Part 3: Speech & Drama Section
NATIONAL EISTEDDFOD OF SOUTH AFRICA™
PROSPECTUS 2016 -2017 SPEECH AND DRAMA SECTION
© Copyrighted NEA 2016 (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.) Share the magic of the performing arts!
Contents
CONTENTS ...... I PART 1 ...... 1 INTRODUCTION & OVERVIEW ...... 1 MESSAGE FROM THE CHAIRPERSON OF THE BOARD OF DIRECTORS ...... 2 MISSION STATEMENT ...... 3 NATIONAL EISTEDDFOD ACADEMY: AN OVERVIEW ...... 4 ADJUDICATORS’ FORUM ...... 11 PROGRAM OF EVENTS FOR 2016 - 2017 ...... 12 NATIONAL EISTEDDFOD EISTEDDFOD OF SOUTH AFRICA™: DATES FOR 2016 ...... 12 NEA YOUNG PERFORMER & YOUNG ARTIST AWARDS COMPETITION 2017 ...... 14 FINANCIAL : FEES 2016 ...... 15 ENTRY FEES: NEA EISTEDDFOD 2016 ...... 15 REQUIREMENTS FOR PARTICIPATION IN EISTEDDFOD 2016:...... 15 OTHER FEES AND CHARGES FOR 2016 ...... 16 CONTACT AND BANKING DETAILS ...... 16 RULES AND REGULATIONS ...... 17 ASPECTS TO CONSIDER WITH ENTRIES ...... 17 REQUIREMENTS FOR SUBMITTING A RECORDED PERFORMANCE ...... 22 ACKNOWLEDGEMENT OF ACHIEVEMENT ...... 24 CERTIFICATES & DIPLOMAS ...... 24 ADDITIONAL REGIONAL AWARDS ...... 26 NEA YOUNG PERFORMER AWARDS COMPETITION ...... 28 GUIDELINES FOR THE EVALUATION OF EISTEDDFOD AWARDS ...... 29 GUIDELINES FOR ADJUDICATION: A RUBRIC EXAMPLE ...... 31 NEA YOUNG PERFORMER AWARDS COMPETITION PREVIOUS WINNERS ...... 33 PART 2 ...... 41 NEA CONFIDENCE BUILDER ...... 41 NEA Confidence Builder ...... 42 NEA CONFIDENCE BUILDER - ENTRY FORM ...... 44 PART 3 ...... 45 INDIGENOUS SOUTH AFRICAN ARTS ...... 45 What is indigenous art? ...... 46 PRAISE POEMS ...... 50 PRAISE SONGS ...... 50 STORY TELLING ...... 50 RECITING AFRICAN POEMS ...... 51 RECITING AFRICAN POEMS PROSE ...... 51 AFRICAN DRAMA ...... 51 CONTEXTUALISING INDIGENOUS ARTS ...... 56 PART 6 ...... 61 SPEECH AND DRAMA CATEGORY ...... 62 RULES AND GUIDELINES ...... 62 SUMMARY OF CODES: SPEECH & DRAMA / MOVEMENT & MIME...... 64 PROSE CATEGORIES ...... 68 CHORAL VERSE ...... 69
GUIDELINES FOR CHORAL VERSE SPEAKING ...... 69 CHORAL VERSE CATEGORIES ...... 71 POETRY PERFORMANCE ...... 71 EXPLANATION AND EXAMPLES OF POETRY CATEGORIES ...... 74 CATEGORIES FOR SOLO VERSE SPEAKING ...... 79 THEATRE PERFORMANCE ...... 81 NOTES ON CHARACTERIZATION ...... 81 GUIDELINES FOR MONOLOGUE ...... 83 READING ...... 88 GUIDELINES FOR READING ...... 88 PREPARED READING SKILLS (POETRY OR PROSE)...... 88 UNPREPARED READING, PROSE ...... 89 UNPREPARED READING, POETRY ...... 89 PREPARED SCRIPT READING – AUDITIONING ...... 89 PREPARED GROUP READING or READER’S THEATRE ...... 90 PUBLIC SPEAKING ...... 91 GUIDELINES FOR PUBLIC SPEAKING ...... 91 PUBLIC SPEAKING (Individual) (Prepared) ...... 91 CRITERIA FOR PUBLIC SPEAKING# ...... 91 GUIDELINES FOR DEBATING ...... 98 STORY TELLING ...... 100 IMPROVISATIONAL THEATRE ...... 101 MOVEMENT & MIME THEATRE ...... 104 GUIDELINES FOR MIME ...... 104 MIME – A SELECTIVE OVERVIEW FROM HISTORY ...... 104 THEATRE PERFORMANCE: Puppet Theatre ...... 107 GUIDELINES FOR PUPPET THEATRE ...... 107 PART 8 ...... 110 REGISTRATION AND ENTRY FORMS ...... 110 ENTRY FORM FOR INDIVIDUAL ENTRIES ...... 117 SPECIAL REQUEST 2016 FOR INDIVIDUALS ...... 118 NEA CONFIDENCE BUILDER - ENTRY FORM ...... 119 ENTRY FORM FOR SINGLE ITEM NUMBER WITH MULTIPLE PARTICIPANTS...... 120 LARGE GROUP ENTRY FORM FOR 2016 ...... 122 SPECIAL REQUESTS FOR INSTITUTIONS 2016 ...... 123 ENTRY FORM FOR SPONSORED ENTRIES ...... 124 NEA ARTS DEVELOPMENT PROGRAMME ...... 125
PART 1: Introduction & Overview
© Copyrighted NEA 2016 (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.)
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.
Firmly rooted in human behavior, 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.
In order to provide impetus and clarity to the vision of the organization, the NEA recently successfully engaged in the process of registering the name National Eisteddfod of South Africa as a trademark and is currently awaiting issuance of the registration certificate.
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 2016- 2017.
WSJ VAN WYK CHAIRMAN
01 May 2016
Introduction and Overview ◄ 2
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 Mr. Dan Lefoka Me. Relebogile Mabotja Mr. Hans Mostert Dr. Francois van den Berg (Chief Executive Officer) Mr. Johan van Wyk (Chairman) Mr. Denver Vraagom
Introduction and Overview ◄ 3
NATIONAL EISTEDDFOD ACADEMY: AN OVERVIEW
1. 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 450,000 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 desire1 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 enroll 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 behavioral 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).
Introduction and Overview ◄ 4
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.
2. 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 2001 – 2004 (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 2010 – 2012 brought stability and the opportunity to provide opportunities to learners in less-serviced communities.
Introduction and Overview ◄ 5
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 2003. concluded a Constructive Partnership Agreement with the Gauteng 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 Gauteng 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 2003. 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 2011.
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 2004. 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 centra. 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 2010 – 2012, 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.
Introduction and Overview ◄ 6
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:
Introduction and Overview ◄ 7
o Prospectus development. o Processing of entries. o Scheduling of events. o Scheduling of adjudicators. o Processing of results. o Acknowledgement of outstanding achievements at regional gala events.
Eisteddfod activities in 2015 attracted more than 12 500 entries from Gauteng, Limpopo, Mpumalanga, Kwa-Zulu Natal, Eastern Cape, Northern Cape, North West, Free State and Mozambique, involving almost 40 000 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 semi- final 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.
Introduction and Overview ◄ 8
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 2002 - 2011) & Malele Petje (CEO: Gauteng Department of Education) at the signing of the Constructive Partnership Agreement between GDE and the NEA on 12 August 2002
Introduction and Overview ◄ 9
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 2015 National Lottery Commision 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 2010 – 2012 National Lottery Distribution Fund
OTHER SPONSORS AND PARTNERS 2009 – 2015
Artslink.co.za Ekurhuleni Metropolitan Council National Arts Council T.I.M.E. Rand Merchant Bank Southdowns College Gauteng Department of Education St. Andrew’s School for Girls Damelin College Bramley RMS Randfontein Rural Development Project Academy College Primedia Lifestyle Business and Arts South Africa Pieter Jacobs UNISA Music Foundation Vukile Property Fund
Partnerships Gauteng Department of Education
The National Eisteddfod Academy has signed a constructive partnership with the Gauteng Department of Education in August 2002.
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. It also accepts that various initiatives should be utilised to address existing needs pertaining to skills development in arts and culture. 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.
It was agreed that the activities of the National Eisteddfod Academy should in no way be seen as being in competition or opposition with the Tirisano competition or any other programme of the Education Department. In essence the developmental platform provided by the NEA provides additional support that will enable these programmes to develop and prosper.
The strategic objective of this partnership is to support the Gauteng Department of Education in creating opportunities for development in and exposure to arts and culture for each and every learner in Gauteng 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.
Introduction and Overview ◄ 10
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 e-mail to [email protected].
