to relying on electronic amplification (see Electric guitar). The sound waves from the strings of an acoustic guitar resonate through the guitar's body, creating sound. This typically involves the use of a board and a sound box to strengthen the vibrations of the strings. The main source of sound in an acoustic guitar is the string, which is plucked or strummed with the finger or with a plectrum. Source: HARP The harp is a stringed musical instrument which has a number of individual strings running at an angle to its soundboard, which are plucked with the fingers. Source: SB05 CLASSICAL CROSSOVER SB06 CLASSICAL CROSSOVER C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

130 SYMPHONIC PERCUSSION This category provides for any instruments or combination of instruments of the percussion family, including instruments of definite and indefinite pitch, e.g. Instruments of definite pitch: Kettle drum (timpani) Tubular bells Celesta Xylophone Marimba Instruments of indefinite pitch: Snare drum Tenor drum Bass drum Triangle Cymbals Gong Castanets Rattle This item can involve a performance by an individual player or more than one performer on a combination of the above-mentioned instruments. Maximum duration as per grade. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. PERCUSSION / Orff ensemble (Primary School) This item allows for the use of a backing track with the performance on a variety of percussion instruments by lower grade / primary school children. Music has been published for such bands and many of the classics have been arranged for them where the percussion orchestration is supported by a piano that provides the melody and harmony. In this instance the piano can be replaced by a backing track. Own arrangements may be performed. The traditional Orff ensemble may also be entered in this section, as well as the. djembe (a rope-tuned skincovered played with bare hands, originally from West Africa.) (See below. Also refer to the Indigenous music section, as well as the contemporary music section). More than one item may be performed as long as the total duration does not exceed the maximum performance time per grade. Enter according to the highest grade or school phase. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. MARIMBA PB01 CLASSICAL CROSSOVER PB02 CLASSICAL CROSSOVER PB04 The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. Participants need to provide their own instruments. MIXED INSTRUMENTAL ENSEMBLES (2 10 players) GB01 This category provides for a combination of instruments from the different instrument families, e.g. woodwind and strings, woodwind and brass, etc. CHAMBER ORCHESTRA (11-20 Players) Chamber orchestra (6 20 Players) can only be used in conjunction with the Code for groups in Table B of the Classical music section. Maximum performance time as per grade applies. More than one item may be performed as long as the total duration does not exceed the maximum performance time per grade. Enter according to the highest grade or school phase. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. Any combination of symphonic instruments may be used (e.g. strings, wind, brass, etc.) in combination with a backing track. GB02 CLASSICAL CROSSOVER C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

131 ORCHESTRA (more than 20 players) An orchestra will have more than 20 players. This code can only be used in conjunction with the Code for groups in Table B of the Classical music section. Maximum performance time as per grade applies. More than one item may be performed as long as the total duration does not exceed the maximum performance time per grade. Enter according to the highest grade or school phase. A total of ten minutes will be allowed to set up the instruments prior to the performance and to remove the instruments after the performance. Any combination of symphonic instruments may be used (e.g. strings, wind, brass, etc.) in combination with a backing track. GB03 CLASSICAL CROSSOVER OTHER INSTRUMENT NOT LISTED Any instrument not listed should be entered in this section. When entering online, please contact the NEA office ( or info@eisteddfod.co.za) with a request to add the name of the instrument not listed to the database. OB01 When submitting hardcopy entries, participants are requested to clearly provide the name of the instrument on the entry form CLASSICAL CROSSOVER INSTRUMENTAL CATEGORIES TABLE B: ITEM CODES AND DESCRIPTIONS FOR CLASSICAL INSTRUMENTAL CATEGORIES THAT CAN BE USED IN THE CROSSOVER INSTRUMENTAL CATEGORY CLASSICAL CROSSOVER The performance of any classical composition that would normally require piano or orchestral accompaniment, can be entered as a CLASSICAL CROSSOVER item that will allow for the use of backing tracks and sound equipment (an important feature of contemporary music!). * This will allow any participant on violin or flute, etc. to perform any category from the Classical section with a backing track in the Crossover section (e.g. Baroque, Classical, Romantic solo and ensemble pieces may be presented with a backing track to provide for the unavailability of an accompanist in some areas). The important issue here is the availability of the necessary sound equipment. Solo 2128 Ensemble : Duo 2129 Ensemble: Trio 2130 Ensemble: quartet (4) 2131 Ensemble: quintet (5) 2132 Small group: 6-10 participants 2133 Medium sized group: participants 2134 Large group: 21+ participants 2135 (For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that this is not always possible. Although not ideal, participants will also be allowed to perform (sing/play) with a recorded version of the acoustical accompaniment in the event of an accompanists not being able to attend the session. These items should then be entered into this Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available.) CONTEMPORARY CLASSICAL This refers to music that is contemporary in its origin, but has a strong classical feel. The style may be executed in a classical style, but may have contemporary rhythms. This crossover genre developed in the 90 s as a way of bringing classical music to a new audience in a manner that they would comprehend. One of the first artists to start experimenting with this new genre was the tenor Luciano Pavarotti, who initially took shortened versions of classical compositions and performed it with his friends the Three Tenors. From there he started performing with pop artists in his Solo 2136 Ensemble : Duo 2137 Ensemble: Trio 2138 Ensemble: quartet (4) 2139 Ensemble: quintet (5) 2140 Small group: 6-10 participants 2141 C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

132 series of benefit concerts: Pavarotti and Friends. Out of that came other artists like Vanessa Mae, Josh Groban, and Andréa Bocelli etc. This is a category for those people who want to do classical compositions or classically inspired music, but with a flare. Some of the songs in this category include: Examples: Medium sized group: participants 2142 Large group: 21+ participants 2143 Artist Song Date Josh Groban You Raise Me Up 2003 Russell Watson Magic Of Love 2001 Il Divo with Toni Braxton The Time Of Our Lives 2006 Sarah Brightman and Cliff Richard All I Ask Of You (which can also be used in the Musical Category) 1986 Filippa Giordano Habanera 1999 Andrea Bocelli and Celine Dion The Prayer 1998 GOLDEN OLDIES These are songs from the 20 s all the way into the 60 s and the songs are not songs that fit into Jazz. This is known as Traditional Popular Music. They are more the Pop songs of the era, they were considered to be the mainstream songs of the era, but they share little in common with the Pop songs of today. The songs had a theme of nostalgia (longing, missing); the theme could also be very light hearted. Examples are the following: Artist Song Date Marlene Dietrich Falling In Love Again 1930 Barbra Streisand People 1963 Vera Lynn We ll Meet Again 1939 Edith Piaf La Vie En Rose 1946 Doris Day Anything Is Possible 2002 Pete Seeger Where Have All The Flowers Gone 1962 WORLD MUSIC This genre includes folk songs from around the world, but in a more contemporary environment with backing tracks, contemporary harmonies and rhythms. Every nation has their own brand of traditional folk music. Many of these songs are presented from time to time with a more contemporary feel, e.g. O solo mio as sung by Pavarotti. Other artists are The Chieftons, Enja, Yanni, Lady Smith Black Mambazo. This genre has therefore been included in this prospectus to give an opportunity for people to share their cultures with each other, and to represent greater cultural diversity in our category offerings. In this category the entrant will be able to perform traditional songs from around the world, including songs from our native South Africa. (With 11 different languages, each with distinctive song and dance cultures attached to each tongue, South Africa has a wealth of material to share!) This genre will give people the opportunity to explore these songs within a contemporary environment. Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants Medium sized group: participants 2150 Large group: 21+ participants 2151 Solo 2152 Ensemble : Duo 2153 Ensemble: Trio 2154 Ensemble: quartet (4) 2155 Ensemble: quintet (5) 2156 Small group: 6-10 participants 2157 Medium sized group: participants 2158 Large group: 21+ participants 2159 Examples: Song The Click Song Shosholoza Sarie Marais Greensleeves Frere Jacques Stella Polonia O Solo Mio Al lê die berge nog so blou Country S.A. (Xhosa) S.A. (Zulu) S.A. (Afrikaans) English French Polish Italian S.A. (Afrikaans) C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

133 BROADWAY MUSICALS, Songs from This art-form has been around since the 18 th century and it started with singers, actors, jugglers, acrobats and magicians performing together in a show. Today the art-form basically consists of songs written for stage productions. Songs entered in this section may include spoken word and dance sequences within the allocated time frame. (The implication is that ONLY ONE SONG is performed). PLEASE NOTE: Please note that this section can only contain songs from a Broadway or West End musical and cannot contain music from motion pictures. (Participants that want to perform an extract from a Broadway music should also refer to: Music Productions for larger scale Broadway musical productions). Solo 2160 Ensemble : Duo 2161 Ensemble: Trio 2162 Ensemble: quartet (4) 2163 Ensemble: quintet (5) 2164 Small group: 6-10 participants 2165 Medium sized group: participants 2166 Large group: 21+ participants 2167 Famous Musical Songwriters and Lyricists and Theme songs/productions: No. Artist Song/Productions Year 1. Gilbert And Sullivan` The Pirates Of Penzance Rogers And Hammerstein Oklahoma Carousel The King And I The Sound Of Music George And Ira Gershwin Porgy and Bess Sir Tim Rice and Lord Andrew Lloyd Webber Evita, Cats 1970 s C l a s s i c a l C r o s s o v e r I n s t r u m e n t a l M u s i c Copyrighted NEA

134 CONTEMPORARY INSTRUMENTAL MUSIC RULES AND GUIDELINES: CONTEMPORARY MUSIC IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS. CORRECT ENTRY NUMBER It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form. The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly. It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks. Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only. Where hard copy entries have been submitted timeously, printout copies of the processed entries will be provided to schools / studios to assist in this regard. Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of R80.00 per incorrect entry. BACKING TRACKS Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded backing track that can only be used when the appropriate sound equipment is available. No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks. Backing Tracks should be provided on CD or mempry stck only. Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Backing track CD s should be handed to the sound technician at the beginning of a particular session. Backing track CD s should be clearly labelled with the name of the participant, item number and particular track number. It is the responsibility of the participant to collect backing track CD s at the end of each session. CD s that were not collected will eventually be destroyed by the sound technician once adjudication in a particular region has been completed. SETUP & SOUND CHECKS It is the participant s responsibility to arrange well in advance of the performance time for the necessary times for set-up and sound checks if required. SCHEDULING OF CONTEMPORARY INSTRUMENTAL ITEMS The National Eisteddfod Academy reserves the right to schedule Contemporary instrumental items with backing tracks at suitable venues where the necessary equipment will be available. C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 129

135 If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment. LIVE ACCOMPANIMENT Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument (i.e. a musical instrument that is not electronically amplified). TIME LIMITS Any performance should stay within the prescribed timeframe. The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance. TABLE C : GRADES AND TIME LIMITS 00 Grade R 2 minutes 11 Grade 11 5 minutes 01 Grade 1 3 minutes 12 Grade 12 5 minutes 02 Grade 2 4 minutes 13 Foundation phase group 5 minutes 03 Grade 3 4 minutes 14 Intermediate phase group 5 minutes 04 Grade 4 4 minutes 15 Senior phase group 5 minutes 05 Grade 5 4 minutes 16 FET Phase 5 minutes 06 Grade 6 4 minutes 17 Primary school group 5 minutes 07 Grade 7 4 minutes 18 Secondary school group 5 minutes 08 Grade 8 5 minutes 19 Open section 5 minutes 09 Grade 9 5 minutes 20 Senior citizens 5 minutes 10 Grade 10 5 minutes 86 Primary & secondary school group 5 minutes MINIMUM DURATION Except for when the actual duration of a performance of the original composition is between 1 2 minutes (particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by other competitions. It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by junior performers. This can be done without creating unmusically shortened versions. FURTHER INFORMATION Any questions regarding the music category could be ed to info@eisteddfod.co.za. A specialist in this field will respond to your enquiry as soon as possible. C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 130

136 SUMMARY OF CONTEMPORARY MUSIC CODES FOR INSTRUMENTS TABLE A: INSTRUMENTAL CODES AND REQUIREMENTS IMPORTANT: It is the responsibility of the participant to select the appropriate code: COLUMN A : The codes in column A should be used for CONTEMPORARY INSTRUMENTAL MUSIC performances ONLY. IMPORTANT: The basic sound equipment will be provided at selected venues for this purpose. Due to the cost involved a higher entrance fee could be charged at selected venues. CONTEMPORARY MUSIC ACCORDION The accordion is a portable, freely vibrating reed instrument. It consists of a keyboard and bass casing that are connected by a collapsible bellows. Within the instrument are metal reeds, which create sound when air, generated by the movement of the bellows, flows around them and causes them to vibrate. The accordion is constructed from hundreds of pieces, and much of it is hand assembled. First constructed in the early nineteenth century, the accordion continues to evolve into an ever more versatile instrument. Source: KC01 CONTEMPORAR Y MUSIC DIGITAL PIANO / KEYBOARD The digital Keyboard has become a serious instrument in recent times with a number of examining bodies already providing for it up to Grade 8 and Fellowship level (Trinity College and London School of Music). Digital pianos / keyboards are musical instruments that produces its sounds using electronics. Such an instrument sounds by outputting an electrical audio signal that ultimately drives a loudspeaker. As the features of these instruments might differ depending on make and model, participants need to provide their own instruments when entering in this section. Digital piano / keyboard may be entered under column A when no amplification is required (instruments with on-board loudspeakers) KC02 CONTEMPORARY MUSIC PIANO* **When performing with a backing track, the participant must confirm with the sound technician if it would be possible to tune the sound track with the piano, if necessary. KC03 CONTEMPOR ARY MUSIC C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 131

137 RECORDER FLUTE PICCOLO CLARINET OBOE BASSOON COR ANGLAIS SAXOPHONE BAGPIPE WC01 WC02 WC03 WC04 WC05 WC06 WC07 WC08 WC09 TRUMPET TUBA TROMBONE FRENCH HORN VIOLIN VIOLA CELLO DOUBLE BASS - BC01 BC02 BC03 BC04 SC01 SC02 SC03 SC04 ACOUSTICAL GUITAR An acoustic guitar is a guitar that produces sound acoustically by transmitting the vibration of the strings to the air as opposed to relying on electronic amplification (see Electric guitar). The sound waves from the strings of an acoustic guitar resonate through the guitar's body, creating sound. This typically involves the use of a board and a sound box to strengthen the vibrations of the strings. The main source of sound in an acoustic guitar is the string, which is plucked or strummed with the finger or with a plectrum. Source: HARP The harp is a stringed musical instrument which has a number of individual strings running at an angle to its soundboard, which are plucked with the fingers. SC05 CONTEMPORA RY MUSIC SC06 Source: ELECTRICAL GUITAR SC07 PERCUSSION / Orff ensemble (Primary School) DRUM KIT PC02 PC03 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 132

138 MARIMBA The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. PC04 Participants need to provide their own instruments. DJEMBE A djembe is a rope-tuned skin-covered played with bare hands, originally from West Africa. According to the Bambara people in Mali, the name of the djembe comes from a Bambara saying that translates to "everyone gather together in peace" and defines the drum's purpose. The djembe has a body (or shell) carved of hardwood and a drumhead most commonly made from goatskin. The djembe can produce a wide variety of sounds, making it a most versatile drum. The drum is very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble. Traditionally, the djembe is played only by men. Even today, it is rare to see women play djembe or dunun in West Africa, and African women express astonishment when they do see a female djembe player. PB05 CONTEMPORARY MUSIC Source: WIKIPEDIA, Djembe. MIXED CONTEMPORARY INSTRUMENTAL ENSEMBLES GC01 This category provides for a combination of various instruments ( e.g. woodwind and strings, woodwind and brass, etc. and contemporary instruments such as drum kits, electrical guitars etc. CONTEMPORARY BAND GC04 Any combination of instruments may be used, both acoustic and electronic. A contemporary band may include vocals. OTHER INSTRUMENT NOT LISTED Any instrument not listed should be entered in this section. When entering online, please contact the NEA office ( or info@eisteddfod.co.za) with a request to add the name of the instrument not listed to the database. OC01 When submitting hardcopy entries, participants are requested to clearly provide the name of the instrument on the entry form C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 133

139 CONTEMPORARY INSTRUMENTAL CATEGORIES TABLE B: ITEM CODES AND DESCRIPTIONS FOR CONTEMPORARY INSTRUMENTAL CATEGORIES BLUES According to The Encyclopaedia Britannica blues is considered to be secular music of American Blacks. From its obscure origins among the southern blacks in the early 20 th century, the blues simple but expressive forms had become in the 60 s one of the most important influences on the development of popular music in the US. Blues went on to be the building block of Soul/R&B. As a musical style the blues are characterised by its expressive pitch inflections (blue notes), a three line textual stanza of the form AAB/ABC/ABA/ABB/AAA and a 12-measure form. Typically the first 2 and a half measures of each line are devoted to singing and the last measure and a half consist of an instrumental break that repeats, answers or compliments the vocal line. EXAMPLES: Famous Blues Artists And Their Songs: Solo 3000 Ensemble : Duo 3001 Ensemble: Trio 3002 Ensemble: quartet (4) 3003 Ensemble: quintet (5) 3004 Small group: 6-10 participants 3005 Medium sized group: participants 3006 Large group: 21+ participants 3007 No. Artist Song Title Year 1. B.B King The Thrill Is Gone John Lee Hooker Boogie Chillin Robert Johnson Malted Milk Ray Charles Georgia On Mind Stevie Ray Vaughn Hoochie Coochie Man 6. Eric Clapton Tears In Heaven 1992 COUNTRY & WESTERN This is a style of US popular music from the early 20 th century. The term country and western, is a compromise developed over time, after the genre started making it's appearance in the 50's and so it's been defined as any song or rendition that suggests a rural or southern atmosphere. It ultimately traces its roots to the English Ballad tradition of the US south. Many of the themes of the lyrics are about divorce, separation, depression etc. Solo 3008 Ensemble : Duo 3009 Ensemble: Trio 3010 Ensemble: quartet (4) 3011 Ensemble: quintet (5) 3012 Small group: 6-10 participants 3013 Medium sized group: participants 3014 Large group: 21+ participants 3015 EXAMPLES: Famous Country and Western Artists and their songs: Artist Song Title Year Patsy Cline Crazy 1961 Willie Nelson To All The Girls I Loved Before 1984 Kris Kristofferson Why Me 1973 Loretta Lynne Blue 1960 s Dolly Parton I Will Always Love You 1974 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 134

140 INSPIRATIONAL MUSIC This genre goes beyond style and looks to the content of the lyrics being sung. The songs have an uplifting message, which inspires the listener. The songs do not have a Christian message, just an inspirational message. Some of the songs that could be included in this genre are the following: Examples: Artist Song Date Westlife Flying Without Wings 2000 Kelly Clarkson Moment Like This 2000 Will Young Anything Is Possible 2002 GOSPEL MUSIC, PRAISE & WORSHIP According to the Encyclopaedia Britannica: Gospel is a form of Black American Music derived from church worship services and from spiritual and blues singing. Gospel music spread through music publishing, concert performances, recording and radio and television broadcasts of religious services from Great Depression Days, i.e s. EXAMPLES: Famous Gospel Participants and their songs: Artist Song Title Year Mahalia Jackson The Potter s House 1930 s Shirley Ceaser Steal Away To Jesus 2001 The Edwin Hawkins Participants Oh Happy Day 1969 The Staple Participants I ll Take You There 1972 Aretha Franklin Amazing Grace 1971 CONTEMPORARY FOLK MUSIC If you look at a musical continuum you will have folk music at the one extreme, fine art/ classical music at the other extreme and in the middle you will have popular music and all its various sub-genres. Folk music started off many hundreds of years ago as a method of conveying messages and stories from one generation to another. Seeing that people didn t have libraries, computers or any other method of storing historical information. Folk music as the name says, is the music of the people. Folk music today has not really changed, it is usually a commentary on what is happening in society at the particular time that the song is written. The songs therefore tend to be of a political nature. EXAMPLES: Famous Folk Artists And Their Songs: Solo 3016 Ensemble : Duo 3017 Ensemble: Trio 3018 Ensemble: quartet (4) 3019 Ensemble: quintet (5) 3020 Small group: participants Medium sized group: participants Large group: 21+ participants Solo 3024 Ensemble : Duo 3025 Ensemble: Trio 3026 Ensemble: quartet (4) 3027 Ensemble: quintet (5) 3028 Small group: 6-10 participants 3029 Medium sized group: participants 3030 Large group: 21+ participants 3031 Solo 3032 Ensemble : Duo 3033 Ensemble: Trio 3034 Ensemble: quartet (4) 3035 Ensemble: quintet (5) 3036 Small group: participants Medium sized group: participants Large group: 21+ participants No. Artist Song Title Year 1. Bob Dylan Knocking On Heaven s Door Sarah McLachlan Angel John Denver Leaving On A Jet Plane Don McLean Vincent (Starry Starry Night) Donavan Atlantis 1969 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 135

141 JAZZ / BIG BAND According to the Encyclopaedia Britannica: Jazz is an often improvisational musical form, developed by the Afro-Americans and influenced by both the European Harmonic Structure and the African Rhythmic complexity. It also is often characterized by its use of blues and speech intonations. Famous artists in this genre include Ella Fitzgerald, Louis Armstrong, Bing Crosby, Fred Astaire and others. EXAMPLES: Famous Folk Artists And Their Songs: No. Examples Year 1. Makin Whoppee! Smoke Get In Your Eyes The Way You Look Tonight Pennie From Heaven Over The Rainbow 1939 ROCK This genre has gone through many incarnations, one of the first pure rock bands were The Rolling Stones, who went on to influence every other Rock band since their inception in the 60 s. In the 70 s the genre split into 2 main forms: Glam Rock and Hard Rock. In the 80 s the genre split once again into two main forms of Rock: Punk and Hair Rock (which included bands like Bon Jovi and Van Halen). Since then there have been a myriad of different rock genres: EMO, Grunge, Thrash Metal, Metal and SCREAMO just to name a few. Even South Africa has an own brand of Rock. This category will explore all the different genres of Rock. EXAMPLES: Famous Folk Artists And Their Songs: Artist Song Date Bon Jovi Livin On A Prayer 1987 The Rolling Stones Sympathy For The Devil 1968 Aerosmith I Don t Wanna Miss A Thing (can also be used in the 1998 Motion Picture Category) Guns n Roses Sweet Child O Mine 1988 Queen Bohemian Rhapsody 1975 My Chemical Welcome To The Black Parade 2006 Romance Sugardrive Road 1997 Just Jinjer Father And Father 1997 Karen Zoid Aeroplane Jane 2007 Solo 3040 Ensemble : Duo 3041 Ensemble: Trio 3042 Ensemble: quartet (4) 3043 Ensemble: quintet (5) 3044 Small group: 6-10 participants 3045 Medium sized group: participants 3046 Large group: 21+ participants 3047 Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants 3053 Medium sized group: participants 3054 Large group: 21+ participants 3055 REGGAE This is Jamaica s popular musical and dance style originating in the mid-60 s. Traditional Afro- Jamaican reggae was further compounded by the North American Blues and R&B and Pop and Rock n Roll. In recent year Reggae has been highly influenced by Hip-Hop and Rap. Reggae originated as a music of the Jamaican poor, reflecting social discontent and the Rastafarian movement. Instrumentation of Reggae is characterised by an electric bass played at high volume as a lead instrument. Around this an ensemble of organ, piano, drums and lead and rhythm guitar (who play short ostinato phrases, subdividing the beat into patterns of alternating tension and release). EXAMPLES: Famous Reggae Artists and Their Songs No. Artist Song Title Year 1. Jimmy Cliff I Can See Clearly Now Bob Marley And The Wailers Buffalo Soldier 1960 s 3. Ziggy Marley And The Melody Makers Tomorrow People Beenie Man feat Janet Jackson Felling It Boy UB40 Red, Red Wine 1988 Solo 3056 Ensemble : Duo 3057 Ensemble: Trio 3058 Ensemble: quartet (4) 3059 Ensemble: quintet (5) 3060 Small group: 6-10 participants 3061 Medium sized group: participants 3062 Large group: 21+ participants 3063 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 136

142 LATIN AMERICAN This is considered any music that is based on the Latin American rhythms. The instrumentation usually consists of traditional Latin American instruments like: the marimbas, the steel drums, the timbale and the conga drums to name a few of the instruments. EXAMPLES: Famous Latin American Artists and Their Songs: No. Artist Song Title Year 1. Jennifer Lopez Love Don t Cost A Thing Shakira Underneath Your Clothes Ricky Martin Living La Vida Loca Enrique Iglesias Rhythm Divine Julio Iglesias To All The Girls I ve Loved Before 1984 ROCK N ROLL This genre was made famous in the mid-50 s, strongly influenced by the Blues and Jazz as well as Gospel music from the South of the USA. The genre went on to dominate the charts for the duration of the 50 s and went on to influence emerging genres in the 60 s and contemporary music in general. This genre is considered to be the beginning of Contemporary music, as we know it today. Some of the songs that are included in this genre include: EXAMPLES: Famous Latin American Artists and Their Songs Artist Song Date Elvis Presley Hound Dog 1956 Bill Haley and The Comets Rock Around The Clock 1955 Queen Crazy Little Thing Called Love 1979 Jerry Lee Lewis Great Balls Of Fire 1957 Little Richard Tutty Frutti 1955 Chuck Berry Johnny B Goode 1958 DISCO The disco genre is a genre that forms part of the dance music genre. Disco started in the early 70 s and rose to prominence in the mid-70 s. The genre dominated the Pop charts for the next 5 years and every mainstream artist experimented with the genre. The genre was highly produced and the producers were the people that dictated what would happen with the songs. The artists didn t write their own songs and the production on these songs was very lavish; including full orchestras, gospel choirs and bands. The songs needed the full orchestras, orchestrators, conductors, bands leaders and arrangers and as a result was very expensive to produce, will ultimately led to its demise. In the 80 s there was a big backlash against everything disco and only in the new millennium did the genre resurface on albums by big name pop artists. This genre will explore the world of disco: Solo Ensemble : Duo Ensemble: Trio Ensemble: quartet (4) Ensemble: quintet (5) Small group: 6-10 participants 3069 Medium sized group: participants 3070 Large group: 21+ participants 3071 Solo 3072 Ensemble : Duo 3073 Ensemble: Trio 3074 Ensemble: quartet (4) 3075 Ensemble: quintet (5) 3076 Small group: 6-10 participants 3077 Medium sized group: participants 3078 Large group: 21+ participants 3079 Solo 3080 Ensemble : Duo 3081 Ensemble: Trio 3082 Ensemble: quartet (4) 3083 Ensemble: quintet (5) 3084 Small group: 6-10 participants 3085 Medium sized group: participants 3086 Large group: 21+ participants 3087 EXAMPLES: Famous Latin American Artists and Their Songs: Artist Song Date The Bee Gees Jive Talkin 1975 Donna Summer Could It Be Magic 1976 ABBA Dancing Queen 1976 Diana Ross The Boss 1979 Candi Staton Young Hearts Run Free 1978 Leo Sayer You Make Me Feel Like Dancing 1976 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 137

143 DANCE MUSIC After the demise of disco, dance music changed from the organic, mainly orchestral form of the genre in the 70 s to a more synthetic, electronic form in the 80 s. The main difference between the dance music of the 70 s and 80 s initially was that the one form was electronic. The genre has developed over the decades. The genre is very beat driven and the voices are not as important as the instrumentation. For this reason you will find that many dance vocalists are not the best vocalists in the world, because they don t have to be. Some of the songs that can be included in this genre are: EXAMPLES: Famous Latin American Artists and Their Songs: Solo 3088 Ensemble : Duo 3089 Ensemble: Trio 3090 Ensemble: quartet (4) 3091 Ensemble: quintet (5) 3092 Small group: 6-10 participants 3093 Medium sized group: participants 3094 Large group: 21+ participants 3095 Artist Song Title Year Madonna Music 2000 Kylie Minogue Spinning Around 2000 Paula Abdul Straight Up 1988 Britney Spears Toxic 2003 Sophie Ellis-Bexter Murder On The Dance Floor 2003 URBAN MUSIC (R&B / HIP-HOP / SOUL / RAP) URBAN MUSIC encompasses the following contemporary genres: Soul R&B Hip-hop / Rap SOUL / R&B Defined by the Encyclopaedia Britannica as any number of closely related musical styles developed in the USA by black performers. Based on a mingling of European influences, Jazz, Blues and Gospel Music. In the mid-50 s the term Rhythm and Blues was a term used by recording companies and trade publications (Like Billboard Magazine) to designate music intended for a black audience. EXAMPLES: Famous R&B Participants and their songs: No. Artist Song Title Year 1. Janet Jackson That s The Way Love Goes Whitney Houston I Will Always Love You Toni Braxton Un-Break My Heart TLC Waterfalls R Kelly I Believe I Can Fly 1996 Solo 3096 Ensemble : Duo 3097 Ensemble: Trio 3098 Ensemble: quartet (4) 3099 Ensemble: quintet (5) 3100 Small group: 6-10 participants 3101 Medium sized group: participants 3102 Large group: 21+ participants 3103 Hip-Hop: Hip-Hop or Rap developed from the streets and ghettos in the late 70 s and 80 s where many youths were standing around with their beat boxes setting their poems to beats and movements. That is also where the break dancing movement developed. The artists do not sing, they speak rhythmically and poetically. The genre is highly influenced by the funk genre from the late 60 s and 70 s and it is even a little influenced by Jazz. In recent years rap artists have been incorporating a lot of R&B into their music and asking R&B artists to appear on their albums resulting in a new movement (that has incorporated rap and R&B together known as Hip-Hop). Many Rap artists have also incorporated a lot of Rock into their music, people like Emminen for example. EXAMPLES: Famous Hip-Hop/Soul Artists and Their Songs: No. Artist Song Title Year 1. Emminen Without Me Nelly feat Kelly Rowland Dilemma Will Smith feat Dru Hill & Kool Mo Dee Wild Wild West Jennifer Lopez feat Ja Rule Ain t It Funny Christina Aguilera feat Redman Dirty 2002 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 138