Mr Ismael Mahomed – Mr Dan Lefoka Adjudicators’ Panel NEA Awards 2013 NEA Board Member and Music Adjudicator
Introduction and Overview ◄ 11
PROGRAM OF EVENTS FOR 20163 - 2017
NATIONAL EISTEDDFOD EISTEDDFOD OF SOUTH AFRICA™: DATES FOR 2016
Closing Dates For Entries
Hardcopy entries : Early bird hard copy entries4 : 31 May 2016 Late Hard copy entry (subject to a higher fee)5 : 10 June 2016 Online Entries (further extention as per region will be announced online) : 30 June 2016
Proposed Activity Dates 2016
Broad time frame: 15 Aug – 7 October 2016
Detail of CURRENTLY available REGIONS / LOCAL AREAS
PROVINCE SHOWCASE REGION LOCAL AREA Proposed Activity Showcase event Dates for 2016 2016 Gauteng Benoni
Gauteng Boksburg Gauteng Etwatwa Gauteng Kathlorus 19 Sep – 7 Oct 27 Oct Gauteng Kemptonpark Gauteng Springs Gauteng Tembisa
Eastern Gauteng Gauteng ? Gauteng Alexandra Gauteng Auckland Park Gauteng Bedfordview
Gauteng Benmore Gauteng Glenvista Gauteng Greenside Gauteng Houghton 16 Aug – 7 Oct 27 Oct Gauteng Hyde Park Gauteng Lenasia Gauteng Melville Gauteng Norwood Gauteng Joburg Central/South Parktown Gauteng Sandown Gauteng Soweto Gauteng ? Gauteng Blairgowrie Gauteng Bryanston Gauteng Dainfern Gauteng Fairland
Gauteng Ferndale Gr. 0 - 3 Gauteng Fontainebleau 14 & 21 Oct Gauteng Fourways 15 Aug – 7 Oct Gr. 4 - 7 Gauteng Kayalami 18 & 19 Oct Gauteng Linden Seniors Gauteng Joburg North Lonehill 25 Oct Gauteng Midrand Gauteng Northcliff Gauteng Sharonlea Gauteng ?
3 Subject to change. 4 Entries on paper, by fax or by e-mail will NOT be processed without proof of payment ATTACHED! 5 Will NOT be accepted without proof of payment!
D a t e s 2 0 1 5 – 2016 ◄ 12
PROVINCE SHOWCASE REGION LOCAL AREA Proposed Activity Showcase event Dates for 2016 2016 Gauteng Centurion Gauteng Pretoria 12 Sep – 29 Sep 31 Oct/1 Nov Gauteng Soshanguve Gauteng Tshwane
Gauteng Gauteng Northern ?
Gauteng Heidelberg Gauteng Vanderbijlpark 15 Aug – 23 Sep Gauteng Vereeniging
Gauteng
Gauteng Southern ?
Gauteng Fochville Gauteng Little Falls
Gauteng Merafong City Gauteng Mogale City Gauteng Muldersdrift 5 – 16 Sep 13 Oct Gauteng Randfontein Gauteng Roodepoort Gauteng Ruimsig
Gauteng Western Gauteng Weltevredenpark Gauteng Westonaria Gauteng ? International International Maputo 1 – 3 Sep 29 Oct Kwazulu Natal Kwazulu Natal ? Limpopo Bela-Bela 12 – 23 Sep Limpopo Makhado 29 Aug – 1 Sep
Limpopo Modimolle 31 Oct/1 Nov Limpopo Musina Limpopo Polokwane 15 – 18 Aug
Limpopo Limpopo Vaalwater Limpopo ? Mpumalanga Mbombela 5 – 8 Sep
Mpumalanga Emhalhleni Mpumalanga Komatipoort Mpumalanga Lydenburg 29 Oct Mpumalanga Malelane 29 – 31 Aug Mpumalanga Middelburg 15 – 18 Aug Mpumalanga Mpumalanga Steelpoort Mpumalanga ? North West Delareyville
North West Klerksdorp North West Madibeng To be confirmed North West Potchefstroom North West Rustenburg
North West North West ?
Northern Cape Kathu
Northern Cape Kuruman Northern Cape Postmasburg 12 – 16 Sep Northern Cape Cape Upington Northern Northern Cape ? Western Cape Western Cape ?
? = Potential new LOCAL AREA within the region
Eisteddfod Proposed Activity Dates 2017
14 August – 6 October 2017
D a t e s 2 0 1 5 – 2016 ◄ 13
NEA YOUNG PERFORMER & YOUNG ARTIST AWARDS COMPETITION 2017
PLEASE NOTE: All Diploma recipients of the previous year (excluding reading and improvised / unprepared categories) qualify to enter for this competition.
Young Performer Awards Competition : Closing Date for Entries 2017 31 Dec 2016 - Early Bird entries 6 Feb. 2017
Participation Dates NEA Young Performer Awards Competition 2017
Venues: Main and Basement Theatres @ the Roodepoort Theatre, Roodepoort
FIRST ROUND QUARTER FINAL ROUNDS SEMI-FINAL ROUNDS FINAL ROUND 20 Feb - 16 March 2017 24 March – 30 March 2017 9 – 13 May 2017 20 May 2017
Categories NEA YOUNG PERFORMER AWARDS COMPETITION
NEA AWARDS: Categories and codes: Awards Description Awards Awards Grades Awards Description Awards Awards Grades Cat (as in 2015!) Cat (as in 2015!) NEA-001 Entry level (Gr. 0 - 3) NEA-019 Entry level (Gr. 0 – 3) NEA-002 Intermediate (Gr. 4 – 6) NEA-020 Junior (Gr. 4 – 6) Music: Classical style NEA-003 Senior (Gr. 7 – 9) Speech & drama (all NEA-021 Intermediate (Gr. 7 – 9) (vocal & instrumental) NEA-004 FET (Gr. 10 – Open) languages) NEA-022 Senior (Gr. 10 – Open) NEA-005 EnsembleSenior (Gr. groups 8 – Open# NEA-023 Ensemble groups # NEA-006 Larger groups## NEA-024 Larger groups##
NEA-007 Entry level (Gr. 0 - 3) NEA-025 Junior (Gr. 0 - 7)
NEA-008 Junior (Gr. 4 – 6) Public speaking NEA-026 Senior (Gr. 8 – Open)
Music: Crossover style NEA-009 Senior (Gr. 7 – 9) NEA-027 Groups # (vocal & instrumental) NEA-010 FET (Gr. 10 – Open) NEA-028 Entry level (Gr. 0 - 3) NEA-011 EnsembleSenior (Gr. groups 8 – Open # NEA-029 Junior (Gr. 4 – 6) NEA-012 Larger groups## NEA-030 Senior (Gr. 7 – 9) Dance NEA-013 Entry level (Gr. 0 - 3) NEA-031 FET (Gr. 10 – Open) NEA -014 Junior (Gr. 4 – 6) NEA-032 EnsembleSenior (Gr. groups 8 – Open # Music: Contemporary NEA-015 Senior (Gr. 7 – 9) NEA-033 Larger groups## style (vocal & NEA-016 FET (Gr. 10 – Open) instrumental) NEA-017 EnsembleSenior (Gr. groups 8 – Open # # Ensemble groups: 2 – 5 participants; NEA-018 Larger groups## ## Larger Groups: 6 and more participants
Categories NEA YOUNG ARTIST AWARD COMPETITION
NEA-034 Entry level (Gr. 0 - 3) Creative Arts NEA-035 Junior (Gr. 4 – 7) NEA-035 Senior (Gr. 8 – Open)
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 3 adjudicators will adjudicate all events and recordings. The feedback for “recorded performances” will be e-mailed / 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. (www.eisteddfod.co.za). Any participant that proceeds to a next round will have to perform “live” at the Roodepoort Theatre in any subsequent rounds.
D a t e s 2 0 1 5 – 2016 ◄ 14
FINANCIAL : FEES 2016
ENTRY FEES: NEA EISTEDDFOD 2016
Online Entry fees and dlosing date for entries entries Hard copy entries (on paper, by fax or by e-mail) Only!* Early bird entry fee Entry fee Late entry fee (BEFORE 31 May only) (1 – 10 June) (AFTER 10 June) NEA Confidence Builder R 60 R 60 R 70 Not applicable (1 participant) Individual entries R 165 R 165 R 185 R 285 (1 participant) Ensemble groups R 210 R 210 R 230 R 330 (2 – 5 participants) Small groups R 250 R 250 R 270 R 370 (6 – 10 participants) Medium sized groups R 275 R 275 R 295 R 395 (11 – 20 participants) Large groups (entry fee as per number of participants) 21 – 30 participants R 300 R 300 R 320 R 420 31 – 40 participants R 325 R 325 R 345 R 445 41 – 50 participants R 350 R 350 R 370 R 470 51 – 60 participants R 410 R 410 R 430 R 530 61 – 80 participants R 480 R 480 R 500 R 600 81- 100 participants R 550 R 535 R 555 R 655 101 – 200 participants R 650 R 650 R 670 R 770 Full shows / productions R 1700 R 1700 R 1800 R 1900 *The closing date for ONLINE entries will be determinded by the starting date in each regions. Closing date and fee for late entries online will be announced on the website.
o For every 50 entries submitted ONLINE and paid for in bulk (prior to the closing date for hard copy entries) by a registered institution, an additional 5 individual entries will be allocated to this institution FREE OF CHARGE. The purpose of this is to allow institutions to enter some of their learners that cannot afford the entry fees and would otherwise be excluded from the opportunities that the National Eisteddfod of South Africa™ offers. A special entry form for this purpose will be provided. These sponsored entries may NOT be used for any participant that already submitted a paid entry. Only ONE entry per sponsored participant will be allowed. Alternatively, an institution will also have the option to donate these free entries to a needy school / organization of their choice.
o Independently registered bodies (e.g. individual parents) that submit and pay at least 50 entries in bulk will be offered the opportunity to sponsor 5 entries for an institution of their choice. Should they wish, they will also be provided with the details of those participants in order to track their progress.
REQUIREMENTS FOR PARTICIPATION IN EISTEDDFOD 2016:
SUBMISSION OF REGISTRATION FORM IS REQUIRED: All institutions / studios / independent parents or participants must register ONLINE or complete and sumbit a Registration form Kindly note: Registration is free of charge. Registration is essential for management purposes (processing of entries, scheduling, invitations, etc.).
SUBMISSION OF ENTRIES IS REQUIRED Entries can be submitted as follows: o Online (via the NEA website www.eisteddfod.co.za) 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.
Rules and Regulations ◄ 15
OTHER FEES AND CHARGES FOR 2016
Fees for late entries will be announced on the website www.eisteddfod.co.za
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 R70.00 per incorrect entry. These requests should be submitted in writing with proof of payment attached to [email protected] or by fax to 011-787-3534. (Only requests received at this e-mail address or fax number will be processed, provided proof of payment has been attached).
CONTACT AND BANKING DETAILS
NATIONAL EISTEDDFOD ACADEMY, PO BOX 1288, RANDBURG, 2125
TEL: (011) 886-6005 FAX: (011) 787-3534
E-mail: [email protected]
Hand deliveries:
NEA OFFICE, 1st Floor, 284 Oak Avenue, FERNDALE, RANDBURG
Bank details for direct bank / internet deposits: ABSA, Northcliff, Branch code 33 47 05 Account no. 404 747 8448 (Cheque account)
Important! Fax/e-mail proof of payment to the fax number / e-mail address above. Quote the name of the participant and institution.
Rules and Regulations ◄ 16
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.
Rules and Regulations ◄ 17
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. 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 cellphone 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, 1st Floor, 284 Oak Ave, Ferndale, Randburg o By fax to (011) 787-3534 o By e-mail to [email protected]. o By normal mail to PO Box 1288, Randburg, 2125
ONLINE SUBMISSION OF ENTRIES
An ONLINE platform, launched in 2015, 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 www.eisteddfod.co.za
CLOSING DATE FOR ENTRIES Different dates apply for Online and hardcopy / faxed / emailed entries. Refer to the Programme of events section for more details.
(Any changes to these dates will be announced on www.eisteddfod.co.za and Facebook.)
LATE ENTRIES
An earlier date for hard copy entries (paper, fax, e-mail) 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 e-mailed) 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.
Rules and Regulations ◄ 18
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: 011-787-3534; e-mail: [email protected].). Kindly note that NO complaint will be dealt with telephonically.
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 10 - 12 Primary school level : Any combination of grades on primary school level (Gr. 0 – 7) Secondary school level : Any combination of grades on scondary 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.
Rules and Regulations ◄ 19
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. The details of participation will be distributed to the participating bodies at least 2 to 3 weeks prior to the first adjudication session in each region as indicated above. 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 endeavor 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.
Rules and Regulations ◄ 20
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 011-787-3534 or e-mail to [email protected] Please note: entries will only be accepted at this email address. Special Entries submitted to any other address will automatically be deleted. Kindly note that you will not receive notification for rescheduled events 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 NO participant/parent/trainer/member of the audience may approach the adjudicator before/during/after the session as some members of the audience might relate this to “favouritism” and subsequently accuse the adjudicator of showing favouritism towards certain pupils . 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 cellphones should be switched off in the venue, o Entrance fee of R25.00 per person will be charged at the venue. Seasonal tickets will be available at R70.00 each. o Entrance fee of up to R35.00 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.
Rules and Regulations ◄ 21
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 cirmumstances - 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". Finlizing 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 [email protected] together with a copy of the entry form. (For more information, refer to the complete instructions on the next page).
Rules and Regulations ◄ 22
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 (www.eisteddfod.co.za). 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 / email): 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 [email protected] 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 2016.
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 (www.eisteddfod.co.za). No limit on the number of entries allowed. o Finalize the recording of the performance as outlined above. o Set up a 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 E-mail a link to this file by sharing it with [email protected]. o The NEA will confirm receipt of this link asap, however if you do not receive confirmation within 7 days, please email you NAME and the ENTRY REFERENCE NUMBER to [email protected]. o If needed, e-mail [email protected] 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 National Eisteddfod Academy Postnet Fontainebleau Unit 103, First floor PO Box 1288 Shop 16, Village Shopping Centre 284 Oak Avenue RANDBURG Cnr. Rabie and 4th Street, RANDBURG 2125 Fontainebleau, 2032 2194
Rules and Regulations ◄ 23
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 intests 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 self- confidence, 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 yardsticks6 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:
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
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.
Certificates and Awards ◄ 24
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 sincerety.
* 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 1 -10. (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.
Certificates and Awards ◄ 25
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.
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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.
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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.
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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 sovereignity 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 Gauteng, North West, Free State, Limpopo and Mpumalanga, Eastern Cape, KZN, andNorthern 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.
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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 Awards on level 2 could involve Awards on level 3 involve Awards on level 4 are include awards like awards known as “colours”. This awards like special chords, etc. symbolized by special certificates presented to award is usually something that can that is attached to and added blazers. individuals / groups to be attached to the school uniform to the normal school blazer. acknowledge achievement. (e.g badges) The main focus of level 1 Level 2 awards are normally Level 3 awards are normally Level 4 awards are awards is to promote reserved for achievements on a reserved for participation on a reserved for participation in various broader, regional level, e.g. school broader, provincial level. achievements on a activities, both internally and district. national or international on a district / regional level. The award cannot be achieved level. Numerous achievements on this by a mere accumulation of Numerous achievements on level might enable a learner to marks, and additional this level might enable a qualify for an award on level 3, requirements can apply. learner to qualify for an either in the same of subsequent award on level 2, either in the years. same or subsequent years. A learner normally has to For a level 2 award a learner has to Achievement in specific NEA Awards accumulate a predetermined accumulate a predetermined events: Competition number of marks to qualify number of marks to qualify, e.g. 90 NEA Awards Participation in Final for an award, e.g. 50 marks. marks. (In the eisteddfod context an Competition: Selection Round – national winner This can be achieved by a additional prerequisite might be for Semi-final round = combination of NEA that at least one diploma will be Participation on certificates where the values required. provincial level. are as follows:
Silver = 5 marks This award could involve an Multiple awards on level 2, Gold = 10 marks achievement in specific events: e.g. Diploma = 30 marks 2 x Ambassador Award NEA Young Performer Awards 6 x diploma awards E.g. Competition: 3 x category winner 5 x gold=50 marks Selection for Quarter Final 4 x item winner 1 diploma +2 x gold =50 Round = 45 marks 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
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.
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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 it 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 excellent and o sincere; o displays originality (“spark”); o displayed an exceptionally high level of skills, knowledge & understanding.
o B: Or that the participant delivered a performance that was
o satisfactory, o displaying the basic skills, knowledge and understanding; o 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 sincerety.
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.
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For those in need of even more detailed guidelines the following rubrics for drama7 (which by NO MEANS claims to be exhaustive!) might be useful.