144 POP MUSIC Pop music is an imprecise category of modern music, which doesn t refer as much to the type of music as it refers to the prospective audience. Pop music is composed with the deliberate intent to appeal to the majority of the music listening public. The beauty of Pop music is that it is written in such a way, that the audience doesn t have to be educated in its inner workings in order for it to be appreciated. It s just music that people can listen to and enjoy. The form of the music is simple and follows a very simple verse chorus form. This type of music started evolving in The songs are usually less than 5 minutes, the instrumentation can include a full orchestra all the way down to a lone singer. The instruments that make the genre possible are: Electric Guitar, Bass, Guitar, Drums, Keyboard and Backing Vocals. Pop songs are generally marked by a heavy rhythmic element, a mainstream style and traditional structure (which they inherited from the Blues and Gospel music world). The genre relies on a memorable melody, catchy hooks and a verse chorus structure, with the chorus sounding sharply different from the verse (rhythmically and harmonically). Solo 3104 Ensemble : Duo 3105 Ensemble: Trio 3106 Ensemble: quartet (4) 3107 Ensemble: quintet (5) 3108 Small group: 6-10 participants 3109 Medium sized group: participants 3110 Large group: 21+ participants Pop music stands for Popular Music and depending on the era the music will be different in its effort to communicate to the people of the day. The popular music of the 40 s was Jazz, the popular music of the 50 s was Rock n Roll, the 70 s was characterized by Disco and so on and so forth. The genre is ever changing and the best definition of the genre is what is happening on the charts at that time in the era. EXAMPLES: Famous popular songs: No. Artist Song Album Genre Year 1 Patti Page How Much Is That Doggie In The 50 s Pop Novelty 1952 Window 2 Marc Bliztein Mack The Knife 50 s Pop Richie Valens La Bamba Richie Valens 50 s Latin Pop Brian Hyland Itsy Bitsy Teenie Weenie Yellow The Bashful Blonde 60 s Novelty Pop 1960 Polka Dot Bikini 5 The Beach Boys California Girls Summer Days (And 60 s Pop 1965 Summer Nights!!) 6 Rod Stewart Do You Think I m Sexy Blondes Have More Fun 70 s Pop Elton John and Kiki Dee Don t Go Breaking My Heart Greatest Hits 70 s Pop Kylie Minogue The Loco-Motion Kylie Minogue 80 s Aus Pop Bon Jovi Livin On A Prayer Slippery When Wet 80 s Pop/Rock Toni Braxton Un-Break My Heart Secrets 90 s Urban Pop Jennifer Lopez Let s Get Loud On The 6 90 s Latin Pop Nelly feat Kelly Rowland Dilemma Nellyville 2000 s Hip-Hop Alicia Keys You Don t Know My Name The Diary Of Alicia Keys 2000 s Female Pop 2004 MOTION PICTURE THEMES Depending on the style of the music, some film music fit into the contemporary section, rather than the crossover section. The most important part of this genre is the artist s characterization. The way the artist interprets the songs. These songs are often quite dramatic because they are trying to speak about a specific incident that occurred in the motion picture. Subsequently the dramatization of the song is very important. These songs also sometimes don t do so well in isolation and people understand the songs better in the context of the movie, because that was the purpose for which the song was written. The songs selected for this section need to be songs specifically written for a motion picture and cannot include songs that have been included in a motion picture. The point of this genre is the characterisation of the characters in the performance. EXAMPLES: Famous popular songs: 3111 Solo 3112 Ensemble : Duo 3113 Ensemble: Trio 3114 Ensemble: quartet (4) 3115 Ensemble: quintet (5) 3116 Small group: 6-10 participants 3117 Medium sized group: participants 3118 Large group: 21+ participants 3119 No. Artist Song Title Year 1. Dolly Parton I Will Always Love You (from The Littlelest Whorehouse In Texas ) Irene Cara Fame (from Fame ) Madonna Into the Groove (from Desperately Seeking Susan ) 1985 C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 139

145 OWN CHOICE Any song can be entered into the OWN CHOICE section. OWN COMPOSITION CONTEMPORARY STYLE An own composition may be presented in any contemporary style. Both the song and presentation thereof will be adjudicated. The number of entries is not limited. Please note: An original composition cannot include an already existing composition. This is plagiarism and copyright infringement and will result in disqualification. E The complete item (including the MELODY) should be ORIGINALLY COMPOSED by the participant(s) A COPY OF THE MUSIC SHOULD BE SUBMITTED TO THE ADJUDICATOR prior to the performance. Solo 3120 Ensemble : Duo 3121 Ensemble: Trio 3122 Ensemble: quartet (4) 3123 Ensemble: quintet (5) 3124 Small group: 6-10 participants 3125 Medium sized group: participants 3126 Large group: 21+ participants 3127 Solo 3128 Ensemble : Duo 3129 Ensemble: Trio 3130 Ensemble: quartet (4) 3131 Ensemble: quintet (5) 3132 Small group: 6-10 participants CONTEMPORARY POP CONCERT PRESENTATION Participant should present a show in contemporary pop style with a 12 minutes time limit. Any number of songs can be included in the show, provided the time limit is not exceeded. The performance will be adjudicated on: stage performance interaction and communication with the audience 3133 Solo 3134 Ensemble : Duo 3135 Ensemble: Trio 3136 Ensemble: quartet (4) 3137 Ensemble: quintet (5) HINT: It is not possible to include an item in this category as originally presented for adjudication, in the Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item C o n t e m p o r a r y I n s t r u m e n t a l M u s i c 140

146 PART 8 Dance Section Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa D a n c e S e c t i o n Copyrighted NEA

147 DANCE SECTION: RULES AND REGULATIONS DANCE SECTION IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO the GENERAL RULES AND REGULATIONS. AGE In order to be aligned with the educational policy and an outcomes-based approach to education, learners are to be entered according to school grades, and not age. ENTRIES Entries are the responsibility of the Teachers and Competitors. o The NEA is not responsible for incorrect entries and participants must make sure that they enter in the correct category of dance style. o The dance style should correspond with the dance category according to the entry. MUSIC The choice of music should be appropriate to suit the genre, relevant to the age group and should receive careful attention, especially where lyrics are involved. Foul or abusive language is not acceptable. The music should be provided on CD or on a memory stick only as cassette recorders are not available for playback purposes. The editing of the selected music is important and should have an appropriate ending. The mere fading out of the music is not acceptable. Adhere to the time limit at all times. Great care should be taken in handling CD s as scratched and dirty CD s often fail to play. It is advisable to have a backup copy available at all times. Only use Writeable CD s (CD-R) for this purpose. Rewritable CD s (CD-RW) are not always reliable. The necessary music equipment and an operator will be provided. Backing track CD s should be handed to the sound technician at the beginning of a particular session. PLEASE NOTE: A separate CD must be provided for EACH item of EACH participant. It should be CLEARLY marked and the following detail must be provided on the CD & CD-cover: Name of participant. Item number. Indicate whether the candidate will start on or off stage. Track number. It is the responsibility of the participant to collect CD s at the end of each session. CD s that were not collected will eventually be destroyed by the sound technician once adjudication in a particular region has been completed. D a n c e S e c t i o n 142

148 TIME ALLOCATION Participants and teachers are reminded that dances that are too long could lose their impact, while dances that are too short can leave the onlooker (adjudicator) surprised and wishing for more (or puzzled not having had enough to understand the meaning!). Please note that performances that exceed the TIME LIMIT could be terminated. BACKSTAGE ARRANGEMENTS, STAGE CONDUCT AND PERFORMANCE Competitors must be ready to perform 20 minutes prior to the time as stated on the participant s slip. Participants should be ready at the stage door 10 minutes before performance. No parents will be allowed backstage under any circumstances. No teacher/parent is allowed to give assistance to a dancer from the wings. Competitors must participate in the order as arranged by the NEA Office. Request regarding the impact of costume changes should be submitted to the NEA Office as soon as the participant schedule is available. No practicing will be allowed on stage during intervals. The dancer should inform the adjudicator / assistant when the dance is to start off stage. Competitors will be penalized if, for any reason of their own, they are unable to complete the dance. Dance titles may be announced. If a synopsis is to be used it must be as brief and clear as possible and a written copy of the synopsis must be given to the announcer as well as the Adjudicator before commencement of the session. COSTUMES Costumes are not prescribed by the NEA and are by no means rigid, BUT not studio attire with or without logo may be worn on stage (No studio uniform). (The names of studios are also not printed on the adjudicator s documentation). Any suitable costume may be worn that suits both the dancer and compliments the dance and music. Poor judgement in the choice of costume and grooming will inevitably impact on the overall effect of a dance. (In wearing an unsuitable costume, a participant is penalizing her/himself.) USE OF EQUIPMENT Props may be used where specified. Be as swift as possible in moving props on and off stage. Ensure that props are ready and available prior to start of section. Special lighting, curtains and tabs may be used when available. Private equipment backstage must be arranged well in advance with the Stage Manager. Solo, duet, trios and quartets may utilise tabs but only if the time limit for the piece is not exceeded. NOTES TO THE DANCER Always know the requisite discipline, technique and criteria of the required dance form. A performance should never be just a piece of music with undisciplined (style) movements. Apply your dance skills to the best of your ability. A performance should always contain an element of achievement as well. A performance should be artistic sensitive. Spontaneity is encouraged. Acknowledge your audience at the end of your performance. SET OF RULES FOR SPECTATORS No eating or drinking whilst competitors are performing. All cell phones to be switched off. No flashing cameras. No moving around whilst participants are dancing. D a n c e S e c t i o n 143

149 All spectators to remain seated and quiet during a performance. Please note that the dance item numbers has changed. It now comprises of the following three elements: A code that indicates the number of participants involved Descriptive name of the dance style School grade of participants (where applicable) D a n c e S e c t i o n 144

150 CODES FOR VARIOUS DANCE CATEGORIES / STYLES TABLE A ACROBATICS: STRAIGHT DANCE ACROBATICS: CHARACTER AFRICAN DANCE ANY OTHER DANCE BALLET: CLASSICAL BALLET: CLASSICAL (Demi-Character) BALLET: FREE SHOE SECTION BALLET: NEO-CLASSICAL BALLET: REPERTOIRE BALLROOM DANCES BELLY DANCING B-BOY /B-GIRL (Break Dance) CHOREOGRAPHY: STUDENTS CONTEMPORARY DANCE LYRICAL DANCE SOCIAL DANCING DANCE PRODUCTIONS FOLK DANCE HIP-HOP/FUNK/STREET STYLE JAZZ - CHARACTER JAZZ - STRAIGHT LATIN AMERICAN DANCE MODERN CHARACTER MODERN STRAIGHT MUSICAL THEATRE: SONG & DANCE REVUE (Pre-recorded voices) SET DANCES: ACROBATIC SET DANCES: BALLET SET DANCES: BREAK DANCE SET DANCES: CONTEMPORARY SET DANCES: HIP-HOP/FUNK/STREET SET DANCES: JAZZ SET DANCES: LYRICAL SET DANCES: MODERN SET DANCES: SPANISH SET DANCES: TAP SPANISH DANCE TAP: CHARACTER TAP: STRAIGHT WORSHIP IN DANCE FULL DANCE PRODUCTION D41 D42 D43 D44 D45 D46 D47 D48 D49 D50 D51 D52 D53 D54 D55 D56 D57 D58 D59 D60 D61 D62 D63 D64 D65 D66 D67 D67 D67 D67 D67 D67 D67 D67 D67 D67 D77 D78 D79 D80 D81 TIME LIMITS* Duration: Gr. 0 Gr. 7 Minimum duration in minutes TABLE C: CODES FOR GRADES /PHASES* Maximum duration in minutes Solo Duet Trio Quartet of more competitors# Duration: Gr. 7 Gr. 12 & Open Section Solo Duet Trio Quartet of more competitors# Choreography (students): Duet Trio Quartet of more competitors# Other groups Dance Production Musical Theatre: Song & Dance Revue (pre-recorded voices / music) Acrobatic dance Gr. 0-7 Solo Duet/Trio/Quartet/Larger groups Acrobatic dance Gr. 8 Open Section Solo Duet/Trio/Quartet/Larger groups Pre-school* 10 Grade Grade R 11 Grade Grade 1 12 Grade Grade 2 13 Foundation phase group* 03 Grade 3 14 Intermediate phase group* 04 Grade 4 15 Senior phase group* 05 Grade 5 16 FET phase (Gr. 8 12) 06 Grade 6 17 Primary school group* 07 Grade 7 18 Secondary school group* 08 Grade 8 19 Open section 09 Grade 9 20 Senior citizens *NB. The time limits per grade may not be exceeded. D a n c e S e c t i o n 145

151 *When the members of the group represent different grades, select the appropriate group code from the above table, or enter under the highest grade. Use the following code for pre-school participants (aged 4 5): 31 *Pre-school: 5 yrs. (and under) HOW TO COMPLETE THE ENTRY FORM SELECTING THE ITEM CODES FOR ENTRIES: DANCE SECTION The entry number comprises of three component as provided in TABLE A C: 1. Select the appropriate Dance Category code from Table A (e.g. the code Spanish is D32). Print D32 in the first 3 blocks for the entry number on the entry form.) 2. Select the appropriate code according to the number of participants for this entry from TABLE B. Clearly print the corresponding number in the three blocks following the code completed under (1). Code no. 501 will indicate a single participant (solo). 3. Select the appropriate grade code for the participant from TABLE C. Clearly print the selected code in the last 2 open blocks provided for the item number. Grade code 09 will indicate Grade 9. ITEM NUMBER: TABLE A TABLE B TABLE C D / 0 9 D32-501/09 represents a Spanish Solo by a Grade 9 learner. D a n c e S e c t i o n 146

152 DANCE: CATEGORY DESCRIPTIONS D41 ACROBATICS: STRAIGHT DANCE Solo, Duet, Trio, Quartet, Quintet and Groups This item will be adjudicated as a dance item for acrobatic gymnasts and acrobatic dance. The dance must contain various technical acrobatic elements, with display of agility, also with lifts and pyramids. Acrobatic movements are choreographed in combination with Ballet, Modern and other dance steps/movements to carefully chosen music that enhances the performance. Do not overcrowd the stage, over-elaborate, choose too long a musical score (check time limit) and then fill it up with irrelevances, or introduce acrobatic movements just for their own sake. Key: Co-ordination, balance, strength, alignment, flexibility, fluidity of steps and movements by using linking steps, performance quality. Sensitivity and power of concentration equals harmony. Solos 5001 Duet 5002 Trio 5003 Quartet 5004 Quintet (5 competitors) 5005 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Chairs, boxes and steps may be used in the straight section D42 ACROBATICS: CHARACTER DANCE Solo, Duet, Trio, Quartet, Quintet and Groups Solos 5009 As for Straight but dance tells a story or expresses a mood dancer is a character dressed suitably for the story and may use props. Duet 5010 Trio 5011 Quartet 5012 Quintet (5 competitors) 5013 Small groups (6-10 competitors) 5014 Medium sized groups (11 20 Participants) 5015 D43 AFRICAN DANCE Solo, Duet, Trio, Quartet, Quintet and Groups African dance includes the use of different ethnic and social dance forms; it gives attention to different groups in society who participates in the art of dance. Artistic traditions, style, aesthetic quality, agility, expression, emotion, presentation and choreography are of particular importance. Large groups (more than 20 participants) 5016 Solos 5017 Duet 5018 Trio 5019 Quartet 5020 Quintet (5 competitors) 5021 Small groups (6-10 competitors) 5022 Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 147

153 D44 ANY OTHER DANCE Solo, Duet, Trio, Quartet, Quintet and Groups. Any dance form not specified anywhere else can be presented in this category. Rules for straight and character applies. Solos 5025 Duet 5026 Trio 5027 Quartet 5028 Quintet (5 competitors) 5029 Small groups (6-10 competitors) 5030 Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D45 BALLET: CLASSICAL Solo, Duet, Trio, Quartet, Quintet and Groups. Traditional, formal style of ballet, depicting classical ballet steps and academic technique, with flowing, precise movements set to music and with no story/theme or character-depiction. Pointe work is compulsory for students 14 years and older. Late beginners aged 14 years and older who does not yet have the technical ability to cope en pointe may be entered under Neo-Classical Free shoe section where pointe work is not required for the ages 14 years and over. It is imperative that the pointe dancer inspects the dance floor well before performance. Dancer supplies own resin when needed. Solos 5033 Duet 5034 Trio 5035 Quartet 5036 Quintet (5 competitors) 5037 Small groups (6-10 competitors) 5038 Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D46 BALLET: CLASSICAL (Demi-Character) Solo, Duet, Trio, Quartet, Quintet and Groups. Solos 5041 Dance tells a story or expresses a mood - dancer is a character dressed suitably for the story and may use props. Costume and prop can do more than just enhance a dance they also inspire movement and style. Refine choreography to work with the costume. The character to show a clear understanding of and interpretation of theme and character. Mime and presentation are vital. To be performed with co-ordination, accuracy, fluency, control, balance, poise, confidence and classical ballet technique Duet 5042 Trio 5043 Quartet 5044 Quintet (5 competitors) 5045 Small groups (6-10 competitors) 5046 Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 148

154 D47 BALLET: FREE SHOE SECTION Solo, Duet, Trio, Quartet, Quintet and Groups. For the 14 year and older ballet dancer that does not yet have the technique required for pointe work. Dancer will wear ballet pumps or bare feet. Solos 5049 Duet 5050 Trio 5051 Quartet 5052 Quintet (5 competitors) 5053 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D48 BALLET: NEO-CLASSICAL Solo, Duet, Trio, Quartet, Quintet and Groups. Primarily Ballet with a Modern/Contemporary abstract flavour. Danced with ballet pumps or pointe shoes. Solos 5057 Duet 5058 Trio 5059 Quartet 5060 Quintet (5 competitors) 5061 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 149

155 D49 BALLET REPERTOIRE Solo, Pas de Deux, Pas de Trois, Pas de Quatre, Pas de Cinq, Pas de Six and Groups Dances for the experienced female dancer en pointe and experienced male dancer: Refer to choreography from Russian Bolshoi, Russian Kirov/Mariinsky, Opera Nationale de Paris, Royal Danish Ballet, The Royal Ballet-London, etc. Suggested Repertoire solos for Girls: Sleeping Beauty, La Bayadere, Paquita, Don Quixote, Swan Lake, Giselle, Raymonda, Coppelia etc. Suggested Repertoire solos for Boys: Sleeping Beauty, Don Quixote, Le Corsaire, Paquita, La Sylphide, Swan Lake, Giselle, Napoli etc. Solos 5065 Duet 5066 Trio 5067 Quartet 5068 Quintet (5 competitors) 5069 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Authentic costume but not colouring (to economise) and grooming for Repertoire is essential. Perform the authentic choreography. Music may be slowed down but is must be of good recording quality. Pas de Deux 3-4 minute time limit maximum and not the solos and coda as well. Repertoire Pas de Deux suggestions: The Nutcracker Act II Pas de Deux Giselle: Act I Peasant Pas de Deux Don Quixote: Act III Pas de Deux Swan Lake: Act II Pas de Deux (White Swan) Act III Pas de Deux (Black Swan) Le Corsaire: Pas de Deux Sleeping Beauty: Act III Pas de Deux Act III Bluebird Pas de Deux Act III White Cat and Puss in Boots Office must be informed from which Ballet the Repertoire is performed and from which Company. D a n c e S e c t i o n 150

156 D50 BALLROOM DANCES Male and female partner Ballroom dances are to be presented by couples (male & female) with good carriage, correct ballroom technique and stance, and the ability to move easily and rhythmically. Ballroom dancing includes the following traditional ballroom styles: Foxtrot Waltz Tango Viennese Waltz Quickstep Duet 5073 Appropriate shoes to be worn. D51 BELLY DANCING Solo, Duet, Trio, Quartet, Quintet and Groups. Styles vary from place to place and new techniques are constantly being introduced. The following guidelines should however be observed: Posture is neutral erect and not hyper-extended Musical interpretation is of great importance, as well as Timing, choreography, originality (doing something new or special), aesthetic appeal, feeling and expression. The above points are also of importance in the use of props and accessories. Costume and Props: Performer should be dressed accordingly to whatever style she chooses, e.g. Saiidi, Modern Egyptian, and Tribal etc. Music: Use of appropriate music most vital it must compliment dancer and choreography, e.g. Middle Eastern music. Music accompaniment finger cymbals (zil). Solos 5074 Duet 5075 Trio 5076 Quartet 5077 Quintet (5 competitors) 5078 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Authentic: Veil, sagat, cane etc. Non-Authentic: Isis wings, fire, shamadaan, snake, sword, fans etc. Malaya introduced by Mahmed el Reda in 1959 as a seductive/theatrical dance D a n c e S e c t i o n 151

157 D52 B-BOY / B-GIRL (Break dance) Solo, Duet, Trio, Quartet, Quintet and Groups. B-boying is also known as break dance. Dancers dance to the breaks of the music. It is a high energy based dance with its own groove as foundation, known as rocking. This includes top rocks, battle rocks etc. Also included in this energetic dance style are various tricks and tumbles known as power moves. Dancers also showcase a great amount of strength, balance and control by performing still pose moves mainly on the floor, called freezes. Within the B-boy culture dancers normally battle each other within a Cypher (circle) where each dancer on turn will perform a set showing off their skill and power within the style. Solos 5082 Duet 5083 Trio 5084 Quartet 5085 Quintet (5 competitors) 5086 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) B - boying is danced on B-boy music and the clothes should represent the natural style of the urban street culture. D53 CHOREOGRAPHY: STUDENTS (12 years and older) No solos permitted. For Duet, Trio, Quartet, Quintet and Groups Choreography has been included in the Prospectus to stimulate the creation of new works in Ballet, Modern, Jazz, Tap, Contemporary, Lyrical, Spanish, Hip-Hop/Funk, Street- and Break Dance. An artistic arrangement with challenging choreography and emotional content of dance well expressed is expected. Students choose their own music, but it must be checked by a teacher (school or private) to ensure that it remains within the guidelines set for MUSIC CHOICE. Costumes, lighting and props are permitted. Allocated time for Student s Choreography not to exceed 5 minutes. Dance to be entered with Student Choreographer s name. One choreographer only. A dance entered in this section may not be performed in any other section in this Eisteddfod. Office must be informed if special lights are to be used on day of performance. Duet 5090 Trio 5091 Quartet 5092 Quintet (5 competitors) 5093 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 152

158 D54 CONTEMPORARY DANCE Solo, Duet, Trio, Quartet, Quintet and Groups Contemporary dance is characterized by a wide variety of dance techniques and is a collection of methods and styles developed from modern and postmodern dance. Styles can include the Graham Technique, Horton Technique, Taylor Technique and Cunningham Technique as well as styles such as those represented by Bejart, Alvin Ailey and the Rambert Schools of Technique. Contemporary Dance elements include: Emphasis on movement of the torso Isolated movements of body Rise, fall and recovery Strong and controlled leg work Contract-release Use of levels and space Floor work Off-axis movement Expressive, fluid, free-flowing movement conveying emotion Can also include more static, clipped movement according to style of piece Solos 5097 Duet 5098 Trio 5199 Quartet 5100 Quintet (5 competitors) 5101 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Use of contemporary-style or modern music D55 LYRICAL DANCE Solo, Duet, Trio, Quartet, Quintet and Groups. A style of dance created from the fusion of ballet with jazz and contemporary dance techniques; using dance motion to interpret music and express emotion. Concentration on the expression of strong emotion, individual approach and expressiveness, rather than on the precision of the dancer s movements. Demonstration of interpretation of the music music is a driving force and key inspiration for movement Good use of space, transitions of movement and floor patterns Demonstration of light and shade of movement, tempo changes and pause Tells a story /emotion through each movement made Movements are characterized by fluidity and grace, with the dancer flowing seamlessly from one move to another, holding finishing steps as long as possible. Leaps are exceptionally high and soaring, and turns are fluid and continuous. Solos 5105 Duet 5106 Trio 5107 Quartet 5108 Quintet (5 competitors) 5109 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 153

159 D56 SOCIAL DANCING Dance crazes Solo, Duet, Trio, Quartet, Quintet and Groups Can - Can: Dancers that lifts and swirls their mulita layered petticoats. High kicking and even acrobatic. The finale eventually features splits. Rock n Roll: Dancers move exuberantly around the floor. Utilize re-invented old steps such as the Charleston and Lindy-hop (fast). Partners show off with acrobatic moves, such as air steps in which the man spins his partner through the air. Twist: A popular dance in the 1960 s, performed alone by shaking and shimmying the hips. Disco: A definite and particular style with contractions and isolations. Correct interpretation of music is vital. Western dancing (cowboy) D57 Common faults: Some movements get to be performed endlessly during a dance. Weak choreography dancers not dancing but only performing tricks with the result that musicality is non-existent DANCE PRODUCTIONS In a dance production a theme or story must be depicted Any form of dance, or combination of forms of dance may be used and presented by an unlimited number of participants. Styles: Ballet, Modern, Jazz, Contemporary, Lyrical, Tap, Spanish, Hip- Hop, Street- and Break Dance. Production may also make use of props, sets, multimedia (check compatibility) to enhance the theme, concept or story line. Allocated time not to exceed 15 minutes. Solos 5113 Duet 5114 Trio 5115 Quartet 5116 Quintet (5 competitors) 5117 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 5121 Duet 5122 Trio 5123 Quartet 5124 Quintet (5 competitors) 5125 Small groups (6-10 competitors) 5126 Medium sized groups (11 20 Participants) 5127 D58 Large groups (more than 20 participants) 5128 FOLK DANCE, including NATIONAL CHARACTER Solo, Duet, Trio, Quartet, Quintet and Groups. A national folk dance tells a brief story with authentic national music and steps. Traditional dancing may be depicted from any nationality ex. French, Swedish, Hungarian etc. and must be typical of that nation s dances well interpreted. This genre gives the student the opportunity to study different cultures and the history of many countries. Traditional steps must be replicated accurately and styles well interpreted. Costume: Authentic and appropriate to country, this includes correct foot wear. Small props may be used to enhance performance. Solos 5129 Duet 5130 Trio 5131 Quartet 5132 Quintet (5 competitors) 5133 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 154

160 D59 HIP-HOP/FUNK/STREET STYLE Solo, Duet, Trio, Quartet, Quintet and Groups. Street, funk and club styles will be found under the street dance umbrella. (B-boying is excluded own category). Hip-Hop is a high energy groove based style consisting of its own technique and vocabulary. Groove is the basic foundation of Hip-Hop and can be defined as the use of the body in moving to the beat of related music. Hip-Hop is mainly danced on rap and rap inspired music also known in the industry as MCing as this is one of the cornerstones. It is important that the dancer s energy reflects the feeling of the music danced to. Other main styles allowed under this category Locking - Funk style Boogaloo - Funk style Popping - Funk style House - Club style Whacking - Club style Vogue - Club style Tutting - Club style College Stepping Street style Krump - Street style Solos 5137 Duet 5138 Trio 5139 Quartet 5140 Quintet (5 competitors) 5141 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Clothing should represent and reflect the real character and natural style of the urban street culture. D60 JAZZ : CHARACTER Solo, Duet, Trio, Quartet, Quintet and Groups. As for Straight Jazz but dance tells a story, expresses a mood or portrays a character dancer s costume reflects the character or story and props may be used Solos 5145 Duet 5146 Trio 5147 Quartet 5148 Quintet (5 competitors) 5149 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 155

161 D61 JAZZ : STRAIGHT Solo, Duet, Trio, Quartet, Quintet and Groups A style of theatrical dance performed to jazz or popular music jazz dance consists of a variety of styles combining elements of ballet, tap, Broadway musical dance, ragtime blues, New Orleans Dixie, Swing, Bebop, Cool Jazz or Jazz Rock. Important figures in the development of jazz dance include Katherine Dunham, Bob Fosse and Matt Mattox. Often uses syncopation High levels of energy Relationship between music and movement is very important Slinky feel to movements, not much floor work Sharp, well-articulated movements performed expressively in time with the music Strong sense of rhythm and smooth execution of jumps, turns and footwork v D62 Solo or Duet. The following styles are included: Box Rumba International Rumba Bolero Cha-Cha Salsa Samba Mambo D63 LATIN AMERICAN DANCE Mambo Merenge Lambada East Coast Swing Western Swing Latin Hustle Latin Tango Paso Doblé MODERN : CHARACTER Solo, Duet, Trio, Quartet, Quintet and Groups As for Straight Modern but dance tells a story, expresses a mood or portrays a character dancer s costume reflects the character or story and props may be used. Solos 5153 Duet 5154 Trio 5155 Quartet 5156 Quintet (5 competitors) 5157 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 5161 Duet 5162 Solos 5163 Duet 5164 Trio 5165 Quartet 5166 Quintet (5 competitors) 5167 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 156

162 D64 MODERN : STRAIGHT Solo, Duet, Trio, Quartet and Groups. Solos 5171 Modern dance is a dance style that excludes many of the strict rules of classical ballet, focusing instead on the expression of inner feelings. It includes a wide variety of styles and techniques that have evolved during the generations including those pioneered by Lester Horton, Martha Graham and Katherine Dunham. Emphasis on good and sound technique demonstrating strength and flexibility Floor work can be an integral part of this genre Dance can include isolations, step ball changes, jumps and emphasised hip movements Dancer should demonstrate expressiveness and musicality Music choice should be modern, with a strong rhythm or beat Acrobatic dance should not form part of this section however one or two trick steps may be included in the dance D65 MUSICAL THEATRE : SONG & DANCE Solo, Duet, Trio, Quartet, Quintet and Groups This category involves a dance performance, including live vocals by the performer and is known as song and dance. The dancing, choreography and vocals should complement each other and definitely represent a theme (Pieces from Annie, Cats, Starlight Express, Sound of Music etc. are good examples of the nature of such a performance). The dance style is free but must be characteristic of the music selection (most likely styles to be presented in this item would include tap, jazz or modern dance). D66 Microphones can be used for participants who have not yet learned to project their voices in the theatre environment. REVUE (Pre-recorded voices) Please note the differentiation between: Revue productions with backing track (pre-recorded voices) (which must be entered under the Dance Section) and Revue productions with live singing and backing track / acoustical accompaniment (to be entered under the vocal category). Program should not exceed 12 minutes. At least 3 different songs should be presented. Revue items will be adjudicated on the following: Co-ordination - Song and movement Appropriateness of movements Choice of songs Words and melody must be in line with age group Variety and unity Overall impression Duet 5172 Trio 5173 Quartet 5174 Quintet (5 competitors) 5175 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 5179 Duet 5180 Trio 5181 Quartet 5182 Quintet (5 competitors) 5183 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Small groups (6-10 participants) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) D a n c e S e c t i o n 157

163 D67 SET DANCES : VARIOUS DANCE STYLES For the solo performer only A dance set by the teacher/choreographer with specific steps to be danced in specific order. Participants of the same grade (school) perform the exact same dance. Set Dances have been included in the Prospectus to encourage and give the opportunity to the young and not yet so confident candidate (novice) whom has never been on stage and late beginners to also participate in the Eisteddfod. ACROBATIC DANCE Solos 5190 BALLET Solos 5191 BREAK DANCE Solos 5192 CONTEMPORARY HIP-HOP/FUNK/STREET Solos 5194 JAZZ Solos 5195 LYRICAL Solos 5196 MODERN Solos 5197 SPANISH Solos 5198 TAP Solos 5199 D77 SPANISH DANCE The Spanish dance style can be brooding, passionate, alive, elegant, energetic and also grieving. It is characterised by sophisticated footwork that creates rhythmic patterns. This dance can be accompanied by the traditional Spanish dance accompaniment comprising of song and guitar. Classical Spanish Dance and Regional Dance such as Extremadura, Lagarterana, Budajoz, Valenciana, Jota. Children dancing in circles are common. Skipping songs. Line dances 2 rows, men and women. Solos 5193 Solos 5200 Duet 5201 Trio 5202 Quartet 5203 Quintet (5 competitors) 5204 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (20+ participants) 5207 Flamenco Basic a solo dance with guitar and song. It remains in origin an introvert solo performance. Arms movements move ceaselessly and expressively. The feeling of ritual intensity and passion in unique in flamenco. It is emotional and the deepest emotions are expressed with facial expressions. Palmas sordas (claps with cupped hands) Palmas brilliante or seca (claps with extended fingers) & Pitos (clicking of fingers). Percussive and rhythmic footwork. (Shouts from the audience encourages) Bulerias occupy a special and supreme position in flamenco most flexible form of flamenco and constantly undergoing change and is wide open to spontaneity. Castanets add percussion to the flamenco. Modern flamenco is influenced by various countries worldwide such as Latin America and Cuba. Male dancers dance to emphasize their strength and virility. Wearing traditional Spanish dress and shoes are essential D a n c e S e c t i o n 158

164 D78 TAP : CHARACTER Solo, Duet, Trio, Quartet, Quintet and Groups. As for Straight but dance tells a story or express a mood dancer is a character dressed suitably for the story and may use props. Must be danced to appropriate music. D79 TAP : STRAIGHT Solo, Duet, Trio, Quartet, Quintet and Groups. Tap focuses on percussive rhythm and precise patterns of sound. All forms of tap are permissible e.g. hoofing, rhythm etc. Primary emphasis is on footwork (sound) and technique. Thus, correct technique and style with musical interpretation and demonstration is vital. Do not use music/recordings with pre-recorded taps! D80 WORSHIP IN DANCE Solo, Duet, Trio, Quartet, Quintet and Groups. Worship Dance is any kind of dance that is undertaken for the specific purpose of religious worship. It can be a form of prayer. Sacred dances All movements that expresses or enhance spiritual experiences. The everyday life is left behind and the dancer enters a more spiritual realm. Ritual dances Solos 5208 Duet 5209 Trio 5210 Quartet 5211 Quintet (5 competitors) 5212 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 5216 Duet 5217 Trio 5218 Quartet 5219 Quintet (5 competitors) 5220 Small groups (6-10 competitors) Medium sized groups (11 20 Participants) Large groups (more than 20 participants) Solos 5224 Duet 5225 Trio 5226 Quartet 5227 Quintet (5 competitors) 5228 Small groups (6-10 competitors) 5229 Medium sized groups (11 20 Participants) 5230 D81 FULL DANCE PRODUCTION Large groups (more than 20 participants) 5231 Small groups (6-10 competitors) 5232 Medium sized groups (11 20 Participants) 5233 Large groups (more than 20 participants) 5234 D a n c e S e c t i o n 159

165 PROSPECTUS PART 9 Speech & Drama Section Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa S p e e c h a n d D r a m a 160

166 SPEECH AND DRAMA IMPORTANT: This section is applicable to all language sections and contains: CATEGORY Item codes for all drama categories Brief description of, and requirements for the various categories Grade codes and time allocation per grade/phase Special requirements (if any) Participants are invited to enter the Speech and Drama Section in any of the official languages, e.g. monologue in Setswana, IsiZulu plays, etc. (Refer to Table A for the language codes). The National Eisteddfod of South Africa provides opportunities for Speech and Drama presentations in any language, provided the number of entries warrant the appointment of an adjudicator for that language. RULES AND GUIDELINES The NEA allows participants to enter ANY number of entries in ANY category. However, kindly note that the NEA does not encourage the pointless pursuit of certificates. The true value of multiple entries lies in the experience and personal growth gained through the process and not in the awards. Participants may also enter any of the different sections of a particular category, e.g. public speaking, prescribed and own choice poetry. It is the prerogative of the participant to present work previously presented at another festival for the National Eisteddfod. However, a participant may not repeat work that he/she has previously presented at the National Eisteddfod Academy Festival in any category. The same work may not be presented in more than one language during one year (e.g. a performance of the same play in different languages). Time limits should be observed. Kindly note that the adjudicator has the right to terminate any performance that exceeds the allocated timeframe. The entry form requires the exact number of participants for any given entry. This is of particular importance in all group items. Kindly note that the adjudicator may request a copy of the text whenever an own choice work is performed. The announcement of name and author of the piece to be presented is optional. S p e e c h a n d D r a m a 161

167 Please note the time limit for setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking Given the wide spectrum of age groups and categories provided by the NEA, as well as the diverse possible combination of items when scheduling events, participants should note that vulgar language is generally not accepted in any category. Any presentation containing material that could disturb members of the audience, could be permitted only when used with discretion, provided that the material forms an integral part of the text, justifiable within the context and the NEA is informed in advance so that it can be considered when scheduling the event. The participant should also warn the audience prior to the said presentation that the presentation contains material that could be disturbing to members of the audience. When entering blind and partially sighted, physical disabled and learning disabled participants in this section, it is of the utmost importance to provide the applicable code on the entry form for each participant/group. As the no limitation policy of the National Eisteddfod Academy provides for the different abilities of participants, it is also important to sensitize the adjudicator with regards to the different abilities of any particular participant. When applicable, the following Codes should be provided on the entry form for GROUP items. The forms for individual entries also provide additional options for indicating differently abled participants. DISABILITY CODE* Blind/Partially Sighted A Deaf/Hard of Hearing B Intellectually challenged C Learning disabled D Physically challenged E HOW TO COMPLETE THE ENTRY FORM FOR SPEECH & DRAMA The item number comprises of 3 components provided in Tables A C: TABLE A TABLE B TABLE C Language & section Speech & drama category, Grade Code (group size E N / Select the appropriate Language code from Table A. E.g. the code for English is EN. 2. Clearly print EN. in the first 3 blocks of the item number on the entry form.) 3. Select the appropriate Speech & Drama category from TABLE B. Clearly print the number in the four blocks following the language code completed under (1). Item no designates a Lyrical Prose item. 4. Select the appropriate Grade code from TABLE C. Print the selected code in the last 2 blocks provided for the item number. EN01/6011/09 represents an English Lyrical Prose item, presented by a Grade 9 learner. KINDLY NOTE: It is the participant s responsibility to ensure that the information submitted on the entry form is correct. Changes to incorrect entries after the entries have been finalized are subject to the payment of a penalty of R70.00 per incorrect entry. The NEA accepts NO responsibility for incorrect entries. S p e e c h a n d D r a m a 162

168 SPEECH & DRAMA CATEGORIES SUMMARY OF CODES: SPEECH & DRAMA / MOVEMENT & MIME. TABLE A1: TABLE A2: Replace ** on entry form with an applicable category code from TABLE B AFRIKAANS AF ENGLISH EN IsiNDEBELE ND IsiXHOSA XH IsiZULU ZU SEPEDI SE SESOTHO SO SETSWANA TS SiSWATI SW TshiVENDA VE XITSONGA XT SIGN LANGUAGE SL MOVEMENT & MM MIME THEATRE *An item specially created by the NEA to build confidence in a group context **01 PROSE (own choice) RELIGIOUS PROSE (individual and groups) PROSE, RELIGIOUS (individual) 6001 PROSE, RELIGIOUS (ensemble group, 2 5 participants) 6002 PROSE, RELIGIOUS (small group, 6 10 participants) 6003 PROSE, RELIGIOUS (medium sized group, participants) 6004 PROSE, RELIGIOUS (large group, 21+ participants) 6005 NARRATIVE PROSE (individual and groups) PROSE, NARRATIVE (individual) 6006 PROSE, NARRATIVE (ensemble group, 2 5 participants) 6007 PROSE, NARRATIVE (small group, 6 10 participants) 6008 PROSE, NARRATIVE (medium sized group, participants) 6009 PROSE, NARRATIVE (large group, 21+ participants) 6010 LYRICAL PROSE (individual and groups) PROSE, LYRICAL (individual) 6011 PROSE, LYRICAL (ensemble group, 2 5 participants) 6012 PROSE, LYRICAL (small group, 6 10 participants) 6013 PROSE, LYRICAL (medium sized group, participants) 6014 PROSE, LYRICAL (large group, 21+ participants) 6015 **02 CHORAL VERSE (own choice) CHORAL VERSE (formal or informal) CHORAL VERSE (small group, 6 10 participants) 6016 CHORAL VERSE (medium sized group, participants) 6017 CHORAL VERSE (large group, participants) 6018 SMALL GROUP POETRY POETRY, SMALL GROUP ( ensemble group, 3 5 participants) 6019 POETRY, SMALL GROUP (small group, 6-10 participants) 6020 **03 POETRY (own choice) POETRY ENSEMBLE* POETRY ENSEMBLE (small group, 2 5 participants) 6021 POETRY ENSEMBLE (ensemble group, 2 5 participants) 6022 POETRY: SOLO VERSE SPEAKING (1 participant) LIMERICK 6023 NARRATIVE POEM 6024 LYRIC POEM 6025 SONNET 6026 FREE VERSE 6027 OWN CHOICE POEM* 6028 S p e e c h a n d D r a m a 163

169 TABLE A: TABLE B: LANGUAGE CODES SPEECH & DRAMA CATEGORIES Replace ** on entry form with an applicable category code from TABLE B AFRIKAANS AF ENGLISH EN IsiNDEBELE ND IsiXHOSA XH IsiZULU ZU SEPEDI SE SESOTHO SO SETSWANA TS SiSWATI SW TshiVENDA VE XITSONGA XT SIGN LANGUAGE SL MOVEMENT & MM MIME THEATRE **04 THEATRE PERFORMANCE, individual CHARACTER PORTRAYAL (individual participant) 6029 ONE MAN SHOW (SOLO PRODUCTION) 6030 STAND-UP COMEDY 6031 MONOLOGUE MONOLOGUE, COMIC (in costume) 6032 MONOLOGUE, DRAMATIC (in costume) 6033 MONOLOGUE, CONTEMPORARY, South African (in costume) 6034 **05 THEATRE PERFORMANCE, groups SCENE SCENE (duologue, 2 participants) 6035 SCENE (ensemble group, 3 5 participants ) 6036 SCENE (small group, 6 10 participants 6037 SCENE (medium sized group, participants 6038 PLAYS MINI PLAY (ensemble group, 2 5 participants) 6039 MINI PLAY (small group, 6-10 participants) 6040 MINI PLAY (medium sized group, participants) 6041 ONE ACT PLAY (ensemble group, 2 5 participants) 6042 ONE ACT PLAY (small group, 6-10 participants) 6043 ONE ACT PLAY (medium sized group, participants) 6044 ONE ACT PLAY (large group, 21+ participants) 6045 WORKSHOP PRODUCTION WORKSHOP PRODUCTION (ensemble group, 2 5 participants) 6046 WORKSHOP PRODUCTION (small group, 6-10 participants) 6047 WORKSHOP PRODUCTION (medium sized group, participants) 6048 WORKSHOP PRODUCTION (large group, 21+ participants) 6049 EXPERIMENTAL WORK EXPERIMENTAL WORK (ensemble group, 2 5 participants) 6050 EXPERIMENTAL WORK (small group, 6-10 participants) 6051 EXPERIMENTAL WORK (medium sized group, participants) 6052 EXPERIMENTAL WORK (large group, 21+ participants) 6053 PUPPET THEATRE PUPPET THEATRE (Individual) 6054 PUPPET THEATRE ( ensemble group, 2 5 participants) 6055 PUPPET THEATRE (small group, 6-10 participants) 6056 **06 READING PREPARED READING SKILLS (POETRY or PROSE) 6057 UNPREPARED READING, PROSE 6058 UNPREPARED READING, POETRY 6059 PREPARED SCRIPT READING AUDITIONING (ensemble group) 6060 PREPARED GROUP READING / READER S THEATRE (ensemble group) 6061 PREPARED GROUP READING / READER S THEATRE (small group) 6062 PREPARED GROUP READING / READER S THEATRE (medium sized group) 6063 S p e e c h a n d D r a m a 1 64

170 TABLE A: TABLE B: LANGUAGE CODES SPEECH & DRAMA CATEGORIES Replace *** on entry form with applicable category code AFRIKAANS AF ENGLISH EN IsiNDEBELE ND IsiXHOSA XH IsiZULU ZU SEPEDI SE SESOTHO SO SETSWANA TS SiSWATI SW TshiVENDA VE XITSONGA XT SIGN SL LANGUAGE MOVEMENT & MM MIME THEATRE **07 FORMAL PUBLIC SPEAKING: Individual PUBLIC SPEAKING: SPEECH TO INFORM (Prepared) 6064 PUBLIC SPEAKING: SPEECH TO PERSUADE (Prepared) 6065 PUBLIC SPEAKING: SPEECH TO INSPIRE (Prepared) 6066 PUBLIC SPEAKING: SPEECH TO ENTERTAIN (Prepared) 6067 PUBLIC SPEAKING: RESEARCH SPEECH (Prepared) 6068 PUBLIC SPEAKING: CURRENT EVENT SPEECH (Prepared) 6069 SPECIAL OCCASION OR COURTESY SPEECHES (Unprepared) 6070 PUBLIC SPEAKING: (Unprepared) 6071 **08 GROUP PUBLIC SPEAKING: FORMAL PUBLIC SPEAKING (Group) 6072 UNPREPARED PUBLIC SPEAKING (Group) 6073 PUBLIC SPEAKING (Group) INFORMAL STYLE 6074 DEBATING Partly prepared **09 STORY TELLING INDIVIDUAL STORY TELLING (Unprepared) 6076 GROUP STORY TELLING (Unprepared, ensemble) 6077 GROUP STORY TELLING (Unprepared, small group) 6078 INDIVIDUAL STORY TELLING (Prepared) 6079 GROUP STORY TELLING (Prepared, ensemble group (2 5)): 6080 GROUP STORY TELLING (Prepared, small group (6 10)): 6081 GROUP STORY TELLING (Prepared, medium sized group (11-20) 6082 GROUP STORY TELLING (Prepared, large group (21+) 6083 **10 IMPROVISATIONAL THEATRE: GROUP POETRY POETRY, GROUP, unprepared original writing (ensemble) 6084 POETRY, GROUP, unprepared original writing (small group) 6085 POETRY, GROUP, unprepared original writing (medium sized group) 6086 POETRY, GROUP, unprepared original writing (large group 6087 **11 IMPROVISATIONAL THEATRE: CREATIVE ADVERT CREATIVE RADIO ADVERT, unprepared (ensemble group (3 5)) 6088 CREATIVE RADIO ADVERT, unprepared (small group (6-10)) 6089 CREATIVE RADIO ADVERT, unprepared (medium sized group (11-20) 6090 CREATIVE RADIO ADVERT, unprepared (large group 20+) 6091 CREATIVE TV ADVERT, unprepared (ensemble group (3 5)) 6092 CREATIVE TV ADVERT, unprepared (small group (6-10)) 6093 CREATIVE TV ADVERT, unprepared (medium sized group (11-20) 6094 CREATIVE TV ADVERT, unprepared (large group 20+) 6095 S p e e c h a n d D r a m a 165

171 TABLE A: TABLE B: LANGUAGE CODES SPEECH & DRAMA CATEGORIES Replace *** on entry form with applicable category code AFRIKAANS AF ENGLISH EN IsiNDEBELE ND IsiXHOSA XH IsiZULU ZU SEPEDI SE SESOTHO SO SETSWANA TS SiSWATI SW TshiVENDA VE XITSONGA XT SIGN SL LANGUAGE MOVEMENT & MM MIME THEATRE **12 IMPROVISATIONAL THEATRE: THEATRE SPORTS THEATRE SPORTS (Beginners) (ensemble group, 4 5 participants) 6096 THEATRE SPORTS (Beginners) (small group, 6 10 participants) 6097 THEATRE SPORTS (Beginners) (medium sized group, 11 20) 6098 THEATRE SPORTS (Beginners) (large group, 20+) 6099 THEATRE SPORTS (Advanced) (ensemble group, 4 5 participants) 6100 THEATRE SPORTS (Advanced) (small group, 6 10 participants) 6101 THEATRE SPORTS (Advanced) (medium sized group, 11 20) 6102 THEATRE SPORTS (Advanced) (large group, 20+) 6103 **13 IMPROVISATIONAL THEATRE: IMPROVISATION IMPROVISATION ( Individual ) 6104 IMPROVISATION ( Group )(ensemble group, 4 5 participants) 6105 IMPROVISATION ( Group )(small group, 6 10 participants) 6106 IMPROVISATION ( Group )(medium sized group, 11 20) 6107 IMPROVISATION ( Group )(large group, 21+) 6108 MM01 MOVEMENT & MIME THEATRE MIME, UNPREPARED INDIVIDUAL 6109 MIME, PREPARED INDIVIDUAL 6110 MIME, PREPARED GROUP (ensemble group, 2 5 participants) 6111 MIME, PREPARED GROUP (small group, 6 10 participants) 6112 MIME, PREPARED GROUP (medium sized group, 11 20) 6113 MIME, PREPARED GROUP (large group, 21+ participants) 6114 MOVEMENT DRAMA (Group )(ensemble group, 2 5 participants) 6115 MOVEMENT DRAMA (Group )(small group, 6 10 participants) 6116 MOVEMENT DRAMA (Group )(medium sized group, 11 20) 6117 MOVEMENT DRAMA (Group )(large group, 21+ participants) 6118 PHYSICAL THEATRE (Group )(ensemble group, 2 5 participants) 6119 PHYSICAL THEATRE (Group )(small group, 6 10 participants) 6120 PHYSICAL THEATRE DRAMA ( Group )(medium sized group, 11 20) 6121 PHYSICAL THEATRE DRAMA ( Group )(large group, 21+) 6122 IMPORTANT: Given the wide spectrum of age groups and categories provided by the NEA, participants should note that material that could disturb members of the audience could be permitted only when used with discretion, provided that the material forms an integral part of the text, justifiable within the context. The NEA should be notified in advance so that it can be considered when scheduling the event. Kindly refer to the Rules and Guidelines for Speech and Drama. S p e e c h a n d D r a m a 166

172 GUIDELINES FOR PROSE 10 What is prose? PROSE Prose is a form of language that has no formal metrical structure. It applies a natural flow of speech, and ordinary grammatical structure rather than rhythmic structure. Normal every day speech is spoken in prose and most people think and write in prose form. Prose comprises of full grammatical sentences which consist of paragraphs and forgoes aesthetic appeal in favour of clear, straightforward language. It can be said to be the most reflective of conversational speech. Some works of prose do have versification and a blend of the two formats that is called prose poetry. IN OTHER WORDS: Prose is an extract from a written piece, for example a novel, a Sci-Fi or any other published book. For NEA purposes, we have distinguished the following: Narrative Prose: The passage will contain a narrator and one/more characters. An example A Short Narrative by E.B. White "The barber was cutting our hair, and our eyes were closed--as they are so likely to be.... Deep in a world of our own, he heard, from far away, a voice saying goodbye. It was a customer of the shop, leaving. 'Goodbye,' he said to the barbers. 'Goodbye,' echoed the barbers. And without ever returning to consciousness, or opening our eyes, or thinking, we joined in. 'Goodbye,' we said, before we could catch our self. Then, all at once, the sadness of the occasion struck us, the awful feeling of bidding farewell to someone we had never seen. We have since wondered what he looked like, and whether it was really goodbye." (E.B. White, "Sadness of Parting." The New Yorker, May 4, 1935) Lyrical Prose: The passage will be more descriptive, dealing with feelings/emotions or describing a scene/place while telling the story. It can also be understood as a "beautiful exposition or narration" An Example The wind had blown off, leaving a loud, bright night, with wings beating in the trees and a persistent organ sound as the full bellows of the earth blew the frogs full of life. The silhouette of a moving cat wavered across the moonlight, and, turning my head to watch it, I saw that I was not alone - fifty feet away a figure has emerged from the shadow of my neighbour's mansion and was standing with his hands in his pockets regarding the silver pepper of the stars. Something in his leisurely movements and the secure position of his feet upon the lawn suggested that it was Mr Gatsby himself, come out to determine what share was his of our local heavens. (F Scott Fitzgerald: The Great Gatsby) Religious Prose: This is an extract from the Bible or Koran or any other authentic religious text. Pay attention that you will also get a difference in texts within this genre. To choose a Psalm for example, would be poetry and not prose. See the description of prose that is also applicable here. 10 Additional notes and examples on prose, poetry, monologues and public speaking courtesy of Johan Swanevelder. S p e e c h a n d D r a m a 167

173 Example of a Religious Narrative Prose Matthew 5:1-12 Seeing the crowds, he went up on the mountain, and when he sat down his disciples came to him. 2 And he opened his mouth and taught them, saying: 3 "Blessed are the poor in spirit, for theirs is the kingdom of heaven. 4 "Blessed are those who mourn, for they shall be comforted. 5 "Blessed are the meek, for they shall inherit the earth. 6 "Blessed are those who hunger and thirst for righteousness, for they shall be satisfied. 7 "Blessed are the merciful, for they shall obtain mercy. 8 "Blessed are the pure in heart, for they shall see God. 9 "Blessed are the peacemakers, for they shall be called sons of God. 10 "Blessed are those who are persecuted for righteousness' sake, for theirs is the kingdom of heaven. 11 "Blessed are you when men revile you and persecute you and utter all kinds of evil against you falsely on my account. 12 Rejoice and be glad, for your reward is great in heaven, for so men persecuted the prophets who were before) Example of a Religious Lyrical Prose Job 10:1-7 My soul loathes my life; I will give free course to my complaint, I will speak in the bitterness of my soul. 2 I will say to God, Do not condemn me; Show me why you contend with me. 3 Does it seem good to you that you should oppress, That You should despise the work of your hands, and smile on the counsel of the wicked? 4 Do you have eyes of flesh? Or do you see as man sees? 5 Are your days like the days of a mortal man? Are Your years like the days of a mighty man, 6 That You should seek for my iniquity and search out my sin, 7 although You know that I am not wicked, And there is no one who can deliver from Your hand? Guidelines for performing a prose Those are mere guidelines to help with the preparation of a prose. The extract selected should be understood and appreciated, phrasing and pause should clarify the meaning. The speaker should modulate effectively to make the passage lively and interesting. Paint the picture of what you are communicating by using your voice, body and face. Use your imagination - this is the key to good prose speaking. Characterize by using a special voice and different body movement. Remember the narrator! This paints the picture and develops atmosphere. Understand the phrasing and use your pauses. Make sure your movements are motivated (Why do you do what you do?). Guard against moving for the sake of moving. If the extract can be delivered by only sitting down, or standing, then do that. (Ex: Lyrical extracts) Enough energy to each performance is crucial. Work on a difference in the narrator and characters in the extract, in posture, voice and focus. The extract selected should be understood and appreciated, phrasing and pause should clarify the meaning. The speaker should modulate effectively to make the passage lively and interesting. Paint the picture of what you are communicating by using your voice, body and face. S p e e c h a n d D r a m a 168

174 PROSE CATEGORIES **01 PROSE RELIGIOUS PROSE (Individual / group) Individual interpretation of an age appropriate extract from an official religious scripture, e.g. the Bible, Koran, etc., presented from memory with motivated movement, individually. Children s Bible is acceptable for junior primary. Note that the genre chosen must be PROSE and not poetry or wisdom texts. The guidelines for the latter differ from prose. Individual participants participants participants participants 6005 No. INDIVIDUALS MAX. No. GROUPS MAX. 00 Grade R 3 min. 13 Foundation phase 3 min. 01 Grade 1 3 min. 14 Intermediate phase 4 min. 02 Grade 2 3 min. 15 Senior phase 4 min. 03 Grade 3 3 min. 16 FET phase 5 min. 04 Grade 4 3 min. 17 Primary school level (gr. 1 7) 5 min. 05 Grade 5 3 min. 18 Secondary school level (gr. 8 12) 5 min. 06 Grade 6 3 min. 19 Open section 5 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 5 min. NARRATIVE PROSE (Individual / group) Individual presentation of a memorized passage containing a narrator and other character(s) taken from a book, using functional movement, gesture and speech. The narrator paints the picture and develops atmosphere! The selected passage should contain a narrator and one/more characters that will be characterized by using a special voice and different body movements. The use of movements should be motivated and natural. (Guard against rehearsed movement patterns!) The use of your imagination is the key to good prose speaking. No. INDIVIDUALS MAX. No. GROUPS MAX. 00 Grade R 3 min. 13 Foundation phase 3 min. 01 Grade 1 3 min. 14 Intermediate phase 4 min. 02 Grade 2 3 min. 15 Senior phase 5 min. 03 Grade 3 3 min. 16 FET phase 5 min. 04 Grade 4 3 min. 17 Primary school level (gr. 1 7) 4 min. 05 Grade 5 3 min. 18 Secondary school level (gr. 8 12) 5 min. 06 Grade 6 3 min. 19 Open section 5 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 5 min. 19 Open section 5 min. Individual participants participants participants participants 6010 S p e e c h a n d D r a m a 169

175 LYRICAL PROSE (Individual / group) INDIVIDUAL: Individual presentation of a memorised descriptive passage taken from a book, using functional movement, gesture and speech. The selected passage will deal with feelings/emotions or a descriptive scene while telling the story. The use of gestures should be motivated and natural. (Guard against rehearsed movements!) It is advised to keep movement to the minimal in the lyrical genre, seeing that it is a descriptive passage where the word is most important. This is not a rule, but merely a suggestion. The use of your imagination is the key to good prose speaking. Individual participants participants participants participants 6015 (For more information also refer to the Guidelines for Prose at the beginning of this category.) GROUP: The presentation by a group of an age appropriate, memorised descriptive passage taken from a book, using functional movement, gesture and speech. The same rules as for Individual Prose apply. The use of gestures should be motivated and natural. (Guard against rehearsed movements!) (Guard against rehearsed movements!) It is advised to keep movement to the minimal in the lyrical genre, seeing that it is a descriptive passage where the word is most important. This is not a rule, but merely a suggestion. The use of your imagination is the key to good prose speaking. The use of imagination is the key to good prose speaking. Make sure that you understand the difference between a lyrical and a narrative extract, as well as the performing or interpretation thereof. (For more information also refer to the Guidelines for Prose at the beginning of this category.) No. INDIVIDUALS MAX. No. GROUPS MAX. 00 Grade R 3 min. 13 Foundation phase 3 min. 01 Grade 1 3 min. 14 Intermediate phase 4 min. 02 Grade 2 3 min. 15 Senior phase 5 min. 03 Grade 3 3 min. 16 FET phase 5 min. 04 Grade 4 3 min. 17 Primary school level (gr. 1 7) 4 min. 05 Grade 5 3 min. 18 Secondary school level (gr. 8 12) 5 min. 06 Grade 6 3 min. 19 Open section 5 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 4 min. S p e e c h a n d D r a m a 170

176 CHORAL VERSE GUIDELINES FOR CHORAL VERSE SPEAKING The term choral verse refers to a chorus who does not sing together, but instead speak together. The speech chorus does not perform a song, but poetry or prose. As in a choir, the speech chorus may perform some parts with the whole chorus speaking together at the same time, other parts as solo parts or a number of voices grouped together. Choral verse speaking is defined as a group of people narrating a poem or a dramatic piece. Grouping: The placement of each individual is important. Solo or duo voices must be placed in a position where it would not disturb the rhythm of the piece for them to get out to say there lines. Creativity is the key. Individuals although part of the speech choir are all important and need to be visible. There is no rule to the grouping of the speech choir, but visibility. You can apply the poem as creatively as possible. Costumes: The group must be a unit and the costumes should fit the atmosphere of the poem. It should not distract the attention. Learners could wear their basic black clothes and other costumes can be added to enhance the atmosphere, e.g. like a scarf or a hat. Voice grouping: Voices must be grouped together as far as possible. It must underline the meaning of the poem in a strong and creative manner. Each voice group to be used to their full potential to enhance the atmosphere of the poem. Solo voices should be clear and strong and be part of the unity of the group as a whole. Make sure that individual voices do not disturb the balance of the recital. The grouping should be neat and motivated. Speech must be varied, concentrate on tempo and voice changes. Give attention to volume. Diction: You must be able to hear every word of the group. Pronunciation of words is important. Articulation must be clear, do not mumble. Effects: The effects should enhance the atmosphere and should not distract the attention from the spoken word. Effects should be used creatively. Movements must fit the words and not be distracting. Movements must be synchronized. Overall impression: The group must have a central focus point to enhance the overall feel of the presentation. Individuals that are not focused will distract the attention from the spoken word. Poems should be chosen to suit the age group. It is important that the learners should understand the meaning of the poem. The group should function as a whole even if there are different voice groups. If dramatized, the stage must be used effectively. A visual balance should be kept at all times. S p e e c h a n d D r a m a 171

177 Choral Verse Examples, courtesy of Marcelle Pincus Grade 6-7 Just Pretending We re actors and actresses performing throughout the land Signing autographs dressed phenomenally Looking very grand. Famous oh you can t believe What we ve been able to achieve We re begging to come for interviews We re so well known we re on World News We ve been asked to dinner by J.K Rowling and Peter Jackson too And introduced to Harry Potter and the Lord of the Rings crew Wouldn t it be grand if we were such? Famous actors and actresses of any land Today we re explorers going back in time Canoeing over rivers wait, there are mountains to climb We re discovering routs never thought to be found Oh yes, we re covering brand new ground. We re climbing a ladder that s leading to the moon There s a new planet there we ll be exploring that soon We may only be pretending today But tomorrow those pretending games May lead to reality anyway There are goals to set and goals to achieve One day we could be famous It only takes a positive mind to believe Marcelle Pincus Choral verse Grade 4-5 Dreamland We re deep asleep On the dreamland train Traveling down a magical lane Green dogs, pink cats and Purple rats are suddenly having a meeting Yellow tortoises flying around Welcoming all in greeting. While waiting for us to arrive Much pleasure they all derive Swimming in chocolate toffee And diving in peppermint sea. Beautiful flowers are covered in silver bees And honey covered bats fly around the trees Martians appear eight eyes, two noses Smiles that stretch from ear to ear. A river of caramel flows upstream And we still don t realise it s still all a dream. We re stuck in a pool of caramel Preparing and brewing a mystical spell. The man in the moon will alight Quite soon and when the dreamland train Arrives again it will be time to awaken for a breakfast of ordinary eggs and (macon or bacon) Dreamland is special it s a world of its own Where fantasy seeds are nurtured, sown and grown. S p e e c h a n d D r a m a 172