Junior Primary level Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained Brilliantly above average attained Vocal strength Control over movement and gesture Focus Energy Emotional Involvement
Senior Primary level Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained Brilliantly above average attained Projection Articulation Tone-variation Movement / Gesture Use of space/levels Focus Comprehesion of content Preparation/presentation Stage energy Emotional involvement Characterisation
Secondary School level Certificate Bronze Silver Gold Diploma Not attained Partly attained Attained Attained Brilliantly above average attained Projection Articulation Tone-variation Speech rhythm Vocal dynamics/modulation/pauses Movement / Gesture Use of space/levels Focus Comprehesion of content Comprehesion of background and period Preparation/presentation Stage energy Emotional involvement Handling of transitions Subtext General characterisation
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 Certificates and Awards ◄ 32
NEA YOUNG PERFORMER AWARDS COMPETITION PREVIOUS WINNERS
NEA YOUNG PERFORMER AWARDS 2015
GOLD MEDALIST: ALTEA 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 MEDALIST: HENNO WILLIAM – Gr. 4 - 6 (Respiro Studio) Overall Winner: Intermediate Level (Gr. 4 - 7) Category Winner: Contemporary Music Intermediate Level (Gr. 4 - 7)
BRONZE MEDALIST: FALLON MONTLANE - FET Level (Gr. 10 - Open) (June Kraus Academy) Category Winner Contemporary Music: FET Level (Gr. 10 – Open) Joint Overall Winners: FALLON MONTLANE & ISABELLA SPIVEY - FET Level (June Kraus Academy)
OVERAL 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 – MONNAS 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 Colleg & Prep. School Dance Warrick Naudé Maragon Private School Creative work Xio-Chi Juan Bryneven Primary School JUNIOR LEVEL Speech & Drama (Gr. 4 – 6) Stefan de Wit Sonja Myburg Dramaskool Classical/Crossover Music Keamogetswe Modise Randfontein High (Gr. 4 – 6) 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 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
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NEA YOUNG PERFORMER AWARDS 2014
GOLD MEDALIST : FALLON MONDLANE – Gr. 9 (June Kraus Academy) Overall Winner: Senior Level (Gr. 8 – Open)
SILVER MEDALIST : TIANA DE OLIVEIRA – Gr. 10 (Grace Teixeira Drumming Academy)
BRONZE MEDALIST: KHANYISILE MKHIZE (Greenside High School) Winner Contemporary Music: Senior Level (Gr. 8 – Open)
OVERAL 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 Dramastudio 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
Groups Music: Classical Style Linden Koor Hoërskool Linden Speech & Drama Spreekkoor Hoërskool Noordheuwel Dance Jannas Pom-Poms Hoërskool Jan Viljoen
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NEA YOUNG PERFORMER AWARDS 2013
GOLD MEDALIST : ANDRÉ BREET Overall Winner: Senior Level (Gr. 8 – Open) Winner Classical Music
SILVER MEDALIST : MEGAN PISTORIUS (Sonja Myburg Dramaskool) Winner Speech & Drama: Intermediate Phase (Gr. 7-9)
BRONZE MEDALIST: KATLEEN VIDEIRA (Art of Motion) Winner Dance: Senior Level (Gr. 8 – Open)
OVERAL 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)
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)
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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) Winner: Classical Music - Junior André Breet (Hoërskool Florida Musieksentrum) Winner: Classical Music - Senior (Piano) Amory Smith (Studio Cha) Winner: Crossover Music – Foundation phase (tie) Chloé Marais (Studio Cha) Nico Thomaides (Saheti School/ June Kraus Academy) Winner: Crossover Music - Senior Section Senior Jenique Hougaard (Laerskool Kenmare) Winner: Contemporary Music - Junior Section Jared Keshwar (Crawford College Lonehill) Winner: Contemporary Music - Senior Section (Instrumental) Kylah Jasmin Barry (Windsor House Academy) Winner: Contemporary Music - Senior Section (Vocal)
Dance: Carla Bruwer (Replay Hip Hop Academy) Winner: Dance - Junior Section Shaunell Schoonraad (Hoër Volkskool Heidelberg) Winner: Dance – Senior Section Melissa Purdon (Just Sing) Winner: Dance – Senior Section Winners Senior Section (Groups) Khayelihle Dhladhla, Kelebogile Musi, Banele Nkosi, Mutshinya Nkhwatshirema & Eshley Parache (Footworkz) Winners Senior Section (Small Groups) The Underworld (Stiehla Dance Studio) 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)
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)
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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) Winners: Traditional Music - Western Instruments Dominican Indumo Yoluisha - Marimba Band (Dominican Convent School) 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 Derick Kunz (C.J. Cilliers Drama Studio) Contemporary Music Nolene van der Merwe (Hoërskool Linden) Classical Music Nerine Gouws (Tiensie Lategan Studio)
Best Junior Performer Speech and Drama Robert Webb (Maragon Private School) Contemporary Music Alexandra Snyman (Just Sing Studio) Dance Performance 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
Adjudicators’ Special Junior Awards in Speech and Drama Onkgopotse Tsitsi (The King’s School West Rand) Mitchell Harris (Lyzandra Drama Studio)
Certificates and Awards ◄ 37
NEA AWARDS 2009 Best Senior Performers: Dance Death Rattle (Morné du Toit, Laurie du Toit, Anthony Joubert, Rafael da Costa and Brandon Smith) (Frontstage Studio, Middelburg) Contemporary Music Julian Hepburn (Pretoria Boys High School) Classical Music Jason Mayr (Tiensie Lategan Music Studio) Speech and Drama Arno Daiber
Best Junior Performers: Speech and Drama Ziske van Dyk & Izel Potgieter (Maritza Uys Studio, Komatipoort) Dance Kristin Hattingh & Reze-Tiana Wessels (Bryanston Parallel Medium) Classical Music Wilmien Janse van Rensburg (Laerskool Jan CIllliers) Contemporary Music Hannah Reynolds (Leoni Els Studio, Tshwane)
Visual Arts Best Junior Elani Nell (Frontstage, Middelburg) Best Senior Johan Gebhardt (Hoërskool Monument, Krugersdorp)
Most Inspiring Junior Performer Ying-Shan Tseng (Teacher - Elize Welthagen) Best Large Group Performers Gospel Choir of Lenz Public School, Soweto
Scholarships Academy College Scholarship Julian Hepburn (Pretoria Boys High School) Creative Arts Scholarship Damelin College Gordon Rikhotso (Delta Park School) Bramley
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 2007
1st 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)
Damelin College bursary : Kgothatso Kekana – Recorder (Mamelodi High School) Maudée Montierre – Singing (Virtuoso Performing Arts)
Certificates and Awards ◄ 38
The NEA Award for best performance groups: Advanced Marimba Band (Parktown High School for Girls)
NEA AWARDS 2006
1st 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 1st prize R1000: Jason Mayr – recorder (Tiensie Lategan Studio) o 2nd prize R500: Abigail Walsh - violin (St. Andrews School for Girls )
The NEA Award for best performance in Contemporary music: o 1st 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 1st prize R1000: Byron-Sean Botha (Drama Drama Studio) o 2nd prize R500: Cameron Botha (Drama 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 2005
1ST Prize: R5 000 : Samantha Van Gysen –Violin (Kwa Zulu Natal) 2ND Prize: R2 500 : Berdene Du Toit - Drama (Hoërskool RANDBURG) 3RD Prize: R1 000 : Camille Bracher - Ballet (Ballet Theatre Afrikan) 4TH Prize: R 500 : Stefanie M. Rynboom – Piano (Diane Coutts) 4TH Prize: R 500 : Jason Mayr – Recorder (Tiensie Lategan Ateljee)
NEA AWARDS 2004
JUNIOR SECTION:
1ST PRIZE: Nadene Marais – Drama (Laerskool Fontainebleau) 2ST PRIZE: Chineade Philips – Drama (Hartzstraat Primary School) 3ST PRIZE: Tarina Labuschagne - (Linda Theron Ateljee)
SENIOR SECTION:
1ST PRIZE: Marise Kruger – Drama (Dainfern College) 2ST PRIZE: Robert Winson – Drama (Trinity House High School) 3ST PRIZE: Makhotso Ramphele - (Dainfern Collge)
GROUPS:
1ST PRIZE: Prestige College Senior Choir - Music
Certificates and Awards ◄ 39
Thank you
A sincere word of thanks is extended to each and every one that contributed towards revising and updating this new edition of the NEA Prospectus.
Valid for 2016 – 2017 for use in the activities of the National Eisteddfod of South Africa™ only
Certificates and Awards ◄ 40
PART 2
NEA Confidence Builder
© Copyrighted NEA 2016 (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.)
NEA Confidence Builder ◄ 41
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.
NEA Confidence Builder ◄ 42
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.
NEA Confidence Builder ◄ 43
NEA Confidence NATIONAL EISTEDDFOD OF SOUTH AFRICA™ Builder www.eisteddfod.co.za
NEA CONFIDENCE BUILDER - ENTRY FORM Complete all Sections
A. RESPONSIBLE PERSON / INSTITUTION A.1 Who is responsible for submitting this entry? Please provide the Registration Number as provided Reg. No. when registering online A.2. Provide the NAME of school / parent in A.1 A.2 Who will submit the applicable entry fees to the NEA? SCHOOL STUDIO PARENT NOTE: You will participate in the region as selected by the registered school/studio/parent in A. (All communication about this entry will go to this school / studio / parent. This name will be printed on the certificate if no other information is provided in B.)
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 Language of ( when applicable) communication E-mail of parent / participant Cell No. of parent (1) Cell of parent (2) ______-______-______or participant: ______-______-______*Kindly provide the * A Blind / Partially sighted C Intellectually E Physically challenged disability code where challenged applicable B Deaf/Hard of Hearing D Learning disabled Not Applicable
CATEGORY Select Confidence Builder: Item Code: Entry fee Speech and Drama items Vocal Solo Solo verse speaking (poetry) 9000 9000 Instrumental solo Prose 9001 9001 Afrikaans Poetry ensemble 9002 9002 English Prepared reading 9003 9003 IsiNdebele IsiXhosa Confidence Builder: Music items IsiZulu Vocal Solo with piano accompaniment 9004 9004 Sepedi Instrumental solo (acoustical instruments only 9005 9005 Sesotho TOTAL: Setswana Instrument: (e.g piano, recorder,) when applicable: SiSwati Grade: TshiVenda XiTsonga
Please note: The entry fee is R 70 when submitted on paper entry form AFTER 31 May (hard copy / fax or e- mail). Online entries are charged at R 60 per entry only.