178 CHORAL VERSE CATEGORIES **02 CHORAL VERSE CHORAL VERSE (formal or informal) Prescribed or own choice poem to be spoken from memory by a group of 6 and more participants. This category provides the teacher with an opportunity to involve a large number of learners in one activity. A choral verse group may be comprised of different age groups. Enter according to the highest grade participants participants participants 6018 This group item presents the opportunity to develop the necessary skills to portray meaning with the voice only, or in combination with free movement. A suggestion of costume may be used, as well as rostra, benches, tables and chairs. *Maximum duration of performance: 2 5 minutes. A maximum of 5 minutes will be allocated per entry to allow for setting and striking of the stage. The participating group will be required to provide the drama blocks, benches, tables and chairs as required for their performance. It remains the responsibility of the participating group to confirm the availability of facilities (if any) at the venue with the NEA Office in advance. No. INDIVIDUALS MAX. No. GROUPS MAX. 00 Grade R 3 min. 13 Foundation phase 3 min. 01 Grade 1 3 min. 14 Intermediate phase 4 min. 02 Grade 2 3 min. 15 Senior phase 5 min. 03 Grade 3 3 min. 16 FET phase 5 min. 04 Grade 4 3 min. 17 Primary school level (gr. 1 7) 4 min. 05 Grade 5 3 min. 18 Secondary school level (gr. 8 12) 5 min. 06 Grade 6 3 min. 19 Open section 5 min. 07 Grade 7 4 min. *Maximum time: 10 minutes, including setting and 08 Grade 8 4 min. striking of the stage 09 Grade 9 4 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 5 min. 19 Open section 5 min. POETRY, SMALL GROUP A selection of poems with a central theme to be presented by 3 10 participants within the maximum time limit as indicated. 3 5 participants participants 6020 The choice of poems will determine the style of dramatization. Poems can be linked in any suitable manner (e.g. movement, music, interludes, sound effects, etc.) Simple costumes may be used. S p e e c h a n d D r a m a 173

179 Participants need to provide their own equipment if needed for music or sound effects. A maximum of 3 minutes will be allocated per entry to allow for setting and striking of the stage. The participating group will be required to provide the drama blocks, benches, tables and chairs as required for their performance. It remains the responsibility of the participating group to confirm the availability of facilities (if any) at the venue with the NEA Office in advance. No. INDIVIDUALS MAX. No. GROUPS MAX. 00 Grade R 3 min. 13 Foundation phase 3 min. 01 Grade 1 3 min. 14 Intermediate phase 4 min. 02 Grade 2 3 min. 15 Senior phase 5 min. 03 Grade 3 3 min. 16 FET phase 5 min. 04 Grade 4 3 min. 17 Primary school level (gr. 1 7) 4 min. 05 Grade 5 3 min. 18 Secondary school level (gr. 8 12) 5 min. 06 Grade 6 3 min. 19 Open section 5 min. 07 Grade 7 4 min. *Maximum time: 10 minutes, including setting and 08 Grade 8 4 min. striking of the stage 09 Grade 9 4 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 5 min. 19 Open section 5 min. POETRY PERFORMANCE NOTES ON AFRICAN LANGUAGE POETRY 1. MODERN POETRY IN AFRICAN LANGUAGES 11 Modern African poetry emerged because of missionary influences and education. The first generation of missionary educated Africans, owing to their subjection to European / English literary traditions, emulated these forms when the first anthologies of African languages poems were written. Within the Anglophone sphere of influence, the Romantic tradition and shortly thereafter the modernist tradition, became significant vehicle for the exploration of individual expression. Equally, in terms of appraisal, the theoretical approaches underpinning these English literary traditions became the underlying foundations on which African language's poetry was approached. This unlimited burrowing of the English literary forms has since become the defining poetic scene in African languages literature, because, as the evolving of new approaches like Structuralism, New Criticism etc. became dominant, they filtered through into African languages literature. Modern poetry can be divided into: Hymnal compositions, modern compositions that have oral praise poetry influences and modern poetry, devoid of oral praise poetry influences. Especially with the latter two forms, modern poetry has found a large market in schools. This caused problems regarding the depth and ingenuity of poetic forms produced by African poets, an unfortunate circumstance that has since earned most African language literary output generalised criticism, criticism that sought to discredit even those poetic compositions that defied restrictions and were actually masterpieces. 11 Notes on African Poetry courtesy of B. Mhlambi (University of the Witwatersrand). For more information about the Oral Tradition in African languages, also refer to the Indigenous African Arts Section in this Prospectus. S p e e c h a n d D r a m a 174

180 2. PLANNING SYLLABI FOR AFRICAN LANGUAGE POETIC STUDIES Generally, the present school programme is divided into four categories: The foundation, comprising of grades 1-3; the intermediate phase, made up by grades 4 7; the senior phases, consisting of grades 8 9; and Further Education & Training (FET) which starts from grade Foundation phase: Grade 1: Introduction to the simplest oral poetic forms, nursery rhymes and lullabies. Grade 2: Introduction to short play songs. Grade 3: Introduction to short praises (totem praise and praise names). Emphasis on the praises should fall on the researching of their own praises. 2. Intermediate phase: Grade 4: Learners should be taught long praises (totem praise, praise names and individual praises, or inanimate or animate objects). Grade 5: Learners should be read praises of initiates (in some cultures both genders go for initiation). Grade 6: Learners should read praises of a chief. 3. Senior phase Introduction to modern poetry, which is constituted by two significant poetic influences: Traditional influences, whereby aspects from traditional oral praises migrated to modern forms; and European literary influences, where aspects such as Russian formalism, the Romantic tradition, structuralism, etc. have underpinned compositions. These types of syncretism (the combining of different, often contradictory beliefs, while blending practices of various schools of thought) are all underpinned by social forces and social circumstances informing the life experiences of the contemporary black South African. The introduction of grades 7 through 9 to modern poetry should emphasise on poetic renditions drawn extensively from traditional praise poems. 4. Further Education and Training This last phase will be introduced to poetic forms that did not so much rely on traditional forms but that have drawn from European literary forms like Russian formalism, structuralism etc. S p e e c h a n d D r a m a 175

181 GUIDELINES FOR SOLO VERSE SPEAKING Traditionally, for eisteddfod purposes, poetry presentations were divided into undramatised and dramatised categories (which gave birth to the idea of the so-called still-standing poem, a concept which does not exist in literature!). This created an anomaly as the use of voice and facial expression in undramatised work can also be considered to be a dramatization in the true sense of the word. In addition this created additional problems because, when children first learn poetry, they often enjoy moving and employing supportive gestures to assist their memory. The National Eisteddfod Academy has thus decided to do away with this traditional, however unnatural approach by introducing different types of poetry that allow for a wide variety of performance styles. The implication of this change, however, is NOT that participants are now required to run up and down the stage! The use of movement, voice and facial expression should always be motivated and should always enhance the poem and the overall presentation of the poem. Most poems need to be spoken before they can truly be appreciated. They require, as the great Welsh poet Dylan Thomas put it, the colour of saying. The pleasure of poetry should thus be enjoyed and conveyed to the audience with face, voice and motivated movement. Movements, when used, should enhance the spoken word and should be used as a personal interpretation. Participants should not literally translate the words into movement! DIFFERENT KINDS OF POETRY The new approach to Solo Verse Speaking, as introduced by the National Eisteddfod Academy since 2007, requires from teachers and participants a greater understanding of the different kinds of poetry. This could be considered as an unnecessary challenge by some, however the truth is that it brought about a greater awareness and understanding of the wealth of opportunities imbedded in this genre. Poetry, in general can be divided into two broad categories, that is Narrative and Lyrical poetry. Both categories can again be subdivided into subcategories which display broadly the same characteristics, however with distinct differences. The challenge is that it is also possible that certain poems could be categorized into more than one of these subcategories. The various categories can be schematically summarized as follows: NARRATIVE POETRY LYRICAL Limerick Lyric Narrative Sonnet Ballad Ode Epic Elegy Free verse Free verse S p e e c h a n d D r a m a 176

182 EXPLANATION AND EXAMPLES OF POETRY CATEGORIES Narrative poetry The Narrative poem gives a continuous account of an event or series of events; tells a story (either comical or serious in mood). A narrative poem usually involves the following: o Narrator, telling the story. The narrator may speak in the first person. o Different characters o Dialogue (direct speech) o Action An example of a Narrative Limerick There was an Old Man of Nantucket Who kept all his cash in a bucket. His daughter, called Nan, Ran away with a man, And as for the bucket, Nantucket. (Anonymous; webexhibits.org) Example of a narrative Ballad: The noble man As I was walking down the street I saw two people in secret meet The second one said to the first 'You have some news to quench my thirst?' 'In behind the old, damp shed There lies a noble man slain, dead And no one knows he lies in strife Except his dog and lonely wife With master gone where no one knocks His dog has left to chase a fox His wife has found somebody new His house is left for all to view Though it's been empty for a while We'll be warm and dry in half a mile For now we can take comfort there We'll flee the place when it grows bare Many people knew the noble man But none do care where he has gone Over his grave, all do ignore The wind shall blow forever more.' (Anonymous; Example of a narrative Free Verse The black bear goes to the river he tries to spot a fish he sees one he sticks his paws in the water he gets one but it slips out of his paws he tries again but it slips again the black bear decides to get some berries instead he gets them he finds a log and has a snooze for the day. (Aaron; An example of a Narrative Poem The Ants and the Wasp Once upon a time, Some ants lived happily together in their nest. Birds, rabbits, frogs, and beetles admired and envied their harmonic way of living. One day, a wasp invaded their space; it forced itself into their home, with its dark, scary sting and body. All the ants ran away for their lives, except for one tiny ant - he stood right in front of the wasp's sting! The wasp was irritated and amazed by this young insect's courage. "Do you know you are no match for me?!" the wasp scorned the young ant. The ant was unshaken and unmoved! "Together we can outmatch you!" the ant shouted. The rest of the ants felt the burning courage from the young ant s voice, and rose up in arms to fight the wasp; to fight for their home to fight for their freedom. The wasp s sting was no match for thousands of ants. He was carried and thrown into a bird s nest, where he became the birds meal. The young ant, from then on, became a hero. He was knighted by the Queen Ant, and from then on he was called Sir Victor. ( Teddy Kimathi; S p e e c h a n d D r a m a 177

183 Example of an Epic poem ("Un lion avait pris un enfant.") {XIII.} A Lion in his jaws caught up a child Not harming it and to the woodland, wild With secret streams and lairs, bore off his prey The beast, as one might cull a bud in May. It was a rosy boy, a king's own pride, A ten-year lad, with bright eyes shining wide, And save this son his majesty beside Had but one girl, two years of age, and so The monarch suffered, being old, much woe; His heir the monster's prey, while the whole land In dread both of the beast and king did stand; Sore terrified were all. By came a knight That road, who halted, asking, "What's the fright?" They told him, and he spurred straight for the site! The beast was seen to smile ere joined they fight, The man and monster, in most desperate duel, Like warring giants, angry, huge, and cruel. Beneath his shield, all blood and mud and mess: Whereat the lion feasted: then it went Back to its rocky couch and slept content. Sudden, loud cries and clamors! striking out Qualm to the heart of the quiet, horn and shout Causing the solemn wood to reel with rout. Terrific was this noise that rolled before; It seemed a squadron; nay, 'twas something more A whole battalion, sent by that sad king With force of arms his little prince to bring, Together with the lion's bleeding hide. Which here was right or wrong? Who can decide? Have beasts or men most claim to live? God wots! He is the unit, we the cipher-dots. Ranged in the order a great hunt should have, They soon between the trunks espy the cave. "Yes, that is it! the very mouth of the den!" The trees all round it muttered, warning men; Still they kept step and neared it. Look you now, Company's pleasant, and there were a thou Good Lord! all in a moment, there's its face! Frightful! they saw the lion! Not one pace Further stirred any man; but bolt and dart Made target of the beast. He, on his part, As calm as Pelion in the rain or hail, Bristled majestic from the teeth to tail, And shook full fifty missiles from his hide, But no heed took he; steadfastly he eyed, And roared a roar, hoarse, vibrant, vengeful, dread, A rolling, raging peal of wrath, which spread, Making the half-awakened thunder cry, "Who thunders there?" from its black bed of sky. This ended all! Sheer horror cleared the coast; As fogs are driven by the wind, that valorous host Melted, dispersed to all the quarters four, Clean panic-stricken by that monstrous roar. Then quoth the lion, "Woods and mountains, see, A thousand men, enslaved, fear one beast free!" He followed towards the hill, climbed high above, Lifted his voice, and, as the sowers sow The seed down wind, thus did that lion throw His message far enough the town to reach: "King! your behavior really passes speech! Thus far no harm I've wrought to him your son; But now I give you notice when night's done, I will make entry at your city-gate, Bringing the prince alive; and those who wait To see him in my jaws your lackey-crew Shall see me eat him in your palace, too!" Next morning, this is what was viewed in town: Dawn coming people going some adown Praying, some crying; pallid cheeks, swift feet, And a huge lion stalking through the street. It seemed scarce short of rash impiety To cross its path as the fierce beast went by. So to the palace and its gilded dome With stately steps unchallenged did he roam; He enters it within those walls he leapt! No man! For certes, though he raged and wept, His majesty, like all, close shelter kept, Solicitous to live, holding his breath Specially precious to the realm. Now death Is not thus viewed by honest beasts of prey; And when the lion found him fled away, Ashamed to be so grand, man being so base, He muttered to himself, "A wretched king! 'Tis well; I'll eat his boy!" Then, wandering, Lordly he traversed courts and corridors, Paced beneath vaults of gold on shining floors, Glanced at the throne deserted, stalked from hall To hall green, yellow, crimson empty all! Rich couches void, soft seats unoccupied! And as he walked he looked from side to side To find some pleasant nook for his repast, Since appetite was come to munch at last The princely morsel! Ah! what sight astounds That grisly lounger? In the palace grounds An alcove on a garden gives, and there A tiny thing forgot in the general fear, Lulled in the flower-sweet dreams of infancy, Bathed with soft sunlight falling brokenly Through leaf and lattice was at that moment waking; A little lovely maid, most dear and taking, The prince's sister all alone, undressed She sat up singing: children sing so best. Charming this beauteous baby-maid; and so The beast caught sight of her and stopped And then Entered the floor creaked as he stalked straight in. Above the playthings by the little bed The lion put his shaggy, massive head, Dreadful with savage might and lordly scorn, More dreadful with that princely prey so borne; Which she, quick spying, "Brother, brother!" cried, "Oh, my own brother!" and, unterrified, She gazed upon that monster of the wood, Whose yellow balls not Typhon had withstood, And well! who knows what thoughts these small heads hold? She rose up in her cot full height, and bold, And shook her pink fist angrily at him. Whereon close to the little bed's white rim, All dainty silk and laces this huge brute Set down her brother gently at her foot, Just as a mother might, and said to her, "Don't be put out, now! There he is, dear, there!" EDWIN ARNOLD, C.S.I. (Victor Hugo; S p e e c h a n d D r a m a 178

184 Lyric poetry Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre. The Lyrical poem is the most common type of verse, generally being fairly short. A lyrical poem typically describes the poet s innermost feelings and emotions, state of mind, thoughts and feelings or an appraisal of a scene or situation. A lyrical poem evokes a musical quality in its sounds and rhythms. Do not be misguided by the rhythmic pattern of a poem and then interpret it as a Lyrical poem. A Lyrical poem is categorised NOT by the rhythmic pattern alone, but also by its content. Ask yourself: Is the poet being lyrical about something or someone; Is this a praise or a poem where something, someone or a specific situation are being praised? Lyric poems exhibit an endless variety of forms. Below are some popular lyric forms. o Haiku: a lyric, un-rhymed poem of Japanese origin with seventeen syllables divided into three lines. It is usually on the subject of nature and humans' relationship to nature. Successful haiku uses metaphor to give us a fresh and imaginative look at something we may view as quite ordinary: E.g. The moon is a week old - A dandelion to blow Scattering star seed. (Ruby Lytle) o Cinquain: a five-line stanza apparently of medieval origin, often with two, four, six, eight, and two syllables respectively in the five lines: E.g. Listen... With faint dry sound, Like steps of passing ghosts, The leaves, frost-crisp'd, break from the trees And fall. (Adelaide Crapsey's "November Night") o Limerick: a five-line humorous poem, the first, second, and fifth lines rhyming and the third and fourth lines rhyming. It is one of the most popular poetic forms among children, The fun of the limerick lies in its rollicking rhythm and its broad humor. (NOTE: When the limerick has a clear storyline or adapted from a known fable or published children s story it falls under the narrative genre.) E.g. Imagine a skunk who proposes, To his true love, surrounded by roses. It may turn out just fine, When she falls for his line, But I wonder if flowers have noses? (Sarah Fanny; S p e e c h a n d D r a m a 179

185 o Free Verse: adhering to no predetermined rules, but usually with its own intricate patterns of rhyme and rhythm. It requires the same thoughtful choice of words and rhythmical patterns as the more rigid stanza forms. Example of Free Verse Homework! Oh, homework! I hate you! You stink! I wish I could wash you away in the sink. If only a bomb would explode you to bits. Homework! Oh, homework! You're giving me fits. I'd rather take baths with a man-eating shark, or wrestle a lion alone in the dark, eat spinach and liver, pet ten porcupines, than tackle the homework my teacher assigns. Homework! Oh, homework! You're last on my list. I simply can't see why you even exist. If you just disappeared it would tickle me pink. Homework! Oh, homework! I hate you! You stink! Example of Free Verse Washed Nothing's changed except me and the facts And the sadness I didn't mean to start. But it feels different now you've said It's wrong, and I still can't see your point. And I think as water runs over my hands that That's really all there is or can be. The gold is wearing off the infamous ring And something wears away from around my heart (Katherine Foreman; (Jack Prelutsky; o Concrete Poetry: The words of a poem are arranged to form a pictorial representation of the poem's subject. Easter Wings (note: designed to suggest angel wings) Lord, who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poore: With thee Oh let me rise As larks, harmoniously, And sing this day thy victories: Then shall the fall further the flight in me. My tender age in sorrow did beginne: And still with sicknesses and shame Thou didst so punish sinne, That I became Most thinne. With thee Let me combine And feel this day thy victorie: For, if I imp my wing on thine Affliction shall advance the flight in me (George Herbert; S p e e c h a n d D r a m a 180

186 Example of a Lyrical poem (for seniors) When I stop and pray When the storm clouds boil around me, And the lightning splits the sky--. When the howling wind assails me, And life's sea is rolling high-- When my heart is filled with terror, And my fears, I can't allay-- Then I find sweet peace and comfort, When I simply stop and pray. When the things of life confound me, And my faith is ebbing low-- When my trusted friends betray me, And my heart is aching so-- When the night seems black and endless, And I long for light of day-- Then I find a silver dawning, When I simply stop and pray. Example of an Elegy The Doomed -- regard the Sunrise The Doomed -- regard the Sunrise With different Delight -- Because -- when next it burns abroad They doubt to witness it -- The Man -- to die -- tomorrow -- Harks for the Meadow Bird -- Because its Music stirs the Axe That clamors for his head -- Joyful -- to whom the Sunrise Precedes Enamored -- Day -- Joyful -- for whom the Meadow Bird Has ought but Elegy! (Emily Dickinson; There are things beyond the heavens I can't begin to understand, But I know that God is living, And I know He holds my hand. Yes, I know He watches o'er me All the night and all the day-- And He's always there to hear me When I simply stop and pray. (William Robinson; Example of a Sonnet From fairest creatures we desire increase, That thereby beauty s rose might never die. But as the riper should by time decease, His tender heir might bear his memory: But thou, contracted to thine own bright eyes, Feed'st thy light s flame with self-substantial fuel, Making a famine where abundance lies, Thyself thy foe, to thy sweet self too cruel. Thou that art now the world s fresh ornament And only herald to the gaudy spring, Within thine own bud buriest thy content And, tender churl, mak'st waste in niggarding. Pity the world, or else this glutton be, To eat the world s due, by the grave and thee (W. Shakespeare. Example of a ODE Oh Olive, You are as precious to me as any gem, With your beautiful, pure skin as smooth as silk And as green as the grass in summertime. I love your taste and the smell of your tender fruit Which hides beneath your green armour. Olive, sweet, tasty Olive, How I love you so and my mealtimes wouldn't be the same If you weren't in my life. Oh Olive, Nothing can compare to you, nothing at all, You are food of the gods, a king's riches And, most importantly, you are mine, oh Olive! (Anonymous; S p e e c h a n d D r a m a 181

187 How to present a poem. o o o o o o o The colour of saying necessary for presenting a poem from memory requires the use of movement, voice and facial expression. Movements, when used, should enhance the spoken word and should be used as a personal interpretation. Participants should not literally translate the words into movement! In other words: guard against moving on each word. The participant should adhere to the rhythm of the poem. Movements should be economical, motivated and planned. The word must be heard and the flow and intention of the poet must be carried over. Generally speaking, (but not as a rule), a narrative poem tends to provide more opportunities for the use of natural and for motivated movements, as what the case might be with the Lyrical poem. CATEGORIES FOR SOLO VERSE SPEAKING Props are limited to a drama blocks or chairs and no costume is allowed. Kindly note that participants are advised to wear neutral drama attire (e.g. black T-shirt, black trousers, no shoes). It is also recommended that participants refrain from wearing clearly branded T-shirts (e.g. with the name / logo of a studio). **03 POETRY POETRY ENSEMBLE, (Own choice) The presentation of ONE poem (narrative or lyrical) by 2 5 participants. This item can serve as a confidence booster for many shy and/or nervous participants. 2-5 participants participants 6022 The use of movement is optional and as with voice and facial expression should always be motivated to enhance the spoken word. In other words: there should be a reason for every movement. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 00 Grade R 3 min. 07 Grade 7 4 min. 01 Grade 1 3 min. 08 Grade 8 4 min. 02 Grade 2 3 min. 09 Grade 9 4 min. 03 Grade 3 3 min. 10 Grade 10 4 min. 04 Grade 4 3 min. 11 Grade 11 4 min. 05 Grade 5 3 min. 12 Grade 12 5 min. 06 Grade 6 3 min. 19 Open section 5 min. S p e e c h a n d D r a m a 182

188 LIMERICK, Prescribed or Own Choice The Limerick: A humorous and often epigrammatic or indecent verse form of 5 lines with a rhyme scheme of aabba. Grade 0-1 should present ONE Limerick. Grade 2 4 should present TWO Limericks. Individual 6023 When the limerick has a clear storyline or adapted from a known fable or published children story it falls under the narrative genre.) No. INDIVIDUALS MAX. 00 Grade R 3 min. 01 Grade 1 3 min. 02 Grade 2 3 min. 03 Grade 3 3 min. 04 Grade 4 3 min. NARRATIVE POEM, Prescribed or Own Choice Individual 6024 The Narrative: A continuous account of an event or series of events. Thus this poem tells a story. The mood can be comical or serious. The following subcategories of the Narrative poem display broadly the same characteristics. However, these poems are often too long and would not fit into the allocated time frame. Therefore only an excerpt from these poems could be presented: The Ballad: A narrative poem, sometimes of folk origin, political or family histories, the supernatural, originally intended to be sung. It consists of simple stanzas, usually having a refrain. The story is presented from an impersonal point of view, with a minimum of descriptive detail. The heart of the ballad is the story itself, it doesn t dwell upon personal feelings or attitudes. The Epic: An extended narrative poem celebrating the exploits and achievements of heroes and/or divine characters. An epic poem is a long, narrative poem that is usually about heroic deeds and events that are significant to the culture of the poet. Some of the most famous literary masterpieces in the world were written in the form of epic poetry. The use of movement is optional and, as with voice and facial expression should always be motivated to enhance the spoken word. In other words: there should be a reason for every movement. For more information refer to the Guidelines for Solo Verse Speaking. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 00 Grade R 3 min. 07 Grade 7 4 min. 01 Grade 1 3 min. 08 Grade 8 4 min. 02 Grade 2 3 min. 09 Grade 9 4 min. 03 Grade 3 3 min. 10 Grade 10 4 min. 04 Grade 4 3 min. 11 Grade 11 4 min. 05 Grade 5 3 min. 12 Grade 12 5 min. 06 Grade 6 3 min. 19 Open section 5 min. S p e e c h a n d D r a m a 183

189 LYRIC POETRY, Prescribed or Own Choice The Lyric: The most common type of verse. The poem is fairly short and expresses the poet s personal emotions or sentiments, a state of mind, a process of thought and feeling. A single speaker expresses love, or justifies values, may try to persuade, meditate on something or analyse a situation. Individual 6025 The following subcategories of lyrical poetry display broadly the same characteristics. However, these poems are often too long and would not fit into the allocated time frame. Therefore only an excerpt from these poems could be presented: The Ode: A long lyric poem with an elevated style and formal stanza structure (rhymed or unrhymed) usually serious or meditative in nature. This poem is usually written in praise of someone or something. For more information refer to the Guidelines for Solo Verse Speaking. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 00 Grade R 2 min. 07 Grade 7 3 min. 01 Grade 1 2 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 3 min. 03 Grade 3 2 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 3 min. 12 Grade 12 4 min. 06 Grade 6 3 min. 19 Open section 4 min. SONNET, Prescribed or Own Choice Though a poem in the Lyrical category, the Sonnet has a very specific structure: A total of 14 lines Iambic pentameter Formal rhyme scheme Individual 6026 Types: a) Italian sonnet (Petrarchan) comprises an octave (stanza of 8 lines) followed by a sestet (stanza of 6 lines). b) English sonnet (Shakespearean) comprises three quatrains (4-line groupings) and a final couplet (2 lines). For more information refer to the Guidelines for Solo Verse Speaking. No. Grade Max. 07 Grade 7 2 min 08 Grade 8 2 min 09 Grade 9 2 min 10 Grade 10 2 min 11 Grade 11 2 min 12 Grade 12 2 min 19 Open section 2 min S p e e c h a n d D r a m a 184

190 FREE VERSE, Prescribed/Own Choice Though a poem in the Lyrical category, the Sonnet has a very specific structure: A total of 14 lines Iambic pentameter Formal rhyme scheme Individual 6027 Types: a) Italian sonnet (Petrarchan) comprises an octave (stanza of 8 lines) followed by a sestet (stanza of 6 lines). b) English sonnet (Shakespearean) comprises three quatrains (4-line groupings) and a final couplet (2 lines). For more information refer to the Guidelines for Solo Verse Speaking. No. Grade Max. 07 Grade 7 3 min. 08 Grade 8 3 min. 09 Grade 9 3 min. 10 Grade 10 3 min. 11 Grade 11 3 min. 12 Grade 12 3 min. 19 Open section 3 min. OWN CHOICE POEM, Own Choice This category may only be used when you are not able to determine to which of the previous categories the selected poem belongs. Therefor this category is also to be considered as a general / novice section Individual 6028 For more information refer to the Guidelines for Solo Verse Speaking. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 00 Grade R 2 min. 07 Grade 7 3 min. 01 Grade 1 2 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 3 min. 03 Grade 3 2 min. 10 Grade 10 3 min. 04 Grade 4 2 min. 11 Grade 11 3 min. 05 Grade 5 2 min. 12 Grade 12 3 min. 06 Grade 6 2 min. 19 Open section 3 min. S p e e c h a n d D r a m a 185

191 NOTES ON CHARACTERIZATION 12 THEATRE PERFORMANCE Any actor needs information in order to create a character. This information includes all the circumstances that are given to the actor to take into account as he creates the role. Konstantin Stanislavsky summarized this information that he called Given Circumstances as follows: The story of the play, and its facts, wants, time and place, conditions of life, the actor s and producer s interpretations, the production, sets, costumes, props, lights, effects: The following notes are intended to be a rough guide to the technique of reading a play text accurately and gaining from it the information necessary to create a character. Although it is focused on the reading of a play text, the principles and processes are also valid when preparing monologues, prose and even poetry texts. Adapt it to your own requirements. THE GIVEN CIRCUMSTANCES Read the text for STORY. o What is the action? o What are the events of the play? o What happens? o Where does it take place (this will help with creating atmosphere and action) Then read it again to seek out the most obvious basic information about the kind of person you are: appearance, age, size, temperament, etc. Read the text to discover WHERE the action (where each action) takes place. Create your own space if the guidelines of the text does not give any information on the location of the text. Be creative! Fill out with your imagination the physical surroundings of each scene. When you have discovered a rough idea of: o Who am I? o What am I doing? o Where am I? Read the text for SOCIAL BACKGROUND: o class, o social standing; what kind of society or social group does your character represent and o what are the values and life style of the group? "The actor must become so familiar with the environment of the play that he becomes a part of it. [When he reaches this point he no longer has to stop each time to ask himself, "What if?"] IMPORTANT: Facts are of no consequence to the actor so long as they remain abstract, intellectual concepts. Try to relate all discoveries to your imagination in a way you feel or care about intensely. 12 Notes on Characterization courtesy of Annelize Hicks. S p e e c h a n d D r a m a 186

192 **04 THEATRE PERFORMANCE, Individual Please note the time limit on the setting and striking of sets (props and décor) 1 minute for set-up 1 minute for striking CHARACTER PORTRAYAL This category can be compared to the scene or duologue, but with the major difference in that the different characters are portrayed by ONE PARTICIPANT ONLY. As in the scene, the text may not contain any narrative sections. Individual 6029 The participant will be adjudicated on his skills to portray different characters through dialogue, gesture, movements and facial expressions. A suggestion of costumes may be used, taking into account that more than one character is to be portrayed. Adapted prose or drama excerpts may be used. Please note that a balance between the dialogue parts is important to prevent it from becoming a monologue. Typical drama characteristics such as exposition, dramatic tension and climax is still applicable. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 3 min. 08 Grade 8 6 min. 02 Grade 2 3 min. 09 Grade 9 7 min. 03 Grade 3 3 min. 10 Grade 10 7 min. 04 Grade 4 5 min. 11 Grade 11 8 min. 05 Grade 5 5 min. 12 Grade 12 8 min. 06 Grade 6 5 min. 19 Open section 8 min. 07 Grade 7 5 min. ONE MAN SHOW (SOLO PRODUCTION) The participant will be required to present a well-balanced programme based on a central theme allowing opportunity for a demonstration of versatility and agility. Poetry, prose, monologues, mime and any medium of dramatic expression may be included and could be bridged with music, movement or sound effects. Individual 6030 A mere conglomeration of items already presented at the annual Eisteddfod will not be accepted. A copy of the programme must be handed to the adjudicator prior to the presentation. Note: A maximum of 2 minutes will be allowed for setting and striking the stage. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 02 Grade 2 10 min. 08 Grade 8 12 min. 03 Grade 3 10 min. 09 Grade 9 12 min. 04 Grade 4 10 min. 10 Grade min. 05 Grade 5 10 min. 11 Grade min. 06 Grade 6 12 min. 12 Grade min. 07 Grade 7 12 min. 19 Open section 15 min. S p e e c h a n d D r a m a 187

193 STAND-UP COMEDY An individual performance of a comic routine, consisting of jokes, one liners, etc. This performance could also make provision for audience interaction. Props, items of costume, etc., may be used but are not compulsory. Individual 6031 Please note that the general framework as well as most of the content for this section must be well prepared. It is only the audience interaction that may be impromptu at times. No. INDIVIDUALS MAX. 07 Grade 7 5 min. 08 Grade 8 5 min. 09 Grade 9 5 min. 10 Grade 10 6 min. 11 Grade 11 6 min. 12 Grade 12 6 min. 19 Open section 8 min. GUIDELINES FOR MONOLOGUE Monologue comes from Greek word monos means alone and logos means speech. It is a literary device, which is the speech or verbal presentation that a single character presents in order to express his/her collection of thoughts and ideas aloud. Often this character addresses directly to audience or another character. Monologues are found in the dramatic medium like films, plays and also in non-dramatic medium such poetry. The concise Oxford Dictionary defines a monologue as follows: Scene in drama in which one person speaks by himself; dramatic composition for single performance; long speech by one person in a company; soliloquy (Talking without or regardless of the presence of hearers.) The Shorter Oxford English Dictionary on historical principles states this: A scene in which the person of the drama speaks by himself; also in modern use, a dramatic composition for a single performer. Dictrionary.com defines it as follows: 1. A form of dramatic entertainment by a single speaker: a comedian's monologue. 2. A prolonged talk or discourse by a single speaker, especially one dominating or monopolizing a conversation. 3. A composition, in which a single person speaks alone. 4. A part of a drama in which a single actor speaks alone; soliloquy. The Fourth Wall principle: When presenting a monologue, scene, or solo performance where one of these forms, as mentioned above, are used, the principle of the 4 th Wall should be taken into account throughout the performance. This principle can be broken in some instances, as will be described in the examples below. The Fourth Wall is a theatrical term for the imaginary wall that exists between actors on stage and the audience. Obviously, no such wall really exists, but to keep up the illusion of theatre, the actors pretend that they cannot hear or see the audience and the audience gets to enjoy the wonderful sensation of being a fly on the wall The presence of the fourth wall is an established convention of modern realistic theatre, which has led some artists to draw direct attention to it for dramatic or comedic effect when a boundary is "broken", for example by an actor onstage speaking to the audience directly. It is common in pantomime and children's theatre where, for example, a character S p e e c h a n d D r a m a 188

194 might ask the children for help, as when Peter Pan appeals to the audience to clap for Tinkerbell. Other examples where the Example fourth wall where can be the broken character is where is a narrator there is a and narrator the 4th as will wall be principle discussed does at the not examples. count. (Refer to description above) Narrator: Thus A story for the begins. purpose A child of is participating born. He grows in into the a man. National He experiences Eisteddfod happiness. we can conclude He meets that a girl. a They MONOLOGUE fall in love. is a dramatized They get married. extract performed They have children. by ONE actor The children of ONE grow character, up and continuously move away. There's portrayed. a fifty The percent character chance may that speak by he himself and his or to wife other will imagined stay together. characters. (Flips a (Please coin.) Hmm. note that by himself only ONE now, person the is man portrayed grows old. and Older. NO narrative Older. And sections are dies. included!) The end. Not very satisfying is it? And why? The story had no conflict. Conflict is struggle, a quest, a battle, a challenge, a longing, an agony, a goal that seems forever out of our grasp. We, as an audience, desire, nay we The demand presentation that our should characters include experience movement, conflict. gesture And and why speech. must our Props main and character appropriate be tortured costumes emotionally may be and used, although sometimes a hint physically? of costume Because could it also is fun be to enough. watch Preferably monologues should be taken out of a published play/film. Due (Taken to the from: lack of Conflict; suitable Wade material Bradfordt) in some languages and in certain age groups, monologues may be adapted from a published piece of prose. The use of well written (unpublished) monologues by budding young (or old) writers is also allowed. However, learners should also be encouraged to delve into existing literature. Examples of different monologues: Example of a monologue where the actor speaks to another character STANLEY [amiably]:. This is all I'm going to undress right now, Blanche. Seen a bottle opener? I used to have a cousin who could open a beer bottle with his teeth. That was his only accomplishment, all he could do-he was just a human bottle opener. And then one time, at a wedding party, he broke his front teeth off! After that he was so ashamed of himself he used to sneak out of the house when company came. Ha-ha! Rain from heaven! Shall we bury the hatchet and make it a loving-cup? Huh? (Extract from: A Street car named desire; Tennessee Williams) (Extract from: A Street car named desire; Tennessee Williams) Example of a Soliloquy Andi and I have an amazing connection. It s the kind of love I ve always hoped to have and I think I m definitely ready to propose to Andi. But I don t know for sure how she feels about me and I m nervous about that. I ve gone down this path before and it s important to me to not have any doubts in my gut. So, going into tonight, if she is in love with me and I m the person she hopes to spend the rest of her life with I need her to find a way to just let me know because if I don t know it s me, we re not getting engaged.) (Spoken by Nick Viall on Bachelorette Season 10) S p e e c h a n d D r a m a 189

195 MONOLOGUE: COMIC (in costume) The nature of the extract should be humorous. Individual 6032 Please note the time limit on the setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 2 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 3 min. 03 Grade 3 2 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 3 min. 12 Grade 12 4 min. 06 Grade 6 3 min. 19 Open section 4 min. 07 Grade 7 3 min. MONOLOGUE: DRAMATIC (in costume) The nature of the extract should be dramatic (serious). Individual 6033 Please note the time limit on the setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 2 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 3 min. 03 Grade 3 2 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 3 min. 12 Grade 12 4 min. 06 Grade 6 3 min. 19 Open section 4 min. 07 Grade 7 3 min. MONOLOGUE: Contemporary, South African (in costume) The monologue should be taken from a South African play written after The nature of the play could be dramatic or comic. Please note the time limit on the setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 03 Grade 3 2 min. 09 Grade 9 3 min. 04 Grade 4 2 min. 10 Grade 10 4 min. 05 Grade 5 3 min. 11 Grade 11 4 min. 06 Grade 6 3 min. 12 Grade 12 4 min. 07 Grade 7 3 min. 19 Open section 4 min. 08 Grade 8 3 min. **05 THEATRE PERFORMANCE, Groups Please note the time limit on the setting and striking of sets (props and décor) 1 minute for set-up 1 minute for striking SCENE A dramatized performance (comic or dramatic) by two or more participants of an extract from a play. This section includes the duologue, and other scenes Individual participants participants participants participants 6038 S p e e c h a n d D r a m a 190

196 involving 2 5 participants (small group) or larger groups (more than 5 participants). A section of a play or an adaptation of a novel, or self-written play may be used. Pupils from different grades are allowed to participate together, if entered under the highest Grade or the appropriate phase. Costumes, props and sound effects may be used if essential to the portrayal. Kindly note: The script should be learnt of by heart. The duration should NOT exceed the maximum time as allocated per grade. Please note the time limit on the setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking No. Grade Max. 13 Foundation phase 3 min 14 Intermediate phase 4 min 15 Senior phase 4 min 16 FET phase 5 min. 17 Primary school level 4 min 18 Secondary school level 5 min 19 Open section 6 min PLAY, Mini play (12 15 minutes) Short play. Own compositions may be used. A synopsis of the play and a brief description of the various characters involved in the play should be provided to the adjudicator prior to the performance. 2-5 participants participants participants 6041 Kindly note: The adjudicator may request a faxed/ ed copy of the script in advance. Kindly note: The script should be learnt of by heart. The duration should NOT exceed the maximum time as allocated per grade. Please note the time limit on the setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking No. Grade Max. 13 Foundation phase 15 min 14 Intermediate phase 15 min 15 Senior phase 15 min 16 FET phase 15 min 17 Primary school level 15 min 18 Secondary school level 15 min 19 Open section 15 min PLAY, One act play (limit: 40 minutes) Plays presented should be a well written ONE act play. Acting length not to exceed 40 minutes* plus 10 minutes to set and strike the set (for FET / Secondary school phase only the limit for primary school is 30 minutes). 2-5 participants participants participants participants 6045 S p e e c h a n d D r a m a 191

197 Costumes, music, sound effects, props and rostra allowed. To be performed from memory. Minimum number of performers 2, no maximum. No songs, operetta, etc. are allowed. Competitors must take responsibility for own equipment. A synopsis of the play, a brief description of the various characters involved in the play and the cast should be provided to the adjudicator prior to the performance. The adjudicator may request a faxed/ ed copy of the script in advance. (* The time limit for FET / Secondary phase has been adjusted to bring it in line with the requirements of other festivals, e.g. RAPS, EADS & FEDA) No. Grade Max. 13 Foundation phase 30 min. 14 Intermediate phase 30 min. 15 Senior phase 30 min. 16 FET phase 40 min. 17 Primary school level 30 min. 18 Secondary school level 40 min. 19 Open section 40 min. WORKSHOP PRODUCTION Actors are expected to create a new production by following the following procedure: selection of a theme that is relevant to their lives and their communities improvisation selection of relevant scenes rehearsal performance 2-5 participants participants participants participants 6049 Maximum performance time of 30 minutes, with preparation time of 10 minutes, which includes setting, and clearing of the stage. Rostra, tables, chairs, etc. are allowed. Examples of successful Workshop Productions include: The Island, Love Crime and Johannesburg, Sizwe Banzi is dead. No. Grade Max. 13 Foundation phase 30 min 14 Intermediate phase 30 min 15 Senior phase 30 min 16 FET phase 30 min 17 Primary school level 30 min 18 Secondary school level 30 min 19 Open section 30 min EXPERIMENTAL WORK A group presentation, based on a controlled theme. Inclusive of varied disciplines and may include movement, music, dance and sound effects, but must include the spoken word. Four or more participants may enter. Work to consist of a 2-5 participants participants participants participants 6053 S p e e c h a n d D r a m a 192

198 variety of material, e.g. group mime, drama, dancing, song, individual items. This is not a play. Original, creative work is expected. Lighting, sound effects and music are not allowed to dominate the word. The use full costumes is not required. This category provides numerous opportunities for creative thinking and new ideas. No. Grade Max. 13 Foundation phase 30 min 14 Intermediate phase 30 min 15 Senior phase 30 min 16 FET phase 30 min 17 Primary school level 30 min 18 Secondary school level 30 min 19 Open section 30 min GUIDELINES FOR PUPPET THEATRE 13 Puppetry is fun and exciting and can be the answer to pupils who love the stage but are too shy to act in front of an audience. It also challenges the artistic and mechanically minded. But it does not need to be too complicated or time consuming as there are new and modern methods to make quick but effective puppets. For more information regarding the expected levels and the duration of items per grade kindly refer to relevant Item. Each level has a different technique - so the children can experience different types of puppetry as they move through school, e.g. Grades 1-3 Grade 4-5 Grade 6-7 Grade 8-10 Grade Items can be performed solo or in teams. Description of types of puppets. Simple rod puppets or sock puppets Glove puppets. Shadow puppets. Three-dimensional rod puppets, or any of the above. Marionettes or any of the above. Finger Puppet This is a minor puppet form. The manipulator's two fingers constitute the limbs of a puppet, whose body is attached over the manipulator's hand. An even simpler finger puppet is a small, hollow figure that fits over a single finger Simple rod puppets A ball can be mounted on a rod and decorated with paint and all kinds of things glued on. Flat cardboard cut-out figures, mounted on rods and painted. Example: a fish on a rod held from below. Stand behind a screen and let them perform above the screen. They can turn and move along beautifully. They can be moved in groups. Sock puppets The very small children need not cut or sew the socks but stuff them halfway and glue things on for eyes and hair. They put their hands inside and talk for them. As they grow older they can fold in a mouth and let someone stitch it in place or use staplers. The confident ones can cut a slit in the toe and glue in a cardboard mouth and felt tongue. Glove puppets 13 Notes on Puppetry courtesy of Alida van Deventer and reviewed by Johan Swanevelder. S p e e c h a n d D r a m a 193

199 Adjudication Glove puppets are worn on the hand like a glove. Their heads are made of paper mache, or from balls with malledo (available from ART shops) features added on, and painted. Costumes and hands are made of material. The costume should be long enough to cover the pupil's arm down to the elbow. Three dimensional rod puppets This puppet consist of a 1) head on a rod with arms of rope attached to a 2) shoulder piece and 3) hands attached to the rope arms. Draped or fully made costumes. Thinner rods attached to hands for manipulation. This puppet is also manipulated from underneath. The hands hang loose and the head makes the movement. The one loose hand of the puppeteer can manipulate movement of the hand (arm). Shadow puppets Cardboard cut outs mounted on rods, held behind a white screen made of cloth or paper, with a lamp behind them. Use a thick white cloth (bleached linen) or paper of good quality. Mount the cloth or paper to a frame to stand. The cut-out paper dolls can be made from original Colouring Books. Make sure the figures you choose can be identified clearly (e.g. the shade of a girl should look like a girl and a dog s one like a dog!) Mouth Puppets A Mouth Puppet is better known as a Muppet (the ones on television!). This is easy to manipulate and fun to watch. A Mouth Puppet has a movable mouth and can talk as the manipulator talks. You can also add a rod to the arms of the puppet and make movements to his hands! Marionettes A marionette consists of loosely jointed figures operated from above with strings. This is a specific arts form where help of a professional is needed. Marionettes can be bought at certain arts shops. The following aspects are considered during adjudication: o General impact - does it make the audience look up? o Movement - movement is the most important element in puppetry. It brings the characters to life, even if there is no sound. Avoid lots of words with no movement. o Don't be afraid to move - and remember there should be interaction between the characters. o Technique - the puppets and props should be made by the children. If it is obvious that adults have done most of the work they will be disqualified. o Method does the puppet move when it speaks and freezes when not speaking focussing on the character that speaks? Does the puppet make eye contact with the audience? o Sound - are the words spoken clearly? Any other sounds made by instruments or objects can enhance the sound. Recorded background music is also permissible. o Story - does it have a good story? Developing a script: One of the main problems is to find or create a script. Puppet scripts are not readily available. Even if they can be found they are often not suitable for your situation. So they have to be written. They should be written by the pupils with the help of the teachers and may be based on existing stories, fables, poems or songs, and reworked to suit the puppet stage. An example might help: Use the poem of pussycat: Pussycat pussycat where have you been? I've been to London to see the queen. Pussycat pussycat what did you there? I frightened a little mouse under her chair. Make two little characters: a little child and a cat. The child puppet should be able to move a hand and nod the head. The cat should sit and nod. The poem can be recited by the child as it is, or if the child prefers the story can be told in his own words and lots of actions worked out. Even more characters can be added like a mouse - and a queen - standing terrified on top of her throne! Start with a very short script written down. Try out the item in front of classmates. Any new ideas that spring from their reactions can then be added after each rehearsal until it is satisfactory as a little puppet show. Then no more changes should be made and it should be rehearsed as such. Be aware of the fact that a puppet show must not be long and should never exceed the time span of 7 minutes. If longer, the attention of the audience will be lost! S p e e c h a n d D r a m a 194

200 If it sounds like a lot of work - take courage - there has been a case where the children were so enthusiastic that they let the teacher off and continued to work at home with their own team. Older children can write scripts depicting incidents or characters that they have seen or admire in real life - for example a very exciting experience, or very trying, or a funny situation. An example: a character wakes up, yawns and begins to make coffee and read the morning paper - and then something unexpected happens... It is always good to start with WHAT DO YOU WANT TO SAY? Get a central truth like WE HAVE TO TAKE CARE OF OUR ELDERS and work around this truth in creating a story. Presentation: A table will be available at the venue if requested in advance. Pupils should bring their own screens or booths. These can easily be made from cardboard. For further assistance with the planning and preparations, contact the NEA Office. Workshops or lecture demonstrations can be arranged with puppeteer Johan Swanevelder. Contact Petrus Produksies on or the agent (N. Swanevelder on ) for bookings in this regard. PUPPET THEATRE, Individual and small groups Puppetry is fun and exciting for pupils who love the stage but are too shy to act in front of an audience. It also challenges the artistic and mechanically minded. It does not need to be too complicated or time consuming as there are new and modern methods to make effective puppets quickly. So the drama side can be given more attention. After all it is a performing art. Please consult active puppeteers for ideas on these techniques. Each level has a different technique - so the children can experience different types of puppetry as they move through school. The children should do all the work. Levels: Grade 1-3 Simple rod puppets or sock puppets. Grade 4-5 Glove puppets. Grade 6-7 Shadow puppets. Grade 8-10 Three-dimensional rod puppets, or any of the above. Grade Marionettes or any of the above. Items can be performed solo or in teams. Groups may comprise of different age groups. Individual participants participants 6056 No. Grade Max. 01 Grade min. 11 Grade min. 02 Grade min. 12 Grade min. 03 Grade min. 19 Open section 6 10 min. 04 Grade min. 13 Foundation phase 3 5 min. 05 Grade min. 14 Intermediate phase 3 5 min. 06 Grade min. 15 Senior phase 3 5 min. 07 Grade min. 16 FET phase 6 10 min. 08 Grade min. 17 Primary school level 3 5 min. 09 Grade min. 18 Secondary school level 6 10 min. 10 Grade min. 19 Open section 7 15 min. Kindly contact the NEA Office on or by (info@eisteddfod.co.za) if you have any queries. Additional information will also be published on the webpage from time to time ( S p e e c h a n d D r a m a 195

201 S p e e c h a n d D r a m a 196

202 READING GUIDELINES FOR READING Stand Properly Hold book in one hand, leaving the other free to turn the pages. Hold your book on eye level, but a little to the side, so that your face is not screened. The listener should be able to see your face. Be Audible The first essential is to be heard. This is a matter of o Breath Control o Resonance o Enunciation Be Distinct This depends on the neatness and firmness of the contacts in shaping consonants. Be Intelligible The sole justification for speaking is that you have something to say. If it does not make sense, it should not be said. To read well is an even more difficult task than to speak well, because the reader has to interpret the words on the page so that he can convey, as though they were being spoken for the first time, the thoughts recorded on the page by means of groups of symbols called printed words. To convey meaning you must be able to use properly: Phrasing Pause Emphasis Inflection Variety Pitch Convey the feelings expressed as well as the thought! Use your imagination all the time The test of a good reader is that he can make contact with the minds of his listeners and hold attention because he is making them see the pictures and ideas, and feel the emotions recorded on the printed page. To speak or read badly is a sign of ignorance or laziness or both! S p e e c h a n d D r a m a 197

203 **06 READING 6057 PREPARED READING SKILLS (POETRY OR PROSE) No. Grade Max. The purpose of this category is to build the confidence of participants and to develop their reading skills. Although participants should be very familiar with the text, they will be adjudicated on their READING SKILLS (fluency, phrasing, use of eye contact and effective use of voice) and should not recite the material. IMPORTANT: Participants choose their own reading material which should be appropriate to their age group. The participants should prepare THREE pieces (which might be extracts from the same book) of which copies must be presented to the adjudicator prior to their performances. The adjudicator will then select one of the prepared pieces which the participant will then be requested to read. Individual 6057 No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 1 min. 08 Grade 8 3 min. 02 Grade 2 1 min. 09 Grade 9 3 min. 03 Grade 3 1 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 2 min. 12 Grade 12 4 min. 06 Grade 6 2 min. 19 Open section 5 min. 07 Grade 7 2 min. UNPREPARED READING, PROSE (The adjudicator will provide reading matter.) Individual 6058 Emphasis will be on the interpretation of text and expressive vocal performance. Gr. 10 Open section could be expected to read from a newspaper or magazine. Adjudication: Participants are judged on fluency, eye contact with audience, different characters/situations, etc. through facial expression and voice projection. No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 08 Grade 8 02 Grade 2 09 Grade 9 03 Grade 3 10 Grade Grade 4 11 Grade Grade 5 12 Grade Grade 6 19 Open section 07 Grade 7 Procedure: Participants will be seated in the front row of the venue. Participants will not read the same material, but will be allocated a section from a text provided by the adjudicator. While the first participant reads, the second person will be preparing the passage selected by the adjudicator. Participants will receive more or less 2 minutes to prepare. IMPORTANT: Learners must be prepared and taught the skills to present a variety of texts (e.g. narration, dialogue, etc.) S p e e c h a n d D r a m a 198

204 UNPREPARED READING, POETRY Participants are judged on fluency, sufficient eye contact with audience and enlightment of the meaning of the poem through facial expression and use of the voice. Learners must be prepared and taught the skills to present a variety of poems as applicable for their grade. Emphasis will be on the interpretation of the poem and expressive voice performance. Individual 6059 IMPORTANT: Learners must be prepared and taught the skills to present a variety of poems (e.g. narrative, lyric, etc.) No. INDIVIDUALS MAX. No. INDIVIDUALS MAX. 01 Grade 1 08 Grade 8 02 Grade 2 09 Grade 9 03 Grade 3 10 Grade Grade 4 11 Grade Grade 5 12 Grade Grade 6 19 Open section 07 Grade 7 Procedure: Participants will be seated in the front row of the hall. Participants will not read the same material, but will be allocated a poem by the adjudicator. While the first participant reads, the second person will be preparing the poem selected by the adjudicator. Each participant will have more or less 2 minutes to prepare. PREPARED SCRIPT READING AUDITIONING The purpose of this section is to prepare participants for future auditions. TWO participants are expected to select and read from an age appropriate script (e.g. play/tv/radio/drama, etc.). Participants should not memorize the text, but should read fluently and in the characters as presented in the text. Movements and gestures may be used. Two girls/boys or boy and girl may enter this section. Pupils from different grades to be entered under the highest grade. Only Grade 7 Open may enter this section. Ensemble (2 5 participants 6060 No. INDIVIDUALS MAX. 07 Grade 7 4 min 08 Grade 8 5 min. 09 Grade 9 5 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. PREPARED GROUP READING or READER S THEATRE Readers Theatre is a dramatic presentation of a written work, i.e. a book or a short story. Reading parts are divided among the readers which they then read from the script, No need to memorize! The focus is on reading the text with expressive voices and gestures thus making comprehending the text meaningful and fun. Ensemble group 6061 Small Group 6062 Medium sized 6063 group In Readers theatre, actors use vocal expression to help the audience understand the story rather than visual storytelling such as sets, costumes, and intricate blocking. S p e e c h a n d D r a m a 199

205 GUIDELINES FOR PUBLIC SPEAKING PUBLIC SPEAKING Topics and content presented must be age appropriate. Quotations must be relevant to the topic. Sources used must be scientific or relevant to the topic at hand, or the participant's argument. NOTE that a quotation is not a source, but a mere colouring of the content of the speech. NEA Adjudicators often come across the same speech presented by different participants. As the preparation of a speech is an integral component of Public Speaking, the NEA disapproves of the buying of speeches from the internet or speech writers. The NEA promotes the active involvement of participants in the preparation of their speeches. Although participants are allowed to get help and support in this process, it is expected that they finally present original material and research content which results in their own opinion, which is not a mere duplication of other participants speeches. (It could be quite embarrassing to jave the same speech repeated in the same session!) The use of que cards are permissible. Kindly take note of the clear differences between the formal and informal style of presenting group public speaking. An informal style is not acceptable in theformal public speaking category. PUBLIC SPEAKING (Individual) (Prepared) The participant must demonstrate skills in oral communication by using good speech construction and delivery technique. The adjudicator will adjudicate both the content as well as the delivery of the speech. In this regard the following aspects are important: o the age appropriateness and organization of the speech, grammar, creativity and overall effectiveness o eye contact and platform presence. Speech content shall not contain strong reference to political or religious bias, nor be in the form of a narrative story. Time limit as per grade. (For more information refer to detailed curricula) CRITERIA FOR PUBLIC SPEAKING# SPEECH PREPARATION Topic Appropriate to category and subject (word or phrase) Key message identified in thesis statement Introduction Commands attention Generates interest Intends to inform/ inspire/ persuade/ convince/ entertain Focuses on direction/method that speaker will take Body Main points reinforce thesis statement Sub points logically developed, fully supportive Smooth transitions from one idea to another Language Used with skill for composition, grammar and timing Correctly pronounced and easily understood Creates vivid imagery and/or stark realism Conclusion Main points properly summarized Made reference back to thesis statement Employed effective concluding technique * Notes on Public Speaking and Debating courtesy of Mary-Ann Triebiger S p e e c h a n d D r a m a 200

206 SPEECH DELIVERY Gesture Heighten emphasis of points made Appropriateness of appearance and movement Facial expressions and eye contact Voice Variety in tonal pitch and pacing Projection and clarity of diction Appropriate use of, or appeal to emotional feeling OVERALL EFFECT Performance executed with poise, confidence and power of conviction Speaker appeared to be knowledgeable and enthusiastic Speech was well researched, easy to follow, and uniquely provocative Maintained original purpose and level of interest and elicited the desired response **07 FORMAL PUBLIC SPEAKING: INDIVIDUAL PUBLIC SPEAKING: Prepared SPEECH TO INFORM (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques to INFORM the audience. The presentation should be interesting and could also involve some humour. Individual 6064 Desired response: Clear understanding; explanation; instruction; learning and knowledge. Time limit as per grade. Example: Did you know that during the first six months of 2004, approximately 200 million birds died or were destroyed in attempt to stop the pandemic of avian influenza (5)? Did you hear that United Nations coordinator, Dr David Nabarro, estimated the number of possible human casualties as million people? Are you aware that since its discovery in the 1990-ies the avian flu has been contracted by more than 100 people, and one half of them died. 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. S p e e c h a n d D r a m a 201

207 FORMAL PUBLIC SPEAKING: Prepared SPEECH TO PERSUADE (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques to PERSUADE the audience. Desired response: Action, practice of belief brought about through argument and reason. Time limit as per grade. Example There is little doubt that the planet is warming. Over the last century, the planets temperature has risen by around 1 degree Fahrenheit (0.6 of a degree Celsius). The warmest since the mid 1800 s was the 1990s. The hottest years recorded were 1997, 1998, 2001, 2002, The United Nations panel on climate change projects that the global temperatures will rise 3-10 degrees Fahrenheit by the century s end enough to have the polar caps all but melted. If the ice caps melt, a vast majority of our countries borders will be under water. Monuments and great buildings, as well as homes and lives will be under water, including New York City. So now we know what some of the causes are for global warming, how can we as individuals do our part to help save the planet? The answer is simpler than you may think. You don t have to go miles away from home to protest, or spend masses of money. If you try to follow the few simple steps that I shall now give you, you will have started to help us all. Firstly, plant a tree. This could be easier than it sounds. Join or help out a local wildlife group and ask to plant a tree. Trees, when fully grown, will help keep the planet cooler. On the same point, you could protest against the demolition of the rainforests. This is the same principle, we need the trees to cool our planet and yet they are chopping them down to create roads or homes. Individual Grade 1 4 min 02 Grade 2 4 min 03 Grade 3 4 min 04 Grade 4 4 min 05 Grade 5 4 min 06 Grade 6 5 min. 07 Grade 7 5 min. 08 Grade 8 7 min. 09 Grade 9 7 min. 10 Grade 10 7 min. 11 Grade 11 7 min. 12 Grade 12 7 min. 19 Open section 7 min. S p e e c h a n d D r a m a 202

208 FORMAL PUBLIC SPEAKING: Prepared SPEECH TO INSPIRE (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques to INSPIRE the audience. Desired response: Animation or exaltation of the human spirit and arousal of emotions. Time limit as per grade. Example of a speech to inspire: Everybody wants to be happy in life. We all want to live a perfect life. We want that great job or a successful business. We want to be married to Mr. Right or Mrs Perfect. We want to have great kids. We want to have friends that stick by us come rain or shine. We want to be able to have all the material things life has to offer and have all our problems just disappear. Everybody wishes for good life. It may be at different levels. One person may define a good life one way and another may describe it another way. For one person a good life may be just having three meals a day and a roof over their head. For another it may be having a huge mansion and a couple of million dollars in the bank. There are different levels and meanings to what a good life is. But whatever you definition of it, there is perhaps one thing that you may have in common with many other people. You might want that good life stress free. You would like to have it without having to work so hard or struggle so much for it. That is a normal human expectation. Nobody likes to struggle through life. (Extract from: Dr Moses) 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. Individual 6066 S p e e c h a n d D r a m a 203

209 FORMAL PUBLIC SPEAKING: Prepared SPEECH TO ENTERTAIN (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques to ENTERTAIN the audience. Desired response: Delight, amusement, enjoyment and laughter. Time limit as per grade. Individual 6067 Example My old patrol cap, the one I am holding in my hand, is my friend's present. It has neither double thick bill nor internal pocket, neither chinstraps nor breath taking camouflage colour by which any desert sniper would figure me out in no time. Quite an old thing it is, keeping secrets of the military service but whenever I put it on Well, how comfortable it feels - even with that strong smell of military service! What a feeling! In the army, the patrol cap is one of the three headgear options, together with the beret and the military visor dress hat. When I tried to find secrets of a new ACU patrol cap, it occurred to me that the military value moist and wet boots more than headgear. 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. S p e e c h a n d D r a m a 204

210 FORMAL PUBLIC SPEAKING: Prepared RESEARCH SPEECH (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques to discover new or old facts by the scientific study or course of critical investigation. Desired response: Clear understanding, learning and new knowledge. Time limit as per grade. Example Global warming is a fact! Chairman, ladies and gentlemen, it does not take a genius to know: Global warming is a fact! The consumption of fossil fuels in last few decades has contributed much to the degradation of our environment. Global warming, climate change, extinction of wildlife species, depletion of ozone layer, and increase in air pollution are few of the problems from which our environment is suffering. It may be quite a task for anyone to find some solid global warming facts to alarm for some action. Here are plenty of them, right on your platter. What is Global Warming? Global warming is the increase of earth s average surface temperature due to the effect of greenhouse gases. These greenhouse gases such as carbon dioxide and methane absorb heat that would otherwise escape from earth. Global warming has emerged has one of the most biggest environmental issue in the two decades. According to Environmental Protection Agency (EPA) reports, the earth s temperature has increased by 0.8 degrees Celsius over the past century. More than half of this increase has happened in the last 25 years. It seems that the temperature is rising at a rate faster than ever before. Human activities like burning of fossil fuels, deforestation, industrialization and pollution are considered as few of the factors responsible for global warming. 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. Individual 6068 S p e e c h a n d D r a m a 205

211 FORMAL PUBLIC SPEAKING: Prepared CURRENT EVENT SPEECH (Individual) In addition to the standard guidelines (see above) the participant must demonstrate skill in oral communication by using good speech construction and delivery techniques in the analysis of the cause and effect of a current event. The participant is expected to deliver a speech on relevant issues of the day, e.g. the Tsunami disaster, death of the Pope, etc. In order to be relevant, speeches in this section cannot be prepared months in advance. Desired response: Clear understanding, learning and new knowledge. Time limit as per grade. Example South Africa is at Cliff's edge Current developments in South Africa are reminiscent of events in In that year South Africa experienced high costs from currency depreciation and adverse political developments. At the time the country faced increasing international sanctions and isolation, while the exchange rate of the rand remained under severe pressure, recording sharp falls in the international value of the rand. South Africa s financial stability was put under severe pressure after the infamous Rubicon speech of then State President P W Botha. Before the speech, high expectations were raised internationally about the announcement of major political changes in South Africa, but these expectations did not materialise. Following the speech, foreign banks refused to roll over South African short-term foreign debt, causing further depreciation of the exchange rate of the rand. 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 4 min. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min. Individual 6069 S p e e c h a n d D r a m a 206