I am aware of the fact 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 for this event indemnified against any loss, theft of injury sustained during this festival.
______Name in Print Signature Date
NEA Confidence Builder ◄ 44
PART 3
Indigenous South African Arts
© Copyrighted NEA 2016 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™
Indigenous South African Arts ◄ 45
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 16th 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 complete a new Indigenous South African Arts Section in Prospectus 2016.
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 Eistesddfod 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;
Indigenous South African Arts ◄ 46
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.
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.
STEP 2: Start preparing for your performance. If you need support with the authenticity of your performance regarding regalia, style of music, dance / movement, contact your Regional Representative / Facilitator.
STEP 3: Adjudication of performances: o The adjudication will happen at a selected venues in your region. o Your Regional Representative / Facilitator will provide you with the details of the exact date, time and venue for your performance in advance. 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.
Entry Fees
Currenty, no sponsorship is available. The normal entry fees as provided in the Prospectus applies to all entries in this section as well.
Indigenous South African Arts ◄ 47
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: Tabel 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
Indigenous South African Arts ◄ 48
INDIGENOUS SOUTH AFRICAN ARTS CATEGORIES, ITEM NUMBERS & DESCRIPTIONS
Music and Dance section
Indigenous music is not the usual folk music, eg “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.
TABLE B MUSIC AND DANCE SECTION MUSIC AND DANCE SECTION Solos 1000 To enter this section, select the appropriate CODE / LANGUAGE / 1 Participant CULTURAL group in TABLE A. Duet 1001 This section is open to individual performers, as well as small and large 2 Participants groups. Trio 1002 The music / dance performance should represent a particular South 3 Participants African ethnic group and therefore it is important that: Quartet 1003 o The leader / group should research how, where and when that 4 Participants particular music/dance is performed. Quintet 1004 o This background information about the performance should be 5 Participants provided on the entry form. Small groups (6 - 10 1005 o On the day of the performance the participant(s) should also competitors) provide this information to the adjudicator in the format of a Medium sized groups 1006 brief script that describes what the performance represents. (11 – 20 Participants) o The performance should be authentic regarding regalia, style of music, dance/movement. Large groups (more 1007 A maximum time-limit of 5 minutes will be allowed for a performance in than 20 participants) this category.
Indigenous South African Arts ◄ 49
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
Oral Tradition section
PRAISE POEMS
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 honoured for a job well done. It can Solos : 1 Participant 1008 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 Solos : 1 Participant 1009 Praise songs Duet : 2 Participants 1010 A praise song is used for the same reasons as a “Praise Poem”, with Trio : 3 Participants 1011 the difference that it is performed by a group with a leader who Quartet : 4 Participants 1012 functions as a soloist in the group, creating a situation of call and Quintet : 5 Participants 1013 response. Small groups (6 - 10 Participants) 1014
Medium sized groups (11 – 20 Any other appropriate praise song performer at indigenous 1015 participants) occasions such as wedding, rituals, drinking parties and festivities characterizing the chosen cultural group. Large groups (21+ participants) 1016 A maximum time-limit of 5 minutes will be allowed for the performance. STORY TELLING Solos : 1 Participant 1017 Story telling Story telling (e.g. izinganekwane; ditshomo; iintsomi) is Duet : 2 Participants 1018 about the oral history that is passed from one generation to the next through storytelling and reciting epic poems. Trio : 3 Participants 1019
Quartet : 4 Participants 1020 A maximum time-limit of 5 minutes will be allowed for the performance. Quintet : 5 Participants 1021
Small groups (6 - 10 Participants) 1022 Medium sized groups (11 – 20 1023 participants) Large groups (21+ participants) 1024
Indigenous South African Arts ◄ 50
RECITING AFRICAN POEMS Reciting African poems Solos : 1 Participant 1025 The presentation of a memorised poem, in an African language, using movement, voice and facial expression. Movements should Duet : 2 Participants 1026 enhance the spoken word and should be used as a personal interpretation and not a literal translation of the words into Trio : 3 Participants 1027 movement. Participants will be allowed to present new, unpublished poems. Participants in this section must provide Quartet : 4 Participants 1028 copies of their poems to the adjudicator prior to their performance. Quintet : 5 Participants 1029 A maximum time-limit of 5 minutes will be allowed Small groups (6 - 10 Participants) 1030 for the performance Medium sized groups (11 – 20 1031 participants) Large groups (21+ participants) 1032
RECITING AFRICAN POEMS PROSE Reciting African prose Solos : 1 Participant 1033 The presentation of a memorised poem, in an African language, using movement, voice and facial expression. Movements should Duet : 2 Participants 1034 enhance the spoken word and should be used as a personal interpretation and not a literal translation of the words into Trio : 3 Participants 1035 movement. Participants will be allowed to present new, unpublished poems. Participants in this section must provide Quartet : 4 Participants 1036 copies of their poems to the adjudicator prior to their performance. A maximum time-limit of 5 minutes will be allowed Quintet : 5 Participants 1037 for the performance Small groups (6 - 10 Participants) 1038 Medium sized groups (11 – 20 1039 participants) Large groups (21+ participants) 1040
AFRICAN DRAMA Drama Solos : 1 Participant 1041 Acting with an indigenous story line – (not township theatre). Duet : 2 Participants 1042 A maximum time-limit of 5 minutes will be allowed Trio : 3 Participants 1043 for an individual performances. A maximum time-limit of 15 minutes will be Quartet : 4 Participants 1044 allowed for a small or large group performance. Quintet : 5 Participants 1045
A maximum of 2 minutes set-up time will be Small groups (6 - 10 Participants) 1046 allowed for each performance Medium sized groups (11 – 20 1047 participants) Large groups (21+ participants) 1048
Indigenous South African Arts ◄ 51
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) 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 homegrown (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 Solos Marabi 1049 Marabi was the name given to a South African keyboard style (usually 1 Participant Duet played on pedal organs, which were relatively cheap to acquire) that had 1050 2 Participants something in common with American ragtime and the blues, played in Trio 1051 ongoing cycles with roots deep in the African tradition. The sound of 3 Participants marabi was intended to draw people into the shebeens and then to get Quartet 1052 them dancing. It used a few simple chords repeated in vamp patterns 4 Participants that could go on all night - the music of South African pianist and Quintet 1053 composer Abdullah Ibrahim still shows traces of this form. This was 5 Participants usually found in the urban townships, in particular the Sophiatown and Small groups (6 - 10 1054 Alexandra townships. From there is spreads to rural areas where the competitors) Medium sized groups “clever” township boys and girls show the rural people what they have 1055 learned in Gauteng /Goli. (11 – 20 Participants)
(Refer to Table C for Grade codes and time frame) Large groups (more 1056 than 20 participants) Read more: http://www.southafrica.info/about/arts/922563.htm#ixzz1oGL49Q7g
KWELA Solos Kwela 1057 The term "kwela" is derived from the Zulu for "get up". The primary instrument 1 Participant of kwela, the pennywhistle, was a cheap and simple instrument and also Duet 1058 susceptible to use as a solo or an ensemble instrument. Part of the popularity of 2 Participants the pennywhistle was perhaps based on the fact that flutes of different kinds Trio had long been traditional instruments among the peoples of the more northerly 1059 3 Participants parts of South Africa. The pennywhistle thus enabled the swift adaptation of folk Quartet tunes into the new marabi-inflected idiom. 1060 Lemmy Mabaso was one of South Africa's most famous pennywhistle stars, as 4 Participants well as Spokes Mashiane and Boy Masaka of Brits. Quintet 1061 Read more: http://www.southafrica.info/about/arts/922564.htm#ixzz1oGO7p2CO 5 Participants Small groups (6 - 10 1062 (Refer to Table C for Grade codes and time frame) competitors)