212 SPECIAL OCCASION / COURTESY SPEECHES UNPREPARED The adjudicator will present the participant with a scenario relevant to his/her frame of reference: Introducing a speaker* Presenting a speaker with a gift and a vote of thanks* A farewell speech* Welcoming an audience to a function Individual 6070 Procedure: Depending on the number of entries, the adjudicator prepares a number scenarios (1 more than the number of entries) in advance, which will be individually sealed. Each envelope will contain the details of a scenario for which a number of key factors will be stated: Brief description of the event/occasion Name of the imaginary speaker/recipient A few notes on the speech / speaker / award / gift / certificate At the start of this section each participant will receive one of these envelopes, randomly selected. Participants will then be allowed 4 minutes to prepare. Guidelines/elements that should be in a speech for a special occasion A. Introducing a speaker: o Make you know how to pronounce the full names of the speaker. o o o o - How do they refer to themselves. If the speaker has a title (e.g. Dr ) use the title and also the field he or she specialised in (e.g. Dr H Breytenbach did his study in the use of the narrative therapy in the industrial environment ) Why is this speaker suitable for the specific situation... what was his experience in the topic of the day, academic, maybe his life experience? Add a short teaser by telling the audience what s in it for them...what will they gain from his/her knowledge) How do you know the speaker? Introduce the speaker to the audience by repeating his title and name. (Example: Ladies and gentlemen, it is my pleasure and honour to introduce to you Dr. Herman Breytenbach) B. Presenting the speaker with a gift/thanking the speaker Guest speakers customarily receive acknowledgement at the end of their presentation by a member of the audience. The guest speaker is formally thanked on behalf of the group for the effort put into preparing their material and for the quality and content of the presentation. A thank you for guest speakers should: Be brief (1-1 1/2 minutes ) Tell the audience who you are. Follow the Presentation guidelines. Acknowledge the speaker s special qualifications or expertise in the area dealt with. Acknowledge any obvious special effort that went into preparation of the presentation. (i.e., were audio-visual aids spectacular? Were props or handouts outstanding?) Acknowledge any special effort the speaker made to be present. (Did they travel far? Did they forego other appointments?) Refer to the audience s reception of the presentation. (Was the audience appreciative of the presentation and keenly interested?) Conclude with reference to the gratitude and appreciation of the entire group. (Not just the person expressing gratitude) Be pleasant, enthusiastic and gracious, as well as clearly audible. S p e e c h a n d D r a m a 207

213 If you have to present the guest speaker with a small gift or token of appreciation, keep the following in mind: The "thinker" has the job of presenting the gift by adding a few simple sentences indicating that the group has a custom of presenting gifts to presenters. Let the group and guest know what the gift is (without dwelling on its quality and price) and ask the guest to accept it. Gift should be held in the thinkers left hand and passed smoothly to the guest s left hand while the guest and thinker shake right hands. C. Farewell Speech You can give farewell speeches for different occasions, usually when someone is leaving a hometown or retiring from a job. Some farewell speeches honour the person who is leaving; other times, the departing person gives the farewell speech himself. In either situation, the speech should be an emotional tribute and appreciative in tone. A good speech often begins with an interesting opener like a memorable quote or a joke. Start your speech with an introduction. Explain who you are in case someone doesn't know you, and state that you are giving your farewell. Move to the body of your speech and add more details. Since it is a farewell speech, include what you have learned while working at the company or attending the school. Express your appreciation for the experience. Mention specific names of mentors, former bosses or other people that have taught you lessons. Discuss your next challenge, if appropriate. For instance, if you are leaving to start a family, talk about how your experience has prepared you for your next chapter. Add a story or anecdote about your time at the organization. You can tell the story at the beginning to capture the audience's attention or conclude with the memory. Provide encouraging words. Your farewell speech should stay positive and be inspirational to your former co-workers. End in an encouraging or positive note D. Welcoming audience to a FUNCTION Welcome speeches in general should be brief. It is important to state the objectives or the purpose of the meet in the beginning itself. Chief Guest of the formal function should be welcomed first followed by other important guests. A variety of expressions should be used during the speech to make it livelier; but at the same time it should not be overdone. Most importantly, a sincere and confident approach from the speaker will create a feeling of unity and purpose among the audience and reflects hospitality. How to Start a Welcome Speech? Usually a welcome speech starts with greeting the chief guest, important guests and all other guests. This is followed by a brief description about the objectives of the meet. On some occasions, if the chief guest is not a known person, a brief introduction of the chief guest is also given by the person who gives the welcome speech. Of course this depends on how long the introduction of chief guest should be The following are some common "Welcome Quotes" I extend a hearty welcome I offer a warm welcome I accord a genial welcome I salute him with a winsome welcome I welcome him with the loving hearts of all present I welcome him with my whole heart I welcome him with all my heart I am delighted to offer a happy welcome Let me offer you a pleasant welcome Please permit me to offer you a fraternal welcome I request the members of the audience to join me in offering a warm hearted welcome S p e e c h a n d D r a m a 208

214 01 Grade 1 2 min. We feel honoured in offering you a cheerful welcome How to conclude a Welcome Speech: A welcome speech should not be concluded by thanking. That is the job of the person who gives the vote of thanks. Welcome speech should be the one leaving the participants at ease and eagerly waiting for the upcoming events. Maximum duration of welcome speech can be three to four minutes. If it is extended beyond that the guests may feel bored and it will kill the anticipation for the events to follow. 01 Grade min. 02 Grade min. 03 Grade min. 04 Grade min. 05 Grade min. 06 Grade min. 07 Grade min. 08 Grade min. 09 Grade min. 10 Grade min. 11 Grade min. 12 Grade min. 19 Open section 2-3 min. UNPREPARED PUBLIC SPEAKING: (Individual) Procedure: Subject to be handed out before the competition starts. Participants will have 5 minutes to prepare. Time limit as per grade Individual Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 2 min. 05 Grade 5 2 min. 06 Grade 6 2 min. 07 Grade 7 2 min. 08 Grade 8 3 min. 09 Grade 9 3 min. 10 Grade 10 3 min. 11 Grade 11 3 min. 12 Grade 12 3 min. 19 Open section 3 min. **08 GROUP PUBLIC SPEAKING: FORMAL PUBLIC SPEAKING (Group) Teams should exist of 4 members; however teams with only 3 members may also participate. Topic: own choice. The group should adhere strictly to the time limit. Groups that fail to do so will be penalized 4 participants 6072 The following criteria could be used: First Speaker: Introduce an aspect of the topic. Second Speaker: Elaborate on the previous speaker s opinion or introduce another perspective. Third Speaker: Elaborate on the opinion of the previous speakers or give a personal perspective on their opinion or emphasize another aspect. Humour could be introduced by one of the speaker if the topic allows it. Breakdown of the time allocation for group public speaking: The chairperson/moderator: Introduction 2 minutes Three speakers: 3 minutes each The Chairperson s bridging gaps between speakers: 1 minute each Conclusion by the Chairperson: 1 minute Total duration: 15 minutes S p e e c h a n d D r a m a 209

215 UNPREPARED PUBLIC SPEAKING (Group) Teams should exist of 4 members, however teams with only 3 members may also participate. Participants to report 30 minutes before the scheduled starting time of their session to receive their topic. The group should adhere strictly to the time limit. Groups that fail to do so will be penalized. A topic will be provided by the adjudicator. 4 participants 6073 Groups will be allowed a maximum of 30 minutes preparation time The following criteria could be used: Chairperson: Introduce the speakers and the topic. He is also responsible for the co-ordination of the presentation by providing the necessary link between speakers and by summarizing when applicable. First Speaker: Introduce an aspect of the topic. Second Speaker: Elaborate on the previous speaker s opinion or introduce another perspective. Third Speaker: Elaborate on the opinion of the previous speakers or give a personal perspective on their opinion or emphasize another aspect. Humour could be introduced by one of the speaker if the topic allows it. Breakdown of the time allocation for group public speaking: The chairperson/moderator: Introduction 1 1 /2 minutes Three speakers: 2 minutes each The Chairperson s bridging gaps between speakers: 1 /2 minute each Conclusion by the Chairperson: 1 minute Total: 10 minutes INFORMAL PUBLIC SPEAKING, (Group) Teams should exist of 4 members; however teams with only 3 members may also participate. Topic: own choice. The group should adhere strictly to the time limit. Groups that fail to do so will be penalized. 4 participants 6074 The Informal Public Speaking category allows for more freedom of interaction between speakers. (Please note: This freedom is not allowed in the formal style of public speaking). The following criteria could be used: First Speaker: Introduce an aspect of the topic. Second Speaker: Elaborate on the previous speaker s opinion or introduce another perspective. Third Speaker: Elaborate on the opinion of the previous speakers or give a personal perspective on their opinion or emphasize another aspect. Humour could be introduced by one of the speaker if the topic allows it. Breakdown of the time allocation for group public speaking: The chairperson/moderator: Introduction 2 minutes Three speakers: 3 minutes each The Chairperson s bridging gaps between speakers: 1 minute each Conclusion by the Chairperson: 1 minute Total duration: 15 minutes S p e e c h a n d D r a m a 210

216 GUIDELINES FOR DEBATING Two teams of the same school need to be entered, comprising of a chairperson and 2 teams of 3 speakers each. Alternatively a school may partner with a neighbouring school to provide a second team. (In this case both schools need to agree on who would be responsible for providing the Chairperson.) At the end of the debate the adjudicator will announce the winning team (for which a diploma, gold, silver or bronze certificate according to the level of their debating will be awarded). The losing team will also be awarded a certificate according to their level of debating. (It is possible that the standard of debating as displayed by both teams can be of a very high (or low!) standard!). The Chairperson will be awarded a certificate according to his level of performance (diploma, gold, silver or bronze certificate). Proposition: The Question? Subjects for a debate are expressed in the form of propositions. A Proposition is a carefully worded statement that makes clear the positions of both the affirmative (proposer) and the negative (opposer). There are two kinds of propositions: 1. those involving fact 2. those involving policy The question should be posed to read as follows: e.g. It is proposed that all high schools should require a four year course in basic science.... man is the curse of our planet. Chairman: Must be acquainted with the rules of the contest and competent to apply them: Open and close the debate. Introduce the motion in full and exact wording. Introduce members of the teams. Bring the relevant rules (mainly those pertaining to time limits) to the attention of the audience. Ensure that both teams observe the rules, especially the time limits. The teams: (as applicable to PROPOSER and OPPOSER): Speaker One: Must define the subject clearly, the team s line of argument and points to be raised. Expound views on at least three points. Pre-empt what the other team may say. Be well informed. Speaker Two: Reinforce the first speaker s arguments. Reinforce the three points raised and introduce another one or two (but no more). As the first speaker of the opposing team has already spoken, Speaker Two should ideally be able to adapt his speech and respond in some way to points posed by the opposition. (Listen carefully to what they are saying, listen for misinformation or exaggerations. Start building a good strong argument). Summator: His function is twofold: Summarize his teams arguments. (Do not introduce new points). Refute, contradict and challenge the opposing team s arguments. Procedure: Order of speech and time limits Chairperson: Open the debate, introduce motion, members of teams, rules First Speaker: (proposition) : 6 8 minutes First Speaker: (opposition) : 6 8 minutes Second Speaker: (proposition) : 5 minutes Second Speaker: (opposition) : 5 minutes Summator Opposition: 6 8 minutes Summator Proposition: 6 8 minutes Chairperson: Close the debate. Total: 45 minutes S p e e c h a n d D r a m a 211

217 Tips: Get together before the debate. Work out strategy. Research the subject and look for some uncommonly known details. Script the debate be prepared and well-rehearsed! Bring in the big guns remember this is a war of words and pitting your intelligence against the other team. Don t be rude or insulting, but listen for slip-ups in what the opposition say. Correct them in a mature manner. Deliver your speech in a convincing manner put some umph into it without overdoing the theatrics! Don t overuse quotations maximum two per team. Keep statistics interesting. #The debating style as adopted by the NEA is based on the South African Council for English Education Debating League. DEBATING PARTLY PREPARED* * A debate is a series of formal spoken arguments for and against a definite proposal. An entry comprises of two teams of 3 members each and a chairperson. Teams comprising of learners of various grades should enter under the highest grade. 7 participants Grade 8 45min. 09 Grade 9 45min. 10 Grade 10 45min. 11 Grade 11 45min. 12 Grade 12 45min. 19 Open section 45min. * Participants to report to the adjudicator ONE HOUR before the scheduled participation time to receive the topic for their debate. S p e e c h a n d D r a m a 212

218 **09 STORY TELLING STORY TELLING: Individual - unprepared Adjudicator will provide a topic/theme to stimulate the thought process of the participant. Participants are allowed 5 minutes to prepare. Participant to tell a meaningful story - this is not an unprepared speech. Accent is on creativeness and imagination. No notes allowed. Movement is allowed. It is important NOT to confuse this category with PROSE Individual 6076 Note: Refer to the discussion on oral tradition in the African culture as guidelines to this category. #Grade R may not enter for this section. NB. PARTICIPANTS TO REPORT 10 MINUTES PRIOR TO THE TIME AS INDICATED ON PARTICIPANT SLIP TO RECEIVE THEIR TOPIC 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 2 min. 05 Grade 5 2 min. 06 Grade 6 2 min. 07 Grade 7 2 min. 08 Grade 8 3 min. 09 Grade 9 3 min. 10 Grade 10 3 min. 11 Grade 11 3 min. 12 Grade 12 3 min. 19 Open section 3 min. STORY TELLING: GROUP - Unprepared Participants are allowed 20 minutes to prepare. Adjudicator will provide a topic/theme to stimulate the thought process of the learners. A group may consist of 2-6 participants, but not more than 6. Each participant s contribution needs to be complementary. The presentation should display a beginning, middle, climax and conclusion section. The accent falls on creativity and group participation. Ensemble group (2 5 participants) Small group (6 10 participants) NB. PARTICIPANTS TO REPORT 30 MINUTES PRIOR TO THE TIME AS INDICATED ON PARTICIPANT SLIP 13 Foundation phase 3 min. 14 Intermediate phase 4 min. 15 Senior phase 4 min. 16 FET phase 5 min. 17 Primary school level 7 min. 18 Secondary school level 8 min. 19 Open section 8 min. S p e e c h a n d D r a m a 213

219 STORY TELLING: Individual - Prepared The acted story may be a complete story, or an extract from any narrative source, for example, novels, myths and legends, fables, folk tales or the oral tradition. Music, props, costume, rostra and chairs may be used. Movement is allowed. Individual 6079 The origin of storytelling comes from the oral tradition of the African culture. The elderly used to sit around the fire and teach the younger generation life lessons with stories. This in not PROSE. Let the origin of storytelling guide you in your choice of movement, use of props and other décor. Example of a traditional story (Aesop s fable) A bear came across a log where a swarm of bees had nested to make their honey. As he snooped around, a single little bee flew out of the log to protect the swarm. Knowing that the bear would eat all the honey, the little bee stung him sharply on the nose and flew back into the log. This flew the bear into an angry rage. He swatted at the log with his big claws, determined to destroy the nest of bees inside. This only alerted the bees and quick as a wink, the entire swarm of bees flew out of the log and began to sting the bear from head to heel. The bear saved himself by running to and diving into the nearest pond. 00 Grade R 2 min. 01 Grade 1 2 min. 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 3 min. 08 Grade 8 3 min. 09 Grade 9 3 min. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 4 min. STORY TELLING: GROUP - Prepared The acted story may be a complete story, or an extract from any narrative source, for example, the novel, myths and legends, fables, folk tales or the oral tradition. Music, props, costume, rostra and chairs may be used. Movement is allowed. Minimum number of performers: TWO, no maximum. 13 Foundation phase 4 min 14 Intermediate phase 6 min 15 Senior phase 8 min. 16 FET phase 10 min. 17 Primary school level 8 min. 18 Secondary school level 15 min. 19 Open section 15 min. Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) S p e e c h a n d D r a m a 214

220 **10 IMPROVISATIONAL THEATRE GROUP POETRY: UNPREPARED ORIGINAL WRITING # Age group: Gr. 4 - Open section. Minimum number of performers: 3, no maximum. The adjudicator will provide the topic/theme. The participants will have 60 minutes to write and prepare their own original poem. The participants then perform their poem with expression. Gesture and movement are permitted. Time limit: 2-6 minutes (depending on age group). 14 Intermediate phase 3 4 min. 15 Senior phase 4 5 min. 16 FET phase 4 5 min. 18 Secondary School level 4 5 min. 19 Open Section 5 6 min Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) Kindly take note of the following procedure: Participants to report to the venue controller 60 minutes before the scheduled starting time of the event. An envelope containing the topic/theme will be provided to each group. At the beginning of the session all participants should return to the venue for adjudication. Participants must provide their own writing materials. No help or support what so ever may be provided to the group by any teacher, parent or any other individual. The output should be the work of the members of the group only. **11 IMPROVISATIONAL THEATRE: Creative Advert CREATIVE RADIO ADVERT : Group - unprepared Minimum number of candidates: three, no maximum. Each group will be given a choice of two products by the adjudicator as stimulus, prior to the commencement of the section - e.g. makeup, soap powder, computer, etc. The participants will have 30 minutes to prepare and need to report to the venue controller at least 30 minutes before the scheduled starting time of this section. Maximum duration of advert: 30 seconds. Time limit may not be exceeded. No costumes or props. Candidates must wear appropriate clothes (black clothes, tracksuit, shorts, and shirt). Kindly note that visual elements DO NOT apply for an audio creative advert Participants will be adjudicated on the following criteria: o Creativity fictitious brand name, slogan, jingle, sound effects. o Content Product description, Product benefits. o Tel. numbers/ address, retail outlets, etc. o Vocal technique as for all other categories of oral communication. o Tonality, e.g. Toys light hearted tone; Headache pills serious, reassuring attitude. 01 Grade 1 1 min. 08 Grade 8 1 min. 02 Grade 2 1 min. 09 Grade 9 1 min. 03 Grade 3 1 min. 10 Grade 10 1 min. 04 Grade 4 1 min. 11 Grade 11 1 min. 05 Grade 5 1 min. 12 Grade 12 1 min. 06 Grade 6 1 min. 19 Open section 1 min. 07 Grade 7 1 min. Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) S p e e c h a n d D r a m a 215

221 CREATIVE TV ADVERT: Group - unprepared Minimum number of candidates: three, no maximum. Each group will be given a choice of two products by the adjudicator as stimulus, prior to the commencement of the section - e.g. makeup, soap powder, computer, etc. The participants will have 30 minutes to prepare and need to report to the venue controller at least 30 minutes before the scheduled starting time of this section. Maximum duration of advert: 60 seconds. Time limit may not be exceeded. No costumes or props. Candidates must wear appropriate clothes (black clothes, tracksuit, shorts, and shirt). Participants will be adjudicated on the following criteria: o Creativity fictitious brand name, slogan, jingle, sound effects. o Content Product description, Product benefits. o Tel. numbers/ address, retail outlets, etc. o Vocal technique as for all other categories of oral communication. o Tonality, e.g. Toys light hearted tone; Headache pills serious, reassuring attitude. Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) Grade 1 1 min. 08 Grade 8 1 min. 02 Grade 2 1 min. 09 Grade 9 1 min. 03 Grade 3 1 min. 10 Grade 10 1 min. 04 Grade 4 1 min. 11 Grade 11 1 min. 05 Grade 5 1 min. 12 Grade 12 1 min. 06 Grade 6 1 min. 19 Open section 1 min. 07 Grade 7 1 min. **12 IMPROVISATIONAL THEATRE: Theatre sports THEATRE SPORTS (Beginners) This section is only for participants that have never been exposed to theatre sports in any form (4 or more participants). 13 Foundation phase 4 6 min 14 Intermediate phase 4 6 min 15 Senior phase 4 6 min 16 FET phase 6 8 min. 17 Primary school level 4 6 min 18 Secondary school level 6 8 min. 19 Open section 6 8 min. Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) The rules are as for the Theatre Sports (advanced) section but only the following games will be played. 1. Action Circle Two pupils start the action (speaking (acting) and moving it is like a little play). The adjudicator or audience can stop this action at any time by calling STOP. The 2 actors must then freeze. Another participant must then take the place of the 1 st person who started the action. Number 1 goes out and number 3 starts in exactly the same bodily statue that 1 left. Number 3 now starts another little play (which has nothing to do with first play) with number 2 until someone says STOP. Now number 2 will exit and number 4 will take his place. And so forth. 2) Complaint Desk 2 desk attendants, 1 customer. The customer is returning an item. He/she does not know what the item is or what is wrong with it. The attendants ask questions to give the customer clues. The game ends when the customer has guessed both the item and the problem. From the audience: A product, what is wrong with it? S p e e c h a n d D r a m a 216

222 3) Choose Your Own Adventure 1 Storyteller, Various Actors The Storyteller narrates a story which the Actors perform. At key turning points in the story, the Storyteller presents two options to the audience and asks which they choose. The audience cheers demonstrate which choice they endorse, and the story continues in that direction. From the audience: Suggestion for the title of the story, choices. 4) Poetry Interpretation 1 Poet, 1 Interpreter, 1 Interpretive Dancer The Poet, a foreigner, and their Dancer are introduced by the Interpreter. The Poet recites their poem in a foreign tongue, while the Interpreter translates and the Dancer interprets the poem visually. From the audience: The title of the poem. 5) Infomercial: 1 Host, 1 Inventor, Various other actors The Host introduces a fabulous product which will improve the lives of the audience (seeded with question asking Actors). The Inventor is introduced and describes the product. This game is very free form. The Host may call for a demonstration, a personal statement from a satisfied customer, a celebrity endorsement, etc. From the Audience: Suggestion for the product The rules are as for the Theatre Sports (advanced) section but only the following games will be played. THEATRE SPORTS (Advanced) This event is improvisational theatre where the audience [in a small way] and participants often collaborate to create stories, scenes or other aspects of theatre. Participants enter in a group of 4 or more participants and must be at the venue 30 minutes before the allocated time to begin their preparations. Due to the diverse nature of the available theatre sports games each adjudicator will explain which games will be played and what the rules for each of these are. The adjudicator will sometimes enlist the audience to assess the entertainment value of the product produced by the participants. # Grades 0 6 may not enter for this section 13 Foundation phase 4 6 min 14 Intermediate phase 4 6 min 15 Senior phase 4 6 min 16 FET phase 6 8 min. 17 Primary school level 4 6 min 18 Secondary school level 6 8 min. 19 Open section 6 8 min. Ensemble (2 5 participants) Small group (6 10 participants) Medium sized group (11 20 participants) Large group (21+ participants) S p e e c h a n d D r a m a 217

223 **13 IMPROVISATIONAL THEATRE: IMPROVISATION IMPROVISATION (INDIVIDUAL) An improvised act: The adjudicator will offer a choice of subjects 5 minutes before the start of the item. Participant chooses one subject/situation to be announced clearly. The participant is requested to portray an original act/situation with the use of speech, movement and gestures. Participants are judged on the use of space, movement, sound effects and vocabulary. Individual 6104 Participant may use one of two methods: Free interpretation (may use story teller, characterization, and interaction with imagined character(s).) Traditional interpretation when one character is continuously interacting with imagined characters. No learner should be exposed to this item without the necessary preparation. It is imperative that the participant should acquire and develop the relevant skills and techniques in advance. 01 Grade min. 08 Grade 8 3 min 02 Grade min. 09 Grade 9 3 min 03 Grade min. 10 Grade 10 3 min 04 Grade min. 11 Grade 11 3 min 05 Grade 5 3 min 12 Grade 12 3 min 06 Grade 6 3 min 19 Open section 3 min 07 Grade 7 3 min GROUP IMPROVISATION An improvised act for a group of 4 or more participants: The adjudicator will offer a choice of subjects 5 minutes before the start of the item. Participants choose one subject/situation to be announced clearly. The participants are requested to portray an original act/situation with the use of speech, movement and gestures. Participants are judged on the use of space, movement, sound effects and vocabulary. Participants may use one of three methods: Free interpretation (may use story teller, characterization, and interaction with imagined character(s).) Traditional interpretation when one character is continuously interacting with the others in the group. A scene where all have equal parts and interesting characters. * Participants to report 30 minutes in advance. Ensemble (2 5 participants) Small group (6 10participants) Medium sized group (11 20 participants) Large group (21+ participants) Foundation phase 6 min. 14 Intermediate phase 6 min. 15 Senior phase 6 min. 16 FET phase 6 min. 17 Primary school level 6 min. 18 Secondary school level 6 min. 19 Open section 6 min. S p e e c h a n d D r a m a 218

224 MOVEMENT & MIME THEATRE GUIDELINES FOR MIME MIME 14 a selective overview from history The language of gestures was born with man and is reborn every day as part of his need to express himself. Before the human voice developed, gestures served not only to communicate but to aid in the development of vocal sounds. Later they were incorporated in the first forms of written language of, for example, the Egyptians, the Aztecs, and in the pictographic writings of the Hebrews. Gestures and expressive movement were also utilized in ancient religious dances and ceremonies. And from the ancient ceremonies in China, Japan, India, and Egypt emerged the actor, who was at once a dancer, singer, and mime. By the mid-twentieth century, Paris was the place for mimes to be. It was here that several great masters gave new life to the mime art, as well as merged it with other forms. Through the contributions of Decroux, Marceau, and Lecoq three main schools of mime developed in Europe that had worldwide repercussions. The more commonly whitefaced, illusion pantomime portrayed concrete emotions and situations by means of conventional gestures, creating the illusion of something there which in reality is not. Corporeal mimes rejected this form to express abstract and universal ideas and emotions through codified movements of the entire body. Those in Lecoq movement theatre combined acting, dance, and clowning with movement. However, in the 1980s, even the whiteface, illusion pantomimists and Decroux's corporeal mimes began expanding in many new directions. Instead of limiting themselves to silent expression and classical pantomime or codified mime technique, they experimented freely with texts and the use of voice. Some mimes wrote their own texts, as did the Greek mime-authors, integrating the mime-actor's art with the author's. They also included props, costumes, masks, lighting effects, and music. Mime in the postmodern era thus incorporated so many new elements that it was no longer referred to exclusively as mime. It was called mime-dance, mime-clowning, mime-puppetry, New Vaudeville, etc. And if it contained movement expression along with other elements, it was loosely alluded to as physical or movement theatre. Twentieth century verbal theatre also explored the use of physical expression (mime in a broader sense) to create a more complete or total form of theatre. This not only allowed the actor to challenge his own creative resources but drew the spectator into a fuller sensory experience, re-establishing the theatre as spectacle (from the Latin spectare meaning to see) and giving free vent to the development of a fertile, richer, and more visual theatre. Additional notes 15 : Mime seems to be a way of expressing oneself, things and situations with the use of only the body. Mime is part of movement but note that it is more defined and intense in effort. Mime makes the imaginary visible and tangible. The mime needs to have an aesthetic awareness. Mime is NOT Charades (the game where undefined gestures and movement barely suggest meaning)! 14 Notes on Mime courtesy of Willie Straus 15 Additional notes on Mime courtesy of Marelize Engelbrecht S p e e c h a n d D r a m a 219

225 Mime is the art of defined controlled movement. The mime must catch the spectator s attention and tame the imagination of his audience. How? By using the body as your tool and exploring its unique potential while learning to control it. Adjudication: Is the body movement clear and defined? Do I see how you feel about what you are doing and experiencing? Do you have a clear perception of the objects you are touching? Do you have a clear perception of the objects and the space around you? Does the story have the necessary dramatic flow that makes it entertaining? Make-up and costume. Did the participant create levels and kept these levels and boundaries? Is there a structure to the story created (Beginning, middle, end? Did something happen? Was it entertaining? In the mysterious silence of life, each object shows itself as a fantastic being; a fascinating Presence. The subjective reactions which arise in us before this Presence are astounding. JEAN-LOUIS BARRAULT MM01 MOVEMENT AND MIME THEATRE MIME, UNPREPARED INDIVIDUAL The participant will receive a topic 5 minutes prior to participating. One person using gestures and movement should portray an original situation. The pupils will be judged on use of space and movement, but no speech and props may be used. Mime attire if possible. 01 Grade 1 1 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 4 min. 03 Grade 3 2 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 2 min. 12 Grade 12 4 min. 06 Grade 6 3 min. 19 Open section 4 min. 07 Grade 7 3 min. Individual 6109 MIME, PREPARED INDIVIDUAL One person using gestures and movement should portray an original situation. The pupil will be judged on use of space and movement. No speech and props may be used. Mime attire if possible. 01 Grade 1 1 min. 08 Grade 8 3 min. 02 Grade 2 2 min. 09 Grade 9 4 min. 03 Grade 3 2 min. 10 Grade 10 4 min. 04 Grade 4 2 min. 11 Grade 11 4 min. 05 Grade 5 2 min. 12 Grade 12 4 min. 06 Grade 6 3 min. 19 Open section 4 min. 07 Grade 7 3 min. Individual 6110 S p e e c h a n d D r a m a 220

226 MIME, PREPARED - GROUP The pupils will be judged on use of space and movement, but no sound or props may be used. This item to be presented in mime attire if possible. Minimum number of participants: 2 13 Foundation phase 3 min. 14 Intermediate phase 3 min. 15 Senior phase 3 min. 16 FET phase 4 min. 17 Primary school level 3 min. 18 Secondary school level 4 min. 19 Open section 4 min. Ensemble (2 5 participants) Small group (6 10participants) Medium sized group (11 20 participants) Large group (21+ participants) MOVEMENT DRAMA A group of learners (2 or more) chooses a theme, which they enact by using movements only. The emphasis should be directed towards the experiences, emotions, etc., rather than events. Learners could make use of music to enhance the mood and emphasize the emotions/feelings that the movements represent. 13 Foundation phase 3 5 min. 14 Intermediate phase 5 7 min. 15 Senior phase 5 7 min. 16 FET phase 5 7 min. 17 Primary school level 5 7 min. 18 Secondary school level 7 10 min. 19 Open section 7 10 min. Ensemble (2 5 participants) Small group (6 10participants) Medium sized group (11 20 participants) Large group (21+ participants) PHYSICAL THEATRE Physical theatre is a genre of performance, which makes use of the body (as opposed to the spoken word) as the primary means of performance and communication with an audience. In using the body, the performer or actor will concentrate on: 1. The use of body shape and position 2. Gesture 3. Facial expressions 4. Posture 5. Rhythmic movement, pace and the energy of the body 6. Gait Physical theatre can be distinguished from dance in that it tends to focus more on narrative, character and action. However, the boundaries between the two are rather blurred. 13 Foundation phase 3 5 min. 14 Intermediate phase 5 7 min. 15 Senior phase 5 7 min. 16 FET phase 5 7 min. 17 Primary school level 5 7 min. 18 Secondary school level 7 10 min. 19 Open section 7 10 min. Ensemble (2 5 participants) Small group (6 10participants) Medium sized group (11 20 participants) Large group (21+ participants) S p e e c h a n d D r a m a 221

227 PART 10 Creative Work Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa 222 C r e a t i v e W o r k Copyrighted NEA 2018

228 CREATIVE WORK. THEMES FOR A new dawn Or My country, my people Or This makes South Africa great C r e a t i v e W o r k Copyrighted NEA

229 EXPLANATORY NOTES, RULES & DEFINITIONS Rules and Regulation for Creative Arts: The purpose of this category is to promote the creation of new compositions, poems, dramas, paintings, etc. Please note that COPYRIGHT need to be observed and respected in all aspects of the creative arts. Therefore NO copying / photocopying / tracing of existing images or the copying any images from the internet will be accepted. These techniques could be used in the TRAINING PROCESS of students, but WILL NOT be accepted in any art work that is submitted under the declaration as own work. All works entered into this section should be inspired by any of the themes for Literary creations can be submitted in either written or typed format. A performance of the work is not required. Music entries must be submitted in staff notation (notation in solfa will also be accepted). A recording of the work is not required, but can be submitted together with the printed notation. By entering into this category participants grant the NEA permission to display or use outstanding work in any way at Showcase events or to promote the activities of the NEA. It speaks for itself that all creative work should be original works by the participant that enters the eisteddfod. Therefore it implies that the participant (and NO ONE else) is the creator of the work in the form that the entry is submitted. The participant may seek advice, but should compose the piece as submitted. No item entered in any other section of the syllabus may be entered in this category. A copy of the Creative Arts Participant slip MUST be attached to each entry. The declaration as provided on the Creative Arts Participant slip must be completed and attached to each entry. If the Creative Arts Participant slip is not available, a copy of an art entry form and the declaration as provided at the end of this category must be completed and attached to each entry. All entries should be submitted ONLINE or in HARDCOPY format before the applicable CLOSING DATE for entries. Proof of payment with the necessary payment reference code or the name of the participant should be submitted by fax or to / entry@eisteddfod.co.za. All completed art works should be delivered to the NEA office or the venue where it will be adjudicated, before or on the closing date for submission. Care should be taken be taken when packing art works to prevent damage in transit. Art work should NOT be framed. If submitted in a frame the, NEA does not take responsibility for any damage to either the glass or frame. Art works submitted by mail or courier should preferably insured against possible damage while in transit. The National Eisteddfod Academy will take all reasonable measures to protect and prevent damages to art work, but does not accept responsibility for any damage to art works submitted for adjudication. All artwork, adjudicators reports and certificates will be ready for collection once the adjudication process has been completed. A message in this regard will be posted on Facebook and Twitter (in order to be notified participants need to like / follow us on Facebook and / or Twitter.) All artworks that receive diploma awards automatically qualify to be entered for the Young Artist Award Competition to be presented in the following year. Details of entry fees, etc. will be available on the webpage in January. C r e a t i v e W o r k Copyrighted NEA

230 CREATIVE WORK This category provides for the following categories: o Music composition classical and contemporary o Literary work o Visual arts Fine arts Sculpture Printmaking Design o Photography o Traditional African Arts & Craft o Audio-Visual Productions IMPORTANT: MUSIC COMPOSITIONS It speaks for itself that all creative work should be original works by the participant that enters the eisteddfod. Therefore it implies that the participant (and NO ONE else) is the creator of the work in the form that the entry is submitted. The participant may seek advice, but should compose the piece as submitted. Kindly take note of the Explanatory notes, rules & definitions as provided at the beginning of this category. CW01 REQUIREMENTS : MUSIC COMPOSITIONS Participants should submit TWO copies of a composition in any style. The NEA accepts no responsibility for any losses in this regard whatsoever. No copy will be returned to the participant. By entering into this category participants agree that the NEA is granted permission to perform the winning contributions at Showcase events or to use it to promote the activities of the NEA. A copy of the participation slip should be attached to every entry. Music entries must be submitted in staff notation (notation in solfa will also be accepted). A recording of a work may also be submitted together with the printed copy. For music in a more contemporary style, a copy of the melody line and text (where applicable) is required. A recording by the artist will also be accepted in this section, but only the composition itself will be adjudicated and not the performance of it. No. COMPOSITION FOR VOICE (not in contemporary / pop style) 7001 COMPOSITION FOR INSTRUMENT (not in contemporary / pop style) 7002 CONTEMPORARY VOCAL COMPOSITION 7003 CONTEMPORARY INSTRUMENTAL COMPOSITION 7004 GRADE CODE Gr. 4 Open Section Refer to Table C for grade codes C r e a t i v e W o r k Copyrighted NEA

231 CW02 LITERARY WORK LITERARY WORK REQUIREMENTS : Participants should submit TWO copies of the text. The NEA accepts no responsibility for any losses in this regard whatsoever. No copy will be returned to the participant. A copy of the participation slip should be attached to every entry. Kindly take note of the Explanatory notes, rules & definitions as provided at the beginning of this category. No. POETRY 7005 GRADE CODE PROSE / SHORT STORY o Minimum: 250 words o Maximum: 1200 words MONOLOGUE o Minimum duration: 2 minutes (app. 200 words) o Maximum duration: 4 minutes (app. 400 words) SCENE o Minimum duration: 2 minutes (app. 200 words) o Maximum duration: 4 minutes (app. 400 words) SHORT PLAYS o Minimum duration: 10 minutes o Maximum duration: 15 minutes Gr. 4 Open Section Refer to Table C for grade codes C r e a t i v e W o r k Copyrighted NEA

232 REQUIREMENTS: VISUAL ARTS Any media or combination of media as specified may be used. For practical reasons and for ease of transport it is recommended that, where applicable: o o o o Primary school entries should be on A3 size paper. Secondary school entries should not be less than A5 or exceed A2 size. It is preferred that white paper should be used. Given the cost involved, NO entry should be mounted or framed. Kindly take note of the Explanatory notes, rules & definitions as provided at the beginning of this category. All the artworks from any one institution must be packed in a sturdy container to prevent damage during transport. The name and contact details of the school / studio should be provided on the outside of the container. An alphabetical list of all entrants according to their grade should be included with the entries. Please note that COPYRIGHT need to be respected in all aspects of the creative arts. Therefore NO copying / photocopying / tracing or copying of existing images or any images from the internet will be accepted. Although these techniques might be used in the TRAINING PROCESS it WILL NOT be accepted in any art work that is submitted under the declaration as own work. CW03 FINE ARTS DRAWING Media: Pencil, charcoal or pastel on paper Format: o Primary school: A3 o Secondary school & open section: minimum A5 maximum A2 PAINTING Media: Oil, Acrylic or tempera paint on canvas or board Water colour on paper o o Primary school: A3 Secondary school & open section: minimum A5 maximum A2 No GRADE CODE Gr. 0 Open Section Refer to Table C Gr. 4 Open Section Refer to Table C for grade codes C r e a t i v e W o r k Copyrighted NEA

233 CW03 MIXED MEDIA FINE ARTS 7012 Mixed Media refers to one-dimensional art works that utilize any combination and number of different media in the same art work: e.g. pastel and water colours, or oil and recycled materials, collage etc. Recycled material can be used to create texture. Gr. 0 Open Section Refer to Table C for grade codes SCULPTURE o o Primary school: A3 Secondary school & open section: minimum A5 maximum A Only recycled material may be used for Sculpture. No mass prefabricated moulds or products may be used, e.g. glass vases. o Primary & Secondary School: Maximum dimensions allowed: 40 cm x 40 cm x 40 cm Gr. 4 Open Section Refer to Table C for grade codes PRINTMAKING * 7014 Media: lino, wood, intaglio Artist proof or limited print printed on paper o Secondary school & open section: minimum A5 maximum A2 Gr. 8 Open Section Refer to Table C for grade codes Intaglio printing (the image areas are depressed below the surface of the plate Lithography (the printing surface is flat and printing depend upon a chemical reaction) Silkscreen printing (serigraphy) (image areas are drawn on a fabric mesh and the no image areas are m * Although works incorporating many different media are common, printmaking falls generally into one of four traditional categories: Relief prints (the portion of the block / plate meant to take the ink is raised, while the nonprinting area are cut away below the surface (e.g. linocut, wood engraving). ade nonporous. A squeegee is pulled across the screen to force the ink through the image areas and onto the printing paper directly underneath) C r e a t i v e W o r k Copyrighted NEA

234 CW04 DESIGN DESIGN Design refers to aspects of functional designs as is mostly required by a client. In this context the possibility of mass production of a design is an attribute that differentiates it from the traditional visual arts. GRAPHIC DESIGN 7015 o By hand or electronic means (digital) o Black and white OR Colour o Size: Secondary school & open section: minimum A5 maximum A2 Gr. 8 Open Section Refer to Table C for grade codes One dimensional design, e.g. posters, CD covers, billboards. (It speaks for itself that only the design of a billboard needs to be submitted). SURFACE DESIGN 7016 o By hand or electronic means (digital) o Black and white OR Colour o Size: Secondary school & open section: minimum A5 maximum A2 Gr. 8 Open Section Refer to Table C for grade codes Two dimensional design, e.g. mosaic, patterns, material, texture. (It speaks for itself that only the design of a surface needs to be submitted.) PRODUCT DESIGN 7017 o By hand or electronic means (digital) o Black and white or Colour o Size: Secondary school & open section: minimum A5 maximum A2 Gr. 8 Open Section Refer to Table C for grade codes Examples: fashion design, costume design, jewellery design, furniture design, set design. (It speaks for itself that only the design of a product needs to be submitted). PHOTOGRAPHY Photography involves more than merely taking a nice picture. The participant s skills in using the camera, composition and placing of elements in the picture, etc. are criteria that will be considered by the adjudicator. CW05 PHOTOGRAPHY PHOTOGRAPH Medium: A photographic image printed on photographic paper with gloss of matt finish (black & white / colour) o Photo size: A5 or A4 PHOTOGRAPHY PORTFOLIO Medium: A photographic image printed on photographic paper with gloss of matt finish (black & white / colour) o Photo size: A5 or A4 A portfolio of 3 5 photos of a continuous or specific theme / concept should be submitted Gr. 1 Open Section Refer to Table C for grade codes Gr. 4 Open Section Refer to Table C for grade codes C r e a t i v e W o r k Copyrighted NEA

235 IMPORTANT: TRADITIONAL AFRICAN ARTS & CRAFT Generally speaking, traditional Arts & Craft refer to handmade products that had both functional and esthetical value. Worldwide these skills that were transferred from generation to generation seems to be disappearing. There are basically three categories of African Arts Functional items, e.g. clay pots, baskets. Esthetical products, e.g. colourful bead work that is often characterised by the use of geometrical patterns. Rituals: Mask and dresses used during dances and ceremonial activities, as well musical instruments, e.g. Drums, etc. All the themes as provided at the beginning of the Art section applies to this section as well:. A new dawn Or My country, my people Or This makes South Africa great The declaration at the end of this category must be completed for and attached to each entry. A copy of the Creative Art Participant slip MUST be attached to the entry. CW06 TRADITIONAL AFRICAN ARTS & CRAFT No. GRADE CODE BASKETRY 7020 o Maximum dimensions allowed: 40 cm x 40 cm x 40 cm WEAVING o Maximum dimensions allowed: 40 cm x 40 cm x 40 cm 7021 Gr. 4 Open Section Refer to Table C for grade codes POTTERY 7022 o Maximum dimensions allowed: 40 cm x 40 cm x 40 cm C r e a t i v e W o r k Copyrighted NEA

236 TABLE C : GRADE CODES FOR CREATIVE WORK 00 Grade R 01 Grade 1 02 Grade 2 03 Grade 3 04 Grade 4 05 Grade 5 06 Grade 6 07 Grade 7 08 Grade 8 09 Grade 9 10 Grade Grade Grade Open section C r e a t i v e W o r k Copyrighted NEA

237 SUBMISSION OF ART WORK Please take note of the following administration process for the entering and adjudication of creative art. Entries should be submitted ONLINE or on the ENTRY FORM FOR INDIVIDUAL ENTRIES. Important: Please note that it is cheaper to enter ONLINE. Hardcopy entries are more expensive! Closing date for hardcopy entries on paper / fax or 22 JUNE 2018 (more expensive than online entries due to the fact that the entries need to be captured and verified!) Closing date for online entries: 30 June Once the entries have been processed, every participant will receive a participant slip containing a special Art Reference Number. This slip will also contain a Declaration of own work that MUST be completed by the PARTICIPANT or PARENT (if any assistance was provided to the candidate). If this participant slip is not available at the time of submission, a copy of the Art Entry Form can be completed and attached to the artwork. Artworks should NOT be framed, but care should be taken when packing / covering it in a convenient way in order to prevent damage. Please note that the NEA will not be able to submit any entry for adjudication if the required participant slip and declaration or copy of the entry form has not been attached. Once the PARTICIPANT SLIP and DECLARATION OF OWN WORK has been attached to the art work, it should be submitted as follows: o o Art work to be adjudicated at the NEA Office: First session (primary school entries): to reach the NEA office on or before 31 JULY 2018 Second session (secondary school and late entries) 31 August 2018 At a specific institution (only when the institution has arranged it with NEA Offices in advance. The date for submission will be communicated to the participants at that specific institution): to reach the contact person at the institution at least one week before the scheduled adjudication date. to be adjudicated on predetermined dates as arranged with the relevant adjudicator. The availability of results and certificates for collection will be announced on the National Eisteddfod Facebook page and on Twitter. In order to be notified in this regard,participants need to like / follow us on Facebook and / or Twitter. All artwork and certificates should then be collected form the NEA office before 1 December. ADDRESS FOR DELIVERY: NATIONAL EISTEDDFOD ACADEMY First Floor 284 Oak Avenue (Cnr Oak Avenue and Harley Street) Ferndale Or Local institution or venue as arranged with the NEA Office C r e a t i v e W o r k Copyrighted NEA

238 NATIONAL EISTEDDFOD OF SOUTH AFRICA ART ENTRY FORM 2018 Complete all Sections Use for ART entries ONLY A. INSTITUTION OF BILLING A.1 Who is responsible for submitting and paying for this entry? SCHOOL STUDIO PARENT A.2 Name of school / studio / parent: A.3 All participants that are participating for the first time in the National Eisteddfod, need to complete and attach a Registration form for the school/studio/parent mentioned in A.2 (see copy attached) A.4 Contact number for the responsible person: A.5 address of the responsible person: B. PROFILE OF PARTICIPANT NAME SURNAME COMPULSORY INFORMATION: Entries cannot be processed without an ID Number OR Date of Birth YEAR MONTH DAY Female Male ID number or Date of birth NAME OF SCHOOL School Grade ( when applicable) (This refers to the public / private school the participant is attending.) Language of communication of parent / participant Cell No. of parent (1) *Kindly provide the disability code if any - - Cell of parent (2) - - A Blind / Partially sighted C Intellectually challenged E Physically challenged B Deaf/Hard of Hearing D Learning disabled Not Applicable IMPORTANT: Adjudicators are often confronted with entries where they are convinced that are clearly not the work of a learner in that particular age group alone. This will in future only be accepted if any ADULT ASSISTANCE is the making of the artwork is declared. (Adult assistance in this context implies that the hand of an adult was actively involved in the making of the artwork / creative writing / music composition.) YES NO Please confirm if any adult assistance was provided for this entry. C. DETAILS OF ENTRY / ENTRIES Example 1. CATEGORY SECTION NUMBER GRADE CODE Name of the trainer / studio to be used as Trained by institution on certificate C W E.g. The Art Studio DECLARATION OF OWN WORK I hereby declare that I have observed the Rules regarding Copyright and that the attached artwork does not include any image that was copied / traced from and existing image or any image copied from the internet. I agree to submit myself to the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus for this event and to accept the decision of the NEA management about all matters regarding this event. I accept that entry fees are NOT refundable and that the NEA and its host venues are indemnified against any loss, theft of injury sustained during festivals. I declare that the information regarding adult assistance as provided above is correct. NAME IN PRINT SIGNATURE DATE C A S H E F T DATE OF ELECTRONIC TRANSFER / /2018 COMPULSORY: Provide name of participant as reference on the deposit slip Fax proof of payment to [011] / to entry@eisteddfod.co.za Entry fee due: R Bank: ABSA Account Name: National Eisteddfod Academy Branch: Northcliff Code: Account Number: Type: Current Account C r e a t i v e W o r k Copyrighted NEA

239 NATIONAL EISTEDDFOD OF SA - REGISTRATION FORM 2018 ART ENTRIES ONLY Kindly complete all sections where applicable. Kindly return this form ASAP by register@eisteddfod.co.za or fax: PART 1: Details of school / institution Kindly check the correctness of the information below. Please correct or update where necessary. B. ADDRESS AND CONTACT DETAILS: (Please print clearly) NAME OF SCHOOL / INSTITUTION / STUDIO / PARENT Ref. no. N/a Web Pass N/a POSTAL ADDRESS CODE: ADDRESS PHYSICAL ADDRESS: STREET & NUMBER GPS Co-ordinates (school) RESIDENTIAL AREA /TOWN TEL. NO. FAX NO. TELEFAX NO. Kindly indicate which of the following school calendars apply to you / your institution or studio (where applicable). 4 TERM PUBLIC SCHOOL CALENDAR 3 TERM CALENDAR (Independent school) 4 TERM CALENDAR (Independent school) OTHER B. DETAILS OF CONTACT PERSON / REPRESENTATIVE (if different from the information in A) NAME OF REPRESENTATIVE TELEPHONE NUMBER (Work) FAX NO. (Work) CONTACT NUMBER (After hours) HOME: CELL: ADDRESS of REPRESENTATIVE D. PARTICIPANTS SLIPS FOR ART Please provide me / us with copies of Printed Art slips will be ART slips as indicated () collected from the NEA When is your birthday? Day: Month: Please Art slips to address as above Not required PART 2: Hosting of artwork adjudication (to be completed by schools / institutions only) Kindly indicate if you would be able to host eisteddfod events at your school. () If yes, the NEA office will contact you with more information: Cannot host the adjudication of artworks in 2018 will submit art entries to the NEA Office. Willing to host the adjudication of artworks in 2018 artworks form other institutions welcome. Willing to host the adjudication of artworks in 2018, but only for learners from our school..../ /2018 Headmaster / Studio owner Name in block letter Date Designated signature C r e a t i v e W o r k Copyrighted NEA

240 PART 11 Participants with Different Abilities Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

241 PARTICIPANTS WITH DIFFERENT ABILITIES DEAF AND HARD OF HEARING INTELLECTUALLY CHALLENGED DA01 DA02 DEAF AND HARD OF HEARING The Hard of Hearing will be adjudicated separately from the Deaf participant. The following section provides mainly for the Deaf, but at times can be appropriate for the hard of hearing. EXPLANATORY NOTES (For more detail refer to other relevant sections of the syllabus) CHORAL VERSE Any poem to be performed by a group of children using signs CHORAL SONG Music is played and the group signs the song DRAMATISED STORY TELLING Candidate tells a story of his / her choice. Costume and props may be used but is not compulsory. This section is dramatised storytelling. UNDRAMATISED OR STORYTELLING Candidate tells a story of his/her choice. This section is not dramatised and is the use of sign only. DRAMATISED POETRY Candidate dramatised a poem of his/her choice IMPERSONATIONS The candidate chooses 3 personalities, which he/she then impersonates. P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

242 MOVEMENT DRAMA A group of children (2 or more) chooses a theme, which they enact by using movements only. The emphasis should be directed towards the experiences, emotions, etc., rather than events. PLAYS The group can write the play. Any theme, which is in the field of experience of the child, may be chosen. Costumes and props may be used but is not compulsory. THEME PROGRAMME The group can choose a theme that is in the field of experience of the children. This section can be a combination of a poem, descriptive prose, dramatic monologue or character portrayal or a comic item. The candidates must provide a program not exceeding 15 minutes in duration. The program must be well balanced and the emphasis should be on variety, continuing them and interchange in presentation. Items should be linked in a suitable manner, e.g. music, movement and sound effects. MIME : SOLO The candidate can choose a mime that is in the field of his experience. Mime costume. MIME : GROUP A minimum of 5 children does a group mime of their choice. Mime costumes must be worn. MONOLOGUE The candidate may do a comic or dramatic monologue. A costume may be used but it is not compulsory. PREPARED COMMUNICATION o o PRIMARY SCHOOL - A candidate must prepare a talk on a topic that is in his experiential field. The primary school pupils may present an object as their topic, in the format of 'Show and Tell'. This is sign only. Visual aids may be used. HIGH SCHOOL - A candidate must prepare a talk on a topic that is in his experiential field. This is sign only. Visual aids may be used. UNPREPARED COMMUNICATION A candidate is presented with a choice of 3 topics, of which they must choose 1 of these topics and present a talk. PERCUSSION BANDS For tuned or/and un tuned percussion instruments, with or without piano accompaniments. Groups that include adult players are required to enter open classes. The choice of music is own choice. Refer to category A. TIME LIMITS o Junior Primary School: (3-5 minutes) o Senior Primary School: (5-10 minutes) o High School: (8-10 minutes) o Open Section: (8-10 minutes) P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

243 BANDS: MISCELLANEOUS GROUPS Any combination of instruments, including jazz bands, combos or electronic instruments. DANCING This section is identical to that set out in the hearing syllabus. These candidates will be incorporated in the adjudication with the hearing pupils (where possible), but consideration will be made regarding their disability in their adjudication. Refer to THE Dance Section for more information on the following: Folk Dancing Traditional Dancing Classical Ballet Modern Dancing Tap Dancing Acrobatic Dancing HOW TO COMPLETE THE ENTRY FORM SELECTING THE ITEM CODES FOR ENTRIES: DEAF AND HARD OF HEARING The following 3 questions should guide the completion of entry forms in the instrumental section: 1. Select the appropriate ability from TABLE A. E.g.: The appropriate code for Deaf and Hard of Hearing in Table A is DA01. Print DA01 in the first 4 blocks for the entry number on the entry form.) 2. Select the appropriate category from TABLE B. Clearly print the corresponding number in the three blocks following the instrument code completed under (1). Item no. 801 indicates a Choral Verse 3. Select the appropriate grade code for the participant from TABLE C. Clearly print the selected code in the last 2 open blocks provided for the item number. Grade code 09 will indicate Grade 9. ITEM NUMBER: TABLE A TABLE B TABLE C INSTRUMENT CATEGORY GRADE CODE D A / 0 9 DA represents a Deaf and Hard of Hearing Choral Verse by Grade 9 learners. KINDLY NOTE: It is the participant s responsibility to ensure that the information submitted on the entry form is correct. The NEA accepts NO responsibility for incorrect entries. Changes to incorrect entries are subject to the payment of a penalty of R60.00 per incorrect entry. P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

244 SECTIONS AND ITEM NUMBERS FOR DEAF AND HARD OF HEARING TABLE A DEAF AND HARD OF HEARING INTELLECTUALLY CHALLENGED DA01 MHA TABLE B CHORAL VERSE 801 CHORAL SONG 802 DRAMATISED STORY TELLING 803 UNDRAMATISED STORY TELLING 804 DRAMATISED POETRY 805 IMPERSONATIONS 806 MOVEMENT DRAMA 807 PLAYS 808 THEME PROGRAMME 809 MIME : SOLO 810 MIME : GROUPS 811 MONOLOGUE 812 PREPARED COMMUNICATION 813 UNPREPARED COMMUNICATION 814 PERCUSSION BANDS 815 BANDS : MISCELLANEOUS GROUPS 816 FOLK DANCING 817 TRADITIONAL DANCING 818 CLASSICAL BALLET 819 MODERN DANCING 820 TAP DANCING 821 ACROBATIC DANCING 822 JAZZ DANCING 823 TABLE C: ITEM CODES FOR VARIOUS GRADES /SCHOOL PHASES* NB. The time limits per grade may not be exceeded. 00 Grade R 2 minutes 11 Grade 11 6 minutes 01 Grade 1 2 minutes 12 Grade 12 6 minutes 02 Grade 2 2 minutes 13 Foundation phase group* 4 minutes 03 Grade 3 3 minutes 14 Intermediate phase group* 4 minutes 04 Grade 4 3 minutes 15 Senior phase group* 5 minutes 05 Grade 5 4 minutes 16 FET phase* 6 minutes 06 Grade 6 4 minutes 17 Primary school group* 4 minutes 07 Grade 7 4 minutes 18 Secondary school group* 6 minutes 08 Grade 8 5 minutes 19 Open section 6 minutes 09 Grade 9 5 minutes 20 Senior citizens 6 minutes 10 Grade 10 6 minutes *If the members of the group represent different grades, select the appropriate group code from the above table, or enter under the highest grade. P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

245 INTELLECTUALLY CHALLENGED PARTICIPANTS TABLE A DEAF AND HARD OF HEARING INTELLECTUALLY CHALLENGED DA01 DA02 GUIDELINES FOR ENTERING INTELLECTUALLY CHALLENGED PARTICIPANTS The mental age of the mentally handicapped does not correspond with their chronological age and therefore they should be judged entirely on the level in which they have entered. These pupils will be adjudicated on their own and not combined with mainstream pupils. SOLO VOICE - One level only - Singing with accompaniment - Will be judged on difficulty of melody and purity of voice. CHOIR PROGRAMME Choose 3 songs for this programme, one religious, 1 traditional/folk song and 1 own choice. The time limit for the primary school is 10 minutes. No pre-taped music will be allowed. Please note: where possible, choose songs appropriate to the child's chronological age. HOW TO COMPLETE THE ENTRY FORM SELECTING THE ITEM CODES FOR ENTRIES: INTELLECTUALLY CHALLENGED The entry number comprises of 3 components provided in Table A - C: 1. Select the appropriate ability from TABLE A. E.g.: The appropriate code in Table A for Mentally Challenged is DA02. Print DA02 in the first 3 blocks for the entry number on the entry form.) 2. Select the appropriate category from TABLE B. Clearly print the corresponding number in the three blocks following the instrument code completed under (1). Item no. 824 indicates the Vocal Section 3. Select the appropriate code for the participant from TABLE C. Clearly print the selected code in the last 2 open blocks provided for the item number; 42 indicates Level 1: Singing in one voice: simple tune. ITEM NUMBER: TABLE A TABLE B TABLE C D A / 4 2 DA represents a vocal solo for intellectually challenged participant. P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

246 INTELLECTUALLY CHALLENGED PARTICIPANTS: SECTIONS AND ITEM NUMBERS TABLE B VOCAL SECTION 824 INSTRUMENTAL SECTION: PERCUSSION GROUPS 825 INSTRUMENTAL SECTION: RECORDER 826 INSTRUMENTAL SECTION: STRING INSTRUMENTS 827 INSTRUMENTAL SECTION: PIANOFORTE AND KEYBOARD 828 TRADITIONAL DANCE 829 FOLK DANCE 830 DANCE (OTHER) VOCAL SECTION (solo voice / choral work) TABLE C (1) Level Solo voice 41 Level 1: Choir - Singing in one voice: simple tune 42 Level 2: Choir - Round in two parts: simple tune 43 Level 3: Choir - Singing in two voices: simple tune 44 Level 4: Choir - Singing in one voice: complicated tune 45 Level 5: Choir - Round in two parts: complicated tune 46 Level 6: Choir - Singing in two voices: complicated tune 47 Level 7: Choir - Round in three parts: simple tune 48 Level 8: Choir - Round in three parts: complicated tune 49 Level 9: Choir - Singing in more than two voices: simple tune 50 Level 10: Choir - Singing in more than two voices: complicated tune INSTRUMENTAL SECTION: PERCUSSION GROUPS Not less than 3 participants Time: no longer than 5 minutes. Any level may be chosen. TABLE C (2) Level 1: Play on beat all together, as it is conducted with no special arrangement. 52 Level 2: Play on beat, as it is conducted with special arrangement. 53 Level 3: Play on beat and play rhythm, all together, as conducted with no special arrangement. 54 Level 4: Play on beat and rhythm, as it is conducted with special arrangement. 55 Level 5: Where instruments play rhythm of accompaniment or a special arrangement of a piece INSTRUMENTAL SECTION: RECORDER Time : not more than 3 minutes. TABLE C (3) Level 1: LH only from G - High D (5 notes) simple piece 57 Level 2: LH only from G - High D (5 notes) complex piece 58 Level 3: RH and LH from D - High D (octave, 8 notes) simple piece 59 Level 4: RH and LH from D - High D (octave 8 notes) complex piece 60 P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

247 Level 5: RH and LH from C - High F - simple piece 61 Level 6: RH and LH from C - High F complex piece 62 Level 7: 2 recorders in harmony from C - high F INSTRUMENTAL SECTION: STRING INSTRUMENTS Accompaniment optional in all levels. Time: not more than 3 minutes TABLE C (4) Level 1: 2 chords only simple piece 64 Level 2: 2 chords only complex piece 65 Level 3: 3 chords only simple piece 66 Level 4: 3 chords only complex piece 67 Level 5: 5 chords only simple piece 68 Level 6: 5 chords only complex piece 69 Level 7: 5 or more chords simple piece 70 Level 8: 5 or more chords complex piece INSTRUMENTAL SECTION: PIANOFORTE AND KEYBOARD Selection of piece (s) optional. Time: maximum 5 minutes. TABLE C (5) Level 1: Tune with one hand and 5 sequential notes only 72 Level 2: Tune with one hand and more than 7 notes 73 Level 3: Two hands - RH and LH play together, but each hand only one note at a time - 74 hands stationary Level 4: RH and LH position stationary but 2 more notes at a time 75 Level 5: RH and LH hands not stationary, up to 4 bars 76 Level 6: RH and LH hands not stationary, up to 8 bars 77 Level 7: RH and LH hands not stationary, up to 16 bars 78 Level 8: RH and LH hands not stationary, more than 16 bars TRADITIONAL DANCE 830 FOLK DANCE 831 DANCE (OTHER) DANCE SECTION TABLE C (6) PRIMARY SCHOOL SOLO 80 HIGH SCHOOL - SOLO 81 OPEN - SOLO 82 PRIMARY SCHOOL GROUP 83 HIGH SCHOOL - GROUP 84 OPEN - GROUP 85 P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

248 BLIND AND PARTIALLY SIGHTED, PHYSICALLY DISABLED AND LEARNING DISABLED PARTICIPANTS Blind and partially sighted, physically disabled and learning disabled people can also enter in all categories of the National Eisteddfod. For the purpose of logistics and adjudication it is important to indicate the applicable code on the entry form for each participant / group. *A special section on the entry forms has been provided where DISABILITY CODE* the applicable code should be entered. Blind/Partially Sighted A Deaf/Hard of Hearing B Intellectually challenged C Learning disabled D Physically challenged E P a r t i c i p a n t s w i t h D i f f e r e n t A b i l i t i e s Copyrighted NEA