Medium sized groups 1063 (11 – 20 Participants) Large groups (more 1064 than 20 participants)
Indigenous South African Arts ◄ 52
MBAQANGA
The Mbaqanga is a mode of African-inflected jazz that had many and Solos : 1 Participant 1065 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 Duet : 2 Participants 1066 American big band swing, crystallised into the "African stomp" style, giving a notably African rhythmic impulse to the music and making it Trio : 3 Participants 1067 irresistible to its new audiences. (Exponents of Mbaqanga were the Quartet : 4 Participants 1068 late Mahlathini with the Mahotella Queens, Soul Brothers, Dark City Sisters and Izintombi Zomqashio.) Quintet : 5 Participants 1069
(Refer to Table C for Grade codes and time frame) Small groups (6 - 10 Participants) 1070 Medium sized groups (11 – 20 1071 Read more: http://www.southafrica.info/about/arts/922565.htm#ixzz1oGM4CqYL participants)
Large groups (21+ participants) 1072 ISICATHAMIYA The missionary emphasis on choirs, combined with the traditional vocal Solos : 1 Participant 1073 music of South Africa which also included choreography, gave rise to a mode of male a capella singing that blended various styles with an Duet : 2 Participants 1074 African indigenous approach. This style evolved in the hostels because of the migratory labour system. This tradition is still alive today in the Trio : 3 Participants 1075 Isicathamiya form, of which Ladysmith Black Mambazo are the foremost and most famous exponents. Quartet : 4 Participants 1076
(Refer to Table C for Grade codes and time frame) Quintet : 5 Participants 1077
Read more: http://www.southafrica.info/about/arts/music.htm#ixzz1oGK9fSZS Small groups (6 - 10 Participants) 1078
Medium sized groups (11 – 20 1079 participants) Large groups (21+ participants) 1080 MASKANDI
Solos : 1 Participant 1081 Maskandi Maskandi is played on cheap, portable instruments, or modern Duet : 2 Participants 1082 instruments tuned or produced to imitate the polyphonic sounds of the old instruments. Traditionally, a maskandi muso had one Trio : 3 Participants 1083 song, a long one that evolved as the story of the musician's life grew. Quartet : 4 Participants 1084
Maskanda is distinguished by an instrumental flourish that sets Quintet : 5 Participants 1085 the tone at the beginning of each song, picked guitar style, and rapidly spoken sections of Zulu praise poetry, called "izibongo". Small groups (6 - 10 Participants) 1086 The content is not always praise, though, and with pop, house Medium sized groups (11 – 20 1087 and other influences colouring maskanda, it has become more participants) 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) 1088 http://en.wikipedia.org/wiki/Maskanda
Indigenous South African Arts ◄ 53
KOFIFI
Solos : 1 Participant 1089 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 Duet : 2 Participants 1090 dancing to the music. Kofifi people would be identified by the way they used to dance to the music. Trio : 3 Participants 1091
Quartet : 4 Participants 1092
Quintet : 5 Participants 1093
Small groups (6 - 10 Participants) 1094
Medium sized groups (11 – 20 1095 participants) Large groups (21+ participants) 1096
AFRICAN JAZZ African Jazz is music that was played particularly in the now Gauteng Solos : 1 Participant 1097 Province. It was mostly found around Alexandra, Soweto and Sharpville. Duet : 2 Participants 1098 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 Trio : 3 Participants 1099 Masikela. Other exponents were groups such as the Alexandra All Star Band, Sharptown Swingsters etc. Quartet : 4 Participants 1100
(Refer to Table C for Grade codes and time frame) Quintet : 5 Participants 1101
Small groups (6 - 10 Participants) 1102 Medium sized groups (11 – 20 1103 participants) Large groups (21+ participants) 1104 PANTSULA Solos : 1 Participant 1105 Pantsula Duet : 2 Participants 1106 Pantsula is a syncopated, quick-stepping, and low to the ground Trio : 3 Participants 1107 form of dance which evokes the urban street culture of which it is a part. Quartet : 4 Participants 1108 Quintet : 5 Participants 1109 Small groups (6 - 10 Participants) 1110 Medium sized groups (11 – 20 1111 participants) Large groups (21+ participants) 1112
GUMBOOT DANCE DANCE the gumboot dance (or Isicathulo) is an African dance that is Small groups (6 - 10 Participants) 1113 performed by dancers wearing Wellington boots, commonly Medium sized groups (11 – 20 1114 called gumboots In South Africa. participants) Large groups (21+ participants) 1115
Indigenous South African Arts ◄ 54
BOEREMUSIEK “Boeremusiek” is an instrumental folk music, dating from Solos : 1 Participant 1116 the period during which the people who practiced it where internationally known as "Die Boere" The Boers of South Duet : 2 Participants 1117 Africa. It is informal music that is played in a distinctive way and was primarily intended as accompaniment for social Trio : 3 Participants 1118 dancing. For the purpose of this conversation we exclude other kinds of Afrikaans music from the same period like Quartet : 4 Participants 1119 ballads, serenades and music aimed at passive audiences. Quintet : 5 Participants 1120 The concertina was, and is still to this day, the top lead instrument in Small groups (6 - 10 1121 “Boeremusiek”. Apart from the different Participants) types of concertinas that are found in Medium sized groups (11 – 20 1122 “Boeremusiek”, there are different dance participants) 1123 rhythms and variations in accompaniment. Large groups (21+ Source: WIKIPEDIA, Boeremusiek. participants) (Refer to Table C for Grade codes and time frame)
CAPE MALAY MUSIC Cape Malay Music Solos : 1 Participant 1124 This cultural group developed a characteristic 'Cape Duet : 2 Participants 1125 Malay' music. An interesting secular folk song type, of Trio : 3 Participants 1126 Dutch origin, is termed the nederlandslied. The language and musical style of this genre reflects the history of South Quartet : 4 Participants 1127 African slavery; it is often described and perceived as 'sad' Quintet : 5 Participants 1128 and 'emotional' in content and context. The Small groups (6 - 10 1129 nederlandslied shows the influence of the Arabesque Participants) (ornamented) style of singing. This style is unique in South Medium sized groups (11 – 20 1130 Africa, Africa and probably in the world. participants) Large groups (21+ 1131 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
Indigenous South African Arts ◄ 55
CONTEXTUALISING INDIGENOUS ARTS8
Arts: Western concept Indigenous: 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
Indigenous South African Arts ◄ 56
NOTES ON AFRICAN LANGUAGE POETRY9
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
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.
Indigenous South African Arts ◄ 57
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 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
.
Indigenous South African Arts ◄ 58
NATIONAL EISTEDDFOD OF SOUTH AFRICA™ Funded by Indigenous South African Arts
Entry Form 2016
www.eisteddfod.co.za
(Use one form per entry)
A. CONTACT DETAILS OF THE INSTITUTION / INDIVIDUAL RESPONSIBLE FOR THIS ENTRY
PROVINCE
REGION FOR PARTICIPATION
NAME OF REGIONAL NEA
REPRESENTATIVE NAME OF SCHOOL / GROUP
NAME OF CONTACT PERSON
AT THE SCHOOL / GROUP AREA CODE & FAX NO.: AREA CODE & TEL. NUMBER:
CELL. No. E-MAIL 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? 1 2 - 5 6 – 10 11- 20 21+ (Kindly provide the EXACT number in the appropriate box.)
A. CULTURAL GROUP B. INDIGENOUS ART SECTION C. GRADE & LANGUAGE 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. 10 – 12) 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 Select only ONE box Pantsula in each of the Boeremusiek columns A, B and C Cape Malay Music
______NAME IN PRINT SIGNATURE DATE
Indigenous South African Arts ◄ 59
Speech and Drama ◄ 60
PROSPECTUS 2014 -2015
PART 6 Speech & Drama Section
© Copyrighted NEA 2016 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™
Speech and Drama ◄ 61
SPEECH AND DRAMA CATEGORY
IMPORTANT: This section is applicable to all language sections and contains:
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. Please note the time limit for setting and striking of sets (props and décor): 1 minute for set-up 1 minute for striking
Speech and Drama ◄ 62
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 Speech & drama category G rade Code Choral Verse
E N G 0 6 0 6 / 0 9
1. Select the appropriate Language code from Table A. E.g. the code for English is ENG. 2. Clearly print ENG 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. 0606 designates a “Choral Verse” item. 4. Select the appropriate Grade code from TABLE C. Print the selected code in the last 2 blocks provided for the item number.
ENG/0606/09 represents an English Choral Verse item, presented by Grade 9 learners.
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.
Speech and Drama ◄ 63
SPEECH & DRAMA CATEGORIES
SUMMARY OF CODES: SPEECH & DRAMA / MOVEMENT & MIME.