249 PART 12 Musical Theatre Copyrighted NEA 2018 This document may only be copied or reproduced in any way what so ever for the purpose of participating in activities of the National Eisteddfod of South Africa M u s i c T h e a t r e Copyrighted NEA

250 MUSIC THEATRE EXPLANATORY NOTES & DEFINITIONS Music Theatre combines various art disciples like vocal music, acting and dancing that have been included in separate sections of this Prospectus. For this reason it was decided to include Music Theatre as a separate section in this Prospectus. DEFINITION MUSIC THEATRE Musical theatre refers to a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical are communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. (Source: Wikipedia, Musical Theatre). For the purpose of the National Eisteddfod Prospectus, the Musical Theatre section provides for any performance that involves singing, dancing and acting. It may also include the use of instruments. Examples are the presentation of a cabaret style production, vocal ensemble productions (including serenade and glee ), extracts from Broadway musicals, musical theatre productions and experimental musical plays, as well as revue productions. Entries in this category comprises of a combination of : the spoken word vocal / instrumental music dance sequences In addition appropriate design elements (décor / props / costumes) may be used. RULES AND REGULATIONS There are no specific prescribed pieces in this category. All items are own choice. Time limit: Participants should not exceed the time limit. It will is not possible to include an item in this category as originally presented for adjudication, in a Showcase programme or the NEA Young Performer Awards Competition. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. Only secondary school participants and open section may enter for solo, ensemble and small group categories in this section. Please note that different maximum durations might apply to the different categories. A maximum setup time of 5 minutes will be allowed for any of these categories. To provide for possible challenges of moving a décor set, larger scale events can be adjudicated at the school or venue during the actual performance of the production. For more information and arrangements in this regard, please contact the NEA office during office hours on or admin@eisteddfod.co.za M u s i c T h e a t r e Copyrighted NEA

251 HOW TO COMPLETE THE ENTRY FORM Selecting an ITEM NUMBER involves three steps: ITEM NUMBER: TABLE A / TABLE B TABLE C M T The entry number comprises of three components provided in Tables A, B and C. o o o o o Decide on whether the performance will be acoustically or with the use of backing track. The Table B code for an acoustic performance (i.e. with live accompaniment or without accompaniment (a capella) ) is MT01. When a backing track and / or electronica equipment will be used, the Table B code is MT02. Decide on the Item description, as well as the NUMBER of PERFORMERS that will participate in the specific entry and select the appropriate code from TABLE B. Select the appropriate grade code for the participant from Table C. Clearly print the selected code in the last 2 open blocks provided for the item number. Grade code 09 = a participant in Grade 9. MT will be the code for a Revue Production that involves secondary school participants. CATEGORIES AND ITEM CODES TABLE A: VOCAL solo / ensemble / group This category provides for a performance by a solo voice or vocal ensemble / group. MT01 Kindly note the difference between the code for solo items and ensembles (duo, trio, etc.). Participants may perform a Capella (without accompaniment) or with live acoustical accompaniment. VOCAL solo / ensemble / group This category provides for a performance by a solo voice or vocal ensemble / group. Kindly note the difference between the codes for solo items and ensembles (duo, trio, etc.). Participants may perform with a backing track and will be scheduled at a venue where the necessary facilities are available. IMPORTANT: Due to the cost involved a higher entrance fee could be charged at selected venues. MT02 CLASSICAL CROSSOVER M u s i c T h e a t r e Copyrighted NEA

252 MUSIC THEATRE CATEGORIES SUMMARY OF CODES FOR SOLO ITEMS, ENSEMBLES & GROUPS TABLE B: Participant / group to present a cabaret style production. Within this time limit the performance may involve any number of songs and styles, the use of the spoken word and other appropriate dramatic elements, lighting, décor and costume. Electronic / backtrack or acoustic accompaniment may be used. PLEASE NOTE: Due to the specialized nature of this item it will only be adjudicated at selected venues. Kindly contact the NEA Office in this regard. Duration: 8 minutes. Solo 4000 Ensemble : Duo 4001 Ensemble: Trio 4002 Ensemble: quartet (4) 4003 Ensemble: quintet (5) 4004 Small group: 6-10 participants 4005 Please note: It is not possible to include an item in this category as originally presented for adjudication, in a Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. Vocal harmony ensemble, to perform with backing tracks, live accompaniment or a capella (=without any accompaniment). Can be performed with movements, including serenade singing; and glee (glee = singing and dancing) Maximum duration (solo & ensemble groups): 8 minutes Maximum duration (small, medium & large groups): 12 minutes Ensemble : Duo 4006 Ensemble: Trio 4007 Ensemble: quartet (4) 4008 Ensemble: quintet (5) 4009 Small group: 6-10 participants 4010 This art-form as been around since the 18 th century and it started with singers, actors, jugglers, acrobats and magicians performing together in a show. Today the art-form basically consists of songs written for stage productions. People like Lord Andrew Lloyd Webber (who was knighted by the Queen of England because of his contribution to British music) and Sir Tim Rice are the celebrities in this genre (these 2 men are probably responsible for some of the biggest musical productions in the last 20 years). Entries in this category may comprise of 2 3 songs and may include the spoken word vocal / instrumental music dance sequences appropriate design elements (décor / props / costumes) Maximum duration (solo & ensemble groups): 8 minutes Maximum duration (small, medium & large groups): 15 minutes Solo 4011 Ensemble : Duo 4012 Ensemble: Trio 4013 Ensemble: quartet (4) 4014 Ensemble: quintet (5) 4015 Small group: 6-10 participants Medium sized group: participants Large group: 21+ participants M u s i c T h e a t r e Copyrighted NEA

253 Famous Musical Songwriters and Lyricists and Theme songs/productions: No. Artist Song/Productions Year 1. Gilbert And Sullivan` The Pirates Of Penzance Rogers And Hammerstein Oklahoma Carousel The King And I The Sound Of Music George And Ira Gershwin Porgy and Bess Sir Tim Rice and Lord Andrew Lloyd Webber Evita, Cats 1970 s Each production consists of: the spoken word vocal / instrumental music dance sequences appropriate design elements (décor / props / costumes) (Extracts from Operetta and Broadway productions may also be entered into this category).duration: minutes maximum Small group: 6-10 participants 4019 Medium sized group: participants 4020 Large group: 21+ participants 4021 Please note: It is not possible to include an item in this category as originally presented for adjudication, in a Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. This is an integrated arts category and is open for learners from grade 5 onwards. A critical feature of this category is the creative input from the learners themselves Each production consists of: the spoken word vocal / instrumental music dance sequences appropriate design elements (décor / props / costumes). Small group: 6-10 participants 4022 Medium sized group: participants 4023 Large group: 21+ participants o o o o Drama component: An original play script written by the learners Music: Original lyrics and music for 2 arias, one duet, three choruses, interludes, accompaniment and an overture. Learners need to have their own orchestra and conductor for the performances. Dance: Learners have to create a least three original movement pieces (e.g. a chorus dance, interlude dance, scene changing dance) Design: Original set, props and costumes to be designed and made by learners. They also provide the backstage crew DURATION: minutes Please note: It is not possible to include an item in this category as originally presented for adjudication, in a Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. M u s i c T h e a t r e Copyrighted NEA

254 Please note the differentiation between: Revue productions with backing track (pre-recorded voices) (which should be entered under the Dance Section) and Revue productions with live singing and backing track / acoustical accompaniment The Program should not exceed 15 minutes contain less than 3 different songs. Medium sized group: participants 4025 Large group: 21+ participants 4026 Revue items will be adjudication on the following: Co-ordination - Song and movement Appropriateness of movements Choice of songs Words and melody must be in line with age group Variety and unity Overall impression Please note: It is not possible to include a revue item as originally presented for adjudication, in a Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Groups are requested to take this aspect into consideration when compiling and recording the music for this item. This category allows schools to enter full productions that involve large number of participants for adjudication. Large group: 21+ participants 4027 The adjudication will be scheduled during the actual performance of the show, if possible on a date as preferred by the school. The adjudicator will adjudicate the complete show at the venue. If requested in advance, it will be possible to divide the show into a number of sub categories, e.g. per grade, per scene, etc. DURATION: minutes. Please note: It is not possible to include an item in this category as originally presented for adjudication, in the Showcase programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Participants are requested to take this aspect into consideration when compiling and recording the music for this item. TABLE C : GRADE & PHASE CODES FOR MUSICAL THEATRE 08 Grade 8 * minutes 13 Foundation phase group * minutes 09 Grade 9 * minutes 17 Primary school group * minutes 10 Grade 10 * minutes 18 Secondary school group * minutes 11 Grade 11 * minutes 19 Open section * minutes 12 Grade 12 * minutes 20 Senior citizens * minutes 86 Primary & secondary school group * minutes * Minutes: Refer to the different categories for the maximum duration allowed for each category. M u s i c T h e a t r e Copyrighted NEA

255 SPECTUS PART 13: Registration, Entry Forms & Hard Copy Entry Fees Copyrighted NEA 2018 (This document may only be copied or reproduced in any way what so ever for the purpose of participating in the activities of the National Eisteddfod of South Africa.) R e g i s t r a t i o n a n d E n t r y F o r m s

256 ENTRY & REGISTRATION FORMS FOR 2018 IMPORTANT: In order to prevent any confusion or misunderstanding, only the entry fees for HARD COPY entries have been provided in this document. For more info about the cheaper ONLINE entry fees go to Hard copy entries refer to any entry completed on paper and is then hand delivered, faxed or ed. R e g i s t r a t i o n a n d E n t r y F o r m s

257 SUMMARY AND DESCRIPTION ENTRY FEES (ONLINE & HARD COPY) AND ENTRY FEES 2018 Hard copy entry fees for individual and group items REGISTRATION FORM 2018 To be completed by all individuals / participating bodies. Please note that you can also register ONLINE on the website: ENTRY FORM FOR NEA CONFIDENCE BUILDER 2018 To be used for Confidence Builder entries only. ENTRY FORM FOR INDIVIDUAL ENTRIES 2018 To be used for single / multiple entries of ONE participant. SPECIAL REQUEST FORM FOR INDIVIDUAL PARTICIPANTS 2018 To be used for single / multiple entries of ONE participant. ENTRY FORM FOR MULTIPLE INDIVIDUAL ENTRIES WITH THE SAME ITEM NUMBER To be used for a single entry number with up to 10 participants. SMALL GROUP ENTRY FORM 2018 To be used for a group entry number with up to 5 participants. LARGE GROUP ENTRY FORM 2018 To be used for a groups with 6 and more participants. SPECIAL REQUEST FORMS 2018 To be completed for special requests to be considered during the scheduling of events. IMPORTANT: DO NOT SUBMIT ENTRIES ONLINE AND IN HARD COPY. THIS WILL RESULT IN DUPLICATE ENTRIES AND DUPLICATED COST! PROOF OF PAYMENT SHOULD BE ATTACHED / INCLUDED WHEN SUBMITTING ENTRIES IN HARD COPY FORMAT. Submission of HARD COPY forms: Fax: entry@eisteddfod.co.za R e g i s t r a t i o n a n d E n t r y F o r m s

258 ENTRY FEES AND CLOSING DATE FOR ENTRIES IN 2018 In order to qualify for the fee as listed below, proof of payment should reflect a date within the relevant framework. The entry fees and closing date for entries for 2018 are as follows*: Deadline: Standard Online entries Deadline: Late Bird Online entries Deadline: Hard Copy Entry fee Deadline: Lost Bird Online entries 30 June 3 Aug 22 June 31 Aug NEA Confidence Builder (1 participant) R 80 R 100 R 100 Not applicable Individual entries (1 participant) R 185 R 195 R 200 R 285 Ensemble groups (2 5 participants) R 250 R 260 R 280 R 350 Small groups (6 10 participants) R300 R 320 R 350 R 400 Medium sized groups (11 20 participants) R330 R 350 R 380 R 430 Large groups (entry fee as per number of participants) participants R 350 R 375 R 400 R participants R 380 R 410 R 430 R participants R 410 R 440 R 460 R participants R 470 R 500 R 520 R participants R 550 R 570 R 600 R participants R 620 R 650 R 670 R participants R 730 R 760 R 780 R 830 Full shows / productions R 1900 R 1950 R 1960 R 2025 * Any extension of closing dates will be announced on the website. Entries may be submitted in hard copy format or directly online by using the internet. Hard copy entries refer to all versions of entries submitted on an entry form (paper copy and faxed or e- mailed copies of the completed entry form). Please note that a higher fee is charged for hard copy entries. R e g i s t r a t i o n a n d E n t r y F o r m s

259 HARD COPY ENTRY FEES 2018 IMPORTANT NOTICE: Please note that a higher entry fee is charged for all hard copy entries (=entry submitted on entry forms). This includes all versions of entries on entry forms (submitted on paper, by fax or ). A lower entry fee is charged for ALL entries submitted ONLINE. To register and enter ONLINE go to our webpage by entering the following url into your browser: Select the Login / Register button on the right hand corner just below Follow us The entry fees and closing date for hard copy entries for 2018 are as follows*: Deadline : Hard Copy entry fee Deadline : LATE ENTRY Hard Copy entries 22 June 31 August NEA Confidence Builder (1 participant) Individual entries (1 participant) Ensemble groups (2 5 participants) Small groups (6 10 participants) Medium sized groups (11 20 participants) R 100 Not applicable R 200 R 300 R 280 R 380 R 350 R 450 R 380 R 480 Large groups (entry fee as per number of participants in the item) participants R 400 R participants R 430 R participants R 460 R participants R 520 R participants R 600 R participants R 670 R participants R 780 R 880 Full shows / productions R1960 R 2160 *Entries may be submitted in hard copy format or directly online by using the internet. Hard copy entries refer to all versions of entries submitted on an entry form (paper copy and faxed or ed copies of the completed entry form). Please note that a higher fee is charged for hard copy entries. R e g i s t r a t i o n a n d E n t r y F o r m s

260 NATIONAL EISTEDDFOD OF SA - REGISTRATION FORM 2018 Kindly complete all sections where applicable. Please note that the proposed dates for 2018 are from 13 August - 12 October. Kindly return this form ASAP by register@eisteddfod.co.za or fax: PART 1: Details of school / institution Kindly check the correctness of the information below. Please correct or update where necessary. C. ADDRESS AND CONTACT DETAILS: (Please print clearly) NAME OF SCHOOL / INSTITUTION / STUDIO / PARENT Ref. no. N/a Web Pass N/a POSTAL ADDRESS CODE: ADDRESS PHYSICAL ADDRESS: STREET & NUMBER GPS Co-ordinates (school) RESIDENTIAL AREA /TOWN TEL. NO. FAX NO. TELEFAX NO. Kindly indicate which of the following school calendars apply to you / your institution or studio (where applicable). 4 TERM PUBLIC SCHOOL CALENDAR 3 TERM CALENDAR (Independent school) 4 TERM CALENDAR (Independent school) OTHER B. DETAILS OF CONTACT PERSON / REPRESENTATIVE (if different from the information in A) NAME OF REPRESENTATIVE TELEPHONE NUMBER (Work) FAX NO. (Work) CONTACT NUMBER (After hours) HOME: CELL: ADDRESS of REPRESENTATIVE When is your birthday? Day: Month: E. PARTICIPANTS SLIPS Please provide me / us with copies of participant slips as indicated () Printed hard copies will be collected from the NEA Please participant slips to address as above Not required PART 2: Hosting of eisteddfod events (to be completed by schools / institutions only) Kindly indicate if you would be able to host eisteddfod events at your school. () If yes, the NEA office will contact you with more information: Cannot host any event in 2018 will participate at venues as provided by the NEA. Willing to host eisteddfod events in 2018 all participants welcome. Willing to host eisteddfod events in 2018, but only for learners from our school..../ /2018 Headmaster / Studio owner Name in block letter Date Designated signature R e g i s t r a t i o n a n d E n t r y F o r m s

261 PART 3: Selected REGION and LOCAL AREA for 2018 Proposed Activity Dates for 2017: 13 Aug 12 October 2018 (For more information kindly refer to the notes below.) PROVINCE SHOWCASE REGION LOCAL AREA to select Benoni Boksburg Etwatwa Kathlorus Kemptonpark Springs Tembisa? Alexandra Auckland Park Bedfordview Benmore Glenvista Greenside Houghton Hyde Park Lenasia Melville Norwood Parktown Sandown Soweto? Blairgowrie Bryanston Dainfern Fairland Ferndale Fontainebleau Fourways Kayalami Linden Lonehill Midrand Northcliff Sharonlee? Centurion Pretoria Soshanguve Tshwane? Heidelberg Vanderbijlpark Southern Vereeniging? Eastern Joburg Central/South Joburg North Northern Wes tern Gaut eng Fochville Little Falls Merafong City PROVINCE SHOWCASE REGION LOCAL AREA to select Mogale City Muldersdrift Randfontein Roodepoort Ruimsig Weltevredenpark Westonaria? International International Maputo Kwazulu Natal Kwazulu Natal? Limpopo Bela-Bela Limpopo Makhado Limpopo Modimolle Limpopo Musina Limpopo Polokwane Limpopo Vaalwater Limpopo? Mpumalanga Mbombela Mpumalanga Emhalhleni Mpumalanga Komatipoort Mpumalanga Lydenburg Mpumalanga Malelane Mpumalanga Middelburg Mpumalanga Steelpoort Mpumalanga? North West Delareyville North West North West Klerksdorp North West Madibeng North West Potchefstroom North West Rustenburg North West? Northern Cape Kathu Northern Cape Northern Cape Kuruman Northern Cape Postmasburg Northern Cape Upington Northern Cape? Western Cape Western Cape / Limpopo Mpumalanga Please indicate your Province, Region and Local area in the appropriate box above. The? in grayscale blocks indicate the option to add a NEW LOCAL AREA not provided for in the list. Please select a region and local area! Submission of HARD COPY forms: Fax: entry@eisteddfod.co.za R e g i s t r a t i o n a n d E n t r y F o r m s

262 NATIONAL EISTEDDFOD OF SOUTH AFRICA NEA Confidence Builder A. INSTITUTION OF BILLING NEA CONFIDENCE BUILDER - ENTRY FORM Complete all Sections A.1 Who is responsible for submitting and paying for this entry? SCHOOL STUDIO PARENT A.2. Please complete and attach a Registration form for this school/studio/parent to this entry form (Important: entries will not be accepted without a registration form and proof of payment) A.3 Please provide the name of the responsible person: A.4 Contact number for the responsible person: A.5 address of the responsible person: B. PROFILE OF PARTICIPANT NAME SURNAME COMPULSORY INFORMATION: Entries cannot be processed without an ID Number OR Date of Birth YEAR MONTH DAY Female Male ID number or Date of birth NAME OF SCHOOL (This refers to the public / private school the participant is attending and could be the same as in A2) School Grade ( when applicable) of parent / participant Cell No. of parent (1) *Kindly provide the disability code where applicable - - Language of communication Cell of parent (2) or participant: - - * A Blind / Partially sighted C Intellectually E Physically challenged challenged B Deaf/Hard of Hearing D Learning disabled Not Applicable CATEGORY Select Confidence Builder: Item Code: Speech and Drama items Vocal Solo Solo verse speaking (poetry) Instrumental solo Prose Afrikaans Poetry ensemble English Prepared reading IsiNdebele IsiXhosa Confidence Builder: Music items IsiZulu Vocal Solo with piano accompaniment Sepedi Instrumental solo (acoustical instruments only Sesotho TOTAL: Setswana Instrument: (e.g. piano, recorder,) when applicable: SiSwati Grade: TshiVenda XiTsonga HARD COPY ENTRY FEE: R Closing date for hardcopy entries: 22 June. Entry fee Please note: Hard copy entry refers to entry on paper submitted by fax or . I accept that NO changes of the performance date will be allowed once the schedule has been finalized and that entry fees are not refundable. I accept the Rules applicable to THE Confidence Builder as outlined in the Prospectus. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during this festival. NAME IN PRINT SIGNATURE DATE 257 R e g i s t r a t i o n a n d E n t r y F o r m s

263 NATIONAL EISTEDDFOD OF SOUTH AFRICA A. INSTITUTION OF BILLING HARDCOPY ENTRY FORM INDIVIDUAL ENTRIES 2018 Complete all Sections A.1 Who is responsible for submitting and paying for this entry? SCHOOL STUDIO PARENT A.2. Please complete and attach a Registration form for this school/studio/parent to this entry form (Important: entries will not be accepted without a registration form and proof of payment) A.3 Please provide the name of the responsible person: A.4 Contact number for the responsible person: A.5 address of the responsible person: B. PROFILE OF PARTICIPANT NAME SURNAME COMPULSORY INFORMATION: Entries cannot be processed without an ID Number OR Date of Birth YEAR MONTH DAY Female Male ID number or Date of birth NAME OF SCHOOL School Grade ( when applicable) of parent / participant Cell No. of parent (1) *Kindly provide the disability code where applicable (This refers to the public / private school the participant is attending.) - - Language of communication Cell of parent (2) or participant: Use for Individual entries ONLY - - * A Blind / Partially sighted C Intellectually E Physically challenged challenged B Deaf/Hard of Hearing D Learning disabled Not Applicable NB!! If you wish the NEA to consider any particular request when scheduling your New to the NEA? items, please complete the Special Request form on the next page. Any notes YES NO regarding special requests on this entry form will be disregarded. I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus and on the web page. I accept that entry fees are not refundable and that it remains my responsibility to contact the NEA if I have not received notification of performance dates at least 7 days prior to the starting date of events in my region. I accept the decision of the NEA management about all matters regarding this event. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during this festival. I hereby authorize the NEA to use recordings / pictures of performances at some of NEA events on the NEA s social media platforms and website. Name in Print Signature Date C. DETAILS OF ENTRY / ENTRIES Example HARDCOPY ENTRY FEE PER INDIVIDUAL ITEM: Confidence Builder (until 22 June): R 100 Hardcopy fee (until 22 June): R 200 Late hardcopy entries (until 31 July): R 300 DETAILS OF PAYMENT: Please indicate with in appropriate blocks where applicable DATE OF ELECTRONIC COMPULSORY: Name of Participant TRANSFER E Provide name of participant as reference on the deposit slip. F / /2018 Fax proof of payment to T [011] / to entry@eisteddfod.co.za Entry fee due: R Bank: ABSA Account Name: National Eisteddfod Academy CASH CATEGORY CHEQUE Branch: Northcliff Code: SECTION NUMBER GRADE CODE Account Number: Type: Current Account POSTAL ADDRES: PO BOX 1288, RANDBURG, 2125 Name of the trainer / studio to be used as Trained by institution on certificate W A E.g. The Music Studio IMPORTANT NOTICE: Individual participant slips will only be mailed on REQUEST to the address of the responsible school / studio / parent (see A.2 above). NB! Contact the NEA office if notification of performance dates has not been received at least 7 days prior to the starting date of events in your region. More entries may be added on additional pages. Clearly provide your name on all additional pages. Number of entries Entry fee X R TOTAL AMOUNT DUE R 258 R e g i s t r a t i o n a n d E n t r y F o r m s

264 SPECIAL REQUEST FORM 2018 FOR INDIVIDUAL PARTICIPANTS INDIVIDUAL ENTRY / SMALL GROUP ENTRY For attention: Manager: Administration National Eisteddfod Academy Name of participant: Date of Birth: I / We kindly request the scheduling of events to accommodate the following activities during the festival period IF and WHEN possible: (Please note: Only activities where the timeframe is fixed and available in advance can be accommodated (e.g. participation in provincial / national events, external exams, etc.) NATURE OF ACTIVITY (Provide a brief description of the activities and/or motivate your request) ACTIVITY DATE(S) (Block out the UNAVAILABLE dates on the calendar below.) Calendar for 2018: BLOCK OUT DATES THAT ARE NOT AVAILABLE July Mon 23 Tue 24 Wed 25 Thu 26 Fri 27 Sat 28 Aug 2018 Mon 30 July Tue 31 July Wed 1 Aug Thu 2 Fri 3 ISASA 3 Term schools close Sat 4 ISASA 3 Term schools closed Sep 2018 Mon 6 ISASA 3 Term schools closed Mon 13 ISASA 3 Term schools closed Mon 20 ISASA 3 Term schools closed Mon 27 ISASA 3 Term schools closed Mon 3 ISASA 3 Term schools closed Tue 7 ISASA 3 Term schools closed Tue 14 ISASA 3 Term schools closed Tue 21 ISASA 3 Term schools closed Tue 28 ISASA 3 Term schools closed Tue 4 ISASA 3 Term schools start Wed 8 ISASA 3 Term schools closed Wed 15 ISASA 3 Term schools closed Wed 22 ISASA 3 Term schools closed Wed 29 ISASA 3 Term schools closed Wed 9 Women s Day Thu 16 ISASA 3 Term schools closed Thu 23 ISASA 3 Term schools closed Thu 30 ISASA 3 Term schools closed Fri 10 School Holiday Fri 17 ISASA 3 Term schools closed Fri 24 ISASA 3 Term schools closed Fri 31 Sept ISASA 3 Term schools closed Wed 5 Thu 6 Fri 7 Sat 8 Sat 11 ISASA 3 Term schools closed Sat 18 ISASA 3 Term schools closed Sat 25 ISASA 3 Term schools closed Sat 1 Sept ISASA 3 Term schools closed Mon 10 Tue 11 Wed 12 Thu 13 Fri 14 Sat 15 Oct 2018 Mon 17 Tue 18 Wed 19 Thu 20 Fri 21 ISASA 4 Term schools close Mon 24 Public School Holiday Mon 1 Public / ISASA 4 Term schools closed Mon 8 Public /ISASA 4 Term schools closed Tue 25 ISASA 4 Term schools closed Tue 2 Public / ISASA 4 Term schools closed Tue 9 Public / ISASA 4 Term schools start Wed 26 ISASA 4 Term schools closed Wed 3 Public / ISASA 4 Term schools closed Thu 27 ISASA 4 Term schools closed Thu 4 Public / ISASA 4 Term schools closed Fri 28 Public schools close ISASA 4 Term schools closed Fri 5 Public / ISASA 4 Term schools closed Sat 22 Wed 10 Thu 11 Fri 12 Sat 13 Sat 29 Public / ISASA 4 Term schools closed Sat 6 Public / ISASA 4 Term schools closed Please note: Incomplete forms cannot be processed. IMPORTANT: SPECIAL REQUESTS SHOULD BE SUBMITTED WITH THE ENTRIES DEADLINE FOR SUBMISSION: 22 JUNE 2018 Although the NEA will attempt to accommodate all reasonable requests, NO guarantee can be provided. 259 R e g i s t r a t i o n a n d E n t r y F o r m s

265 A. KINDLY TICK THE APPROPRIATE BOX. NATIONAL EISTEDDFOD OF SOUTH AFRICA Closing date for HARD COPY entries: 22 June 2018 ENTRY FORM FOR MULTIPLE INDIVIDUAL ENTRIES WITH THE SAME ITEM NUMBER (For use by class teachers for participants with ONE entry only!) A.1. Have you completed and attached a copy of the Registration form to this entry form? (Important: entries will not be accepted without a registration form and proof of payment) YES NO Name of school/studio: SINGLE ITEM NR. MULTIPLE PARTICIPANTS B. DETAILS OF ITEM NUMBER FOR THIS ENTRY: Important: Provide the CATEGORY SECTION NUMBER GRADE CODE appropriate code next to the name of any participant - Brief description of item: with a different ability Disability Code* Names of Participants Entry fee Grade Cell. No. (Parent) COMPULSORY INFORMATION: ID Number** or Date of Birth Year Month Date Male / Female DISABILITY CODE* Blind/Partially Sighted Deaf/Hard of Hearing Intellectually challenged Learning disabled Physically challenged ID NUMBER** First 6 numbers = Date of birth as YMD Numbers 7 10 = Gender Female 4999 or less Male 5000 or greater A B C D E C. DETAILS OF PAYMENT: Please indicate with in appropriate blocks where applicable CASH CHEQUE E F T DATE OF ELECTRONIC TRANSFER / /2018 COMPULSORY: Provide name of the school / studio indicated above as reference on the deposit slip. Fax proof of payment to [011] or to entry@eisteddfod.co.za Entry fee due: R Bank: ABSA Branch: Northcliff Code: Account Name: National Eisteddfod Academy Account Number: Type: Current Account Cheques should be made payable to National Eisteddfod Academy POSTAL ADDRES: PO BOX 1288, RANDBURG, 2125 I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus and on the web page. I accept that entry fees are not refundable. I accept the decision of the NEA management about all matters regarding this event. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during this festival. I hereby authorize the NEA to use recordings / pictures of performances at some of NEA events on the NEA s social platforms and website. NAME IN PRINT SIGNATURE DATE 260 R e g i s t r a t i o n a n d E n t r y F o r m s

266 NATIONAL EISTEDDFOD OF SOUTH AFRICA SMALL GROUP ENTRY FORM FOR 2018 Complete all Sections use ONE form per group A. INSTITUTION OF BILLING Closing date for HARD COPY entries: 22 June 2018 A.1 Who is responsible for submitting and paying for this entry? SCHOOL STUDIO PARENT A.2. Please complete and attach a Registration form for this school/studio/parent to this entry form (Important: entries will not be accepted without a registration form and proof of payment) A.3 Please provide the name of the responsible person: A.4 Contact number for the responsible person: A.5 address of the responsible person: B. Contact details for the trainer responsible for this entry Trainer Area code & fax no.: Cell. No. C. DETAILS OF ENTRY: CATEGORY SECTION NUMBER GRADE CODE ENTRY FEE R ID NUMBER First 6 numbers = Date of birth as YMD Numbers 7 10 = Gender Female 4999 or less NB!! Complete a Special Request form and attach to this entry if you wish the NEA to consider a particular request when scheduling your items. Do NOT make any notes in this regard on this entry form as it will not be considered. Male 5000 or greater D. DETAILS OF PARTICIPANTS FOR THIS ITEM (A maximum of 10 participants can be entered in an ensemble or small group: (Please complete in clear print!) Disability Code* Names of participants Grade Cell. No. of Parent Name of School Small Group entries only 2-10 participants Area code & tel. No: address: Means of payment COMPULSORY INFORMATION: ID Number or Date of Birth Year Month Date Male / Female C A S H CHEQUE E F T Date of payment / / 2018 Please attach proof of payment to this entry DISABILITY CODE* Blind/Partially Sighted Deaf/Hard of Hearing Intellectually challenged Learning disabled Physically challenged *Important: Provide the appropriate code next to the name of any participant with a different ability I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus and on the web page. I accept that entry fees are not refundable. I accept the decision of the NEA management about all matters regarding this event. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during this festival. I hereby authorize the NEA to use recordings / pictures of performances at some of NEA events on the NEA s social media platforms and website. A B C D E Name in Print Signature Date Bank: ABSA Branch Code: Account Name: National Eisteddfod Academy Account Number: Branch: Northcliff Type: Current 261 R e g i s t r a t i o n a n d E n t r y F o r m s