TABLE A: TABLE B: LANGUAGE CODES SPEECH & DRAMA CATEGORIES
Replace *** on entry form Code PROSE (own choice) with an applicable category 601 PROSE, RELIGIOUS (individual) (Own choice) code from TABLE B 602 PROSE, RELIGIOUS (group) (Own choice) AFRIKAANS AFR*** ENGLISH ENG*** 603 PROSE, NARRATIVE (individual) (Own choice) IsiNDEBELE NDE*** 604 PROSE, LYRICAL (individual) (Own choice) IsiXHOSA XHO*** 605 PROSE, GROUP (Narrative or Lyrical) Own Choice IsiZULU ZUL*** CHORAL VERSE (prescribed /own choice) SEPEDI SEP*** 606 CHORAL VERSE – FORMAL/INFORMAL (large group) SESOTHO SOT*** 607 POETRY, SMALL GROUP (Own choice) SETSWANA TSW*** SiSWATI SWA*** POETRY (prescribed /own choice) TshiVENDA VEN*** 608 MODERN POETRY, African Languages (individual) XITSONGA TSO*** 611 POETRY, The Limerick (individual) SIGN LANGUAGE SIG*** 612 POETRY, The Narrative (individual) MOVEMENT & MOV 613 POETRY, The Sonnet (individual) MIME THEATRE 614 POETRY, The Lyric (individual)
615 POETRY, The Free Verse (individual)
616 POETRY ENSEMBLE (group)*
THEATRE PERFORMANCE (Own choice) 617 CHARACTER PORTRAYAL 618 ONE MAN SHOW (SOLO PRODUCTION) 619 MONOLOGUE, COMIC (in costume) 620 MONOLOGUE, DRAMATIC (in costume) 621 MONOLOGUE, CONTEMPORARY, South African (in costume) 622 SCENE (including Duologue) 623 STAND-UP COMEDY 624 PLAY, Mini play 625 PLAY, One act play 626 WORKSHOP PRODUCTION 627 EXPERIMENTAL WORK READING 628 PREPARED READING SKILLS (POETRY or PROSE) 629 UNPREPARED READING, PROSE 630 UNPREPARED READING, POETRY 631 PREPARED SCRIPT READING– AUDITIONING 632 PREPARED GROUP READING / READER’S THEATRE
*An item specially created by the NEA to build confidence in a group context
Speech and Drama ◄ 64
TABLE A: TABLE B: LANGUAGE CODES SPEECH & DRAMA CATEGORIES
Replace *** on entry form Code PUBLIC SPEAKING with applicable category code 633 PUBLIC SPEAKING: SPEECH TO INFORM (Prepared, Individual) AFRIKAANS AFR*** 634 PUBLIC SPEAKING: SPEECH TO PERSUADE (Prepared, Individual) ENGLISH ENG*** 635 PUBLIC SPEAKING: SPEECH TO INSPIRE (Prepared, Individual) IsiNDEBELE NDE*** 636 PUBLIC SPEAKING: SPEECH TO ENTERTAIN (Prepared, Individual) IsiXHOSA XHO*** IsiZULU ZUL*** 637 PUBLIC SPEAKING: RESEARCH SPEECH (Prepared, Individual) KHOISAN KHO 638 PUBLIC SPEAKING: CURRENT EVENT SPEECH (Prepared, Individual) SEPEDI SEP*** 639 SPECIAL OCCASION OR COURTESY SPEECHES (Unprepared) SESOTHO SOT*** 640 PUBLIC SPEAKING: (Unprepared, Individual) SETSWANA TSW*** 641 PUBLIC SPEAKING (Group) SiSWATI SWA*** 642 UNPREPARED PUBLIC SPEAKING (Group) TshiVENDA VED*** XITSONGA TSO*** 643 DEBATING – Partly prepared. GERMAN GER*** Code STORY TELLING FRENCH FRE*** 644 STORY TELLING - Individual Story Telling (Unprepared) ITALIAN ITA*** 645 STORY TELLING - Group Story Telling (Unprepared): PORTUGUESE POR*** 646 STORY TELLING - Individual Story Telling (Prepared) MOVEMENT & MOV 647 STORY TELLING - Group Story Telling (Prepared): MIME THEATRE Code IMPROVISATIONAL THEATRE 648 POETRY, GROUP, unprepared original writing 649 CREATIVE ADVERT ( Group ) Radio 650 CREATIVE ADVERT ( Group ) Television 651 THEATRE SPORTS ( Group ) (Beginners) 652 THEATRE SPORTS ( Group ) (Advanced) 653 IMPROVISATION ( Individual ) 654 IMPROVISATION ( Group ) 660 PUPPET THEATRE (Individual) 661 PUPPET THEATRE (Smal Group)
MOVEMENT & MIME MOV*** MOVEMENT & MIME THEATRE
MOV – 655 MIME, UNPREPARED – INDIVIDUAL MOV – 656 MIME, PREPARED - GROUP MOV – 657 MIME, PREPARED – INDIVIDUAL MOV – 658 MOVEMENT DRAMA – GROUP MOV - 659 PHYSICAL THEATRE – GROUP
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.
Speech and Drama ◄ 65
PROSE
GUIDELINES FOR PROSE10 What is 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 ourself. 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.
Speech and Drama ◄ 66
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.
Speech and Drama ◄ 67
PROSE CATEGORIES
TABLE C 601 RELIGIOUS PROSE (Individual) No. GRADE MAX. Individual interpretation of an age appropriate extract from an official 00 Grade R 3 min. religious scripture, e.g. the Bible, Koran, etc., presented from memory with 01 Grade 1 3 min. motivated movement, individually. Children’s Bible is acceptable for junior 02 Grade 2 3 min. 03 Grade 3 3 min. primary. 04 Grade 4 3 min. 05 Grade 5 3 min. Note that the genre chosen must be PROSE and not poetry or wisdom texts. 06 Grade 6 3 min. The guidelines tfor the latter differ from prose. 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 3 min. 602 RELIGIOUS PROSE (Group) No. GRADE MAX. Small group interpretation of an extract from an official religious scripture, 13 Foundation phase 3 min. e.g. the Bible, Koran, etc., presented from memory with motivated 14 Intermediate phase 4 min. movement if necessary. 15 Senior phase 5 min. 16 FET phase 5 min. Primary school level (gr. 4 min. 17 Note that the genre chosen must be PROSE and not poetry or wisdom texts. 1 – 7) Secondary school level 5 min. The guidelines for the latter differ from prose. 18 (gr. 8 – 12) 19 Open section 5 min. 603 NARRATIVE PROSE (Individual) No. GRADE MAX. Individual presentation of a memorized passage containing a narrator and 01 Grade 1 3 min. other character(s) taken from a book, using functional movement, gesture 02 Grade 2 3 min. and speech. The narrator paints the picture and develops atmosphere! 03 Grade 3 3 min. 04 Grade 4 3 min.
05 Grade 5 3 min. The selected passage should contain a narrator and one/more characters 06 Grade 6 3 min. that will be characterized by using a special voice and different body 07 Grade 7 3 min. movements. The use of movements should be motivated and natural. 08 Grade 8 4 min. (Guard against “rehearsed movement patterns”!) The use of your 09 Grade 9 4 min. imagination is the key to good prose speaking. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 4 min. TABLE C 604 LYRICAL PROSE (Individual) No. GRADE MAX. Individual presentation of a memorised descriptive passage taken from a 01 Grade 1 3 min. book, using functional movement, gesture and speech. 02 Grade 2 3 min. 03 Grade 3 3 min. 04 Grade 4 3 min. The selected passage will deal with feelings/emotions or a descriptive scene 05 Grade 5 3 min. while telling the story. The use of gestures should be motivated and natural. 06 Grade 6 3 min. (Guard against “rehearsed movements”!) It is advised to keep movement to 07 Grade 7 3 min. the minimal in the lyrical genre, seeing that it is a descriptive passage where 08 Grade 8 4 min. the word is most important. This is not a rule, but merely a suggestion. The 09 Grade 9 4 min. use of your imagination is the key to good prose speaking. 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. (For more information also refer to the Guidelines for Prose at the 19 Open section 4 min. beginnning of this category.)
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605 GROUP PROSE, Lyrical/Narrative No. GRADE MAX. Foundation phase 3 min. The presentation by a group of an age appropriate, memorised descriptive 13 passage taken from a book, using functional movement, gesture and Intermediate phase 4 min. 14 speech. Senior phase 5 min. 15 The same rules as for Individual Prose apply. The use of gestures should be FET phase 5 min. motivated and natural. (Guard against “rehearsed movements”!) (Guard 16 against “rehearsed movements”!) It is advised to keep movement to the Primary school level 4 min. 17 minimal in the lyrical genre, seeing that it is a descriptive passage where (gr. 1 – 7) the word is most important. This is not a rule, but merely a suggestion. The Secondary school 5 min. 18 use of your imagination is the key to good prose speaking. The use of level (gr. 8 – 12) imagination is the key to good prose speaking. 5 min.
Make sure that you understand the difference between a lyrical and a narrative extract, as well as the performing or interpretation thereof. 19 Open section
(For more information also refer to the Guidelines for Prose at the beginnning of this category.)
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.
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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 Choral verse Grade 4 - 5
We may only be pretending today Dreamland But tomorrow those pretending games May lead to reality anyway We’re deep asleep There are goals to set and goals to achieve On the dreamland train One day we could be famous Traveling down a magical lane It only takes a positive mind to believe Green dogs, pink cats and Purple rats are suddenly having
Marcelle Pincus 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.
Marcelle Pincus
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CHORAL VERSE CATEGORIES TABLE C 606 CHORAL VERSE No. GRADE MAX. Grade 1 Prescribed or own choice poem to be spoken from memory by a group of 6 01
and more participants. This category provides the teacher with an 02 Grade 2 opportunity to involve a large number of learners in one activity. 03 Grade 3 A choral verse group may be comprised of different age groups. Enter according to the highest grade. 04 Grade 4
05 Grade 5 This group item presents the opportunity to develop the necessary skills to
and striking of the stage. the of striking and portray meaning with the voice only, or in combination with free 06 Grade 6 movement. A suggestion of costume may be used, as well as rostra, benches, tables and chairs. 07 Grade 7
08 Grade 8 *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 09 Grade 9
stage. 10 Grade 10
setting including 10 minutes, The participating group will be required to provide the drama blocks, benches, 11 Grade 11 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 12 Grade 12 with the NEA Office in advance. 19
Open section time: *Maximum 607 POETRY, SMALL GROUP No. GRADE MAX. A selection of poems with a central theme to be presented by 3 – 5 01 Grade 1 3 min. participants within the maximum time limit as indicated. 02 Grade 2 3 min. 03 Grade 3 3 min. 04 Grade 4 3 min. The choice of poems will determine the style of dramatization. Poems can 05 Grade 5 4 min. be linked in any suitable manner (e.g. movement, music, interludes, sound 06 Grade 6 4 min. effects, etc.) Simple costumes may be used. 07 Grade 7 4 min. 08 Grade 8 5 min. Participants ned to provide their own equipment if needed for music or 09 Grade 9 5 min. 10 Grade 10 5 min. sound effects. A maximum of 3 minutes will be allocated per entry to allow 11 Grade 11 5 min. for setting and striking of the stage. 12 Grade 12 5 min. 19 Open section 5 min.
POETRY PERFORMANCE
NOTES ON AFRICAN LANGUAGE POETRY
1. MODERN POETRY IN AFRICAN LANGUAGES11
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
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.
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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.
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 10 –12.
1. 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 syncreticism (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.
*608 TABLE C POETRY, AFRICAN LANGUAGES No. Grade Max. 01 Grade 1 2 min. The presentation of a memorised poem, in an African language, using 02 Grade 2 2 min. movement, voice and facial expression. Movements should enhance the 03 Grade 3 2 min. 04 Grade 4 2 min. spoken word and should be used as a personal interpretation and not a 05 Grade 5 3 min. literal translation of the words into movement. 06 Grade 6 3 min. 07 Grade 7 3 min. 08 Grade 8 3 min. * Select the appropriate language code from TABLE A. 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.
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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:
POETRY NARRATIVE LYRICAL
Limerick Lyric
Narrative Sonnet
Ballad Ode
Epic Elegy
Free verse Free verse
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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 An example of a Narrative Poem
There was an Old Man of Nantucket The Ants and the Wasp Who kept all his cash in a bucket. His daughter, called Nan, Once upon a time, Ran away with a man, some ants lived happily together in their nest. And as for the bucket, Nantucket. Birds, rabbits, frogs, and beetles
(Anonymous; webexhibits.org) admired and envied their harmonic way of living.
One day, a wasp invaded their space; Example of a narrative Ballad: it forced itself into their home, The noble man with its dark, scary sting and body.
As I was walking down the street I saw two people in secret meet All the ants ran away for their lives, except for one tiny ant - he stood The second one said to the first 'You have some news to quench my thirst?' right in front of the wasp's sting! 'In behind the old, damp shed The wasp was irritated and amazed There lies a noble man slain, dead by this young insect's courage. And no one knows he lies in strife Except his dog and lonely wife "Do you know you are no match for me?!" With master gone where no one knocks the wasp scorned the young ant. The ant was unshaken and unmoved! His dog has left to chase a fox
His wife has found somebody new His house is left for all to view "Together we can outmatch you!" the ant shouted. 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 The rest of the ants felt the burning We'll flee the place when it grows bare courage from the young ant’s voice, Many people knew the noble man and rose up in arms to fight the wasp; But none do care where he has gone to fight for their home Over his grave, all do ignore to fight for their freedom.
The wind shall blow forever more.' The wasp’s sting was no match for thousands of ants.
(Anonymous; www.youngwriters.co.uk) He was carried and thrown into a bird’s nest, where he became the birds’ meal.
Example of a narrative Free Verse The young ant, from then on, became a hero. He was knighted by the Queen Ant, The black bear goes to the river and from then on he was called Sir Victor. he tries to spot a fish he sees one ( Teddy Kimathi; www.poetrysoup.com) 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; www.freeversestudentsamples.com) Speech and Drama ◄ 74
Example of an Epic poem 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— ("Un lion avait pris un enfant.") Shall see me eat him in your palace, too!"
Next morning, this is what was viewed in town: {XIII.} Dawn coming—people going—some adown A Lion in his jaws caught up a child— Praying, some crying; pallid cheeks, swift feet, Not harming it—and to the woodland, wild And a huge lion stalking through the street. With secret streams and lairs, bore off his prey— It seemed scarce short of rash impiety The beast, as one might cull a bud in May. To cross its path as the fierce beast went by. It was a rosy boy, a king's own pride, So to the palace and its gilded dome A ten-year lad, with bright eyes shining wide, With stately steps unchallenged did he roam; And save this son his majesty beside He enters it—within those walls he leapt! Had but one girl, two years of age, and so No man! The monarch suffered, being old, much woe;
His heir the monster's prey, while the whole land For certes, though he raged and wept, In dread both of the beast and king did stand; His majesty, like all, close shelter kept, Sore terrified were all. Solicitous to live, holding his breath
Specially precious to the realm. Now death By came a knight Is not thus viewed by honest beasts of prey; That road, who halted, asking, "What's the fright?" And when the lion found him fled away, They told him, and he spurred straight for the site! Ashamed to be so grand, man being so base, The beast was seen to smile ere joined they fight, He muttered to himself, "A wretched king! The man and monster, in most desperate duel, 'Tis well; I'll eat his boy!" Then, wandering, Like warring giants, angry, huge, and cruel. Lordly he traversed courts and corridors, Beneath his shield, all blood and mud and mess: Paced beneath vaults of gold on shining floors, Whereat the lion feasted: then it went Glanced at the throne deserted, stalked from hall Back to its rocky couch and slept content. To hall—green, yellow, crimson—empty all! Sudden, loud cries and clamors! striking out Rich couches void, soft seats unoccupied! Qualm to the heart of the quiet, horn and shout And as he walked he looked from side to side Causing the solemn wood to reel with rout. To find some pleasant nook for his repast, Terrific was this noise that rolled before; Since appetite was come to munch at last It seemed a squadron; nay, 'twas something more— The princely morsel!—Ah! what sight astounds A whole battalion, sent by that sad king That grisly lounger? With force of arms his little prince to bring,
Together with the lion's bleeding hide. In the palace grounds
An alcove on a garden gives, and there Which here was right or wrong? Who can decide? A tiny thing—forgot in the general fear, Have beasts or men most claim to live? God wots! Lulled in the flower-sweet dreams of infancy, He is the unit, we the cipher-dots. Bathed with soft sunlight falling brokenly Ranged in the order a great hunt should have, Through leaf and lattice—was at that moment waking; They soon between the trunks espy the cave. A little lovely maid, most dear and taking, "Yes, that is it! the very mouth of the den!" The prince's sister—all alone, undressed— The trees all round it muttered, warning men; She sat up singing: children sing so best. Still they kept step and neared it. Look you now, Charming this beauteous baby-maid; and so Company's pleasant, and there were a thou— The beast caught sight of her and stopped— Good Lord! all in a moment, there's its face!
Frightful! they saw the lion! Not one pace And then Further stirred any man; but bolt and dart Entered—the floor creaked as he stalked straight in. Made target of the beast. He, on his part, Above the playthings by the little bed As calm as Pelion in the rain or hail, The lion put his shaggy, massive head, Bristled majestic from the teeth to tail, Dreadful with savage might and lordly scorn, And shook full fifty missiles from his hide, More dreadful with that princely prey so borne; But no heed took he; steadfastly he eyed, Which she, quick spying, "Brother, brother!" cried, And roared a roar, hoarse, vibrant, vengeful, dread, "Oh, my own brother!" and, unterrified, A rolling, raging peal of wrath, which spread, She gazed upon that monster of the wood, Making the half-awakened thunder cry, Whose yellow balls not Typhon had withstood, "Who thunders there?" from its black bed of sky. And—well! who knows what thoughts these small heads This ended all! Sheer horror cleared the coast; hold? As fogs are driven by the wind, that valorous host She rose up in her cot—full height, and bold, Melted, dispersed to all the quarters four, And shook her pink fist angrily at him. Clean panic-stricken by that monstrous roar. Whereon—close to the little bed's white rim, Then quoth the lion, "Woods and mountains, see, All dainty silk and laces—this huge brute A thousand men, enslaved, fear one beast free!" Set down her brother gently at her foot, He followed towards the hill, climbed high above, Just as a mother might, and said to her, Lifted his voice, and, as the sowers sow "Don't be put out, now! There he is, dear, there!" The seed down wind, thus did that lion throw
His message far enough the town to reach: EDWIN ARNOLD, C.S.I. "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, (Victor Hugo; www.poetrysoup.com)
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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 lymerick has a clear storyline or adapted from a known fabel 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; www.childrensliterature.com
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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 Example of Free Verse
Homework! Oh, homework! Washed I hate you! You stink! I wish I could wash you Nothing's changed except me and the facts away in the sink. And the sadness I didn't mean to start. If only a bomb But it feels different now you've said would explode you to bits. It's wrong, and I still can't see your point. Homework! Oh, homework! And I think as water runs over my hands that You're giving me fits. That's really all there is or can be. I'd rather take baths The gold is wearing off the infamous ring with a man-eating shark, And something wears away from around my heart or wrestle a lion alone in the dark, (Katherine Foreman; www.yourdictionary.com) 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!
(Jack Prelutsky; www.school-survival.net)
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; www.the-temple-home-page.org)
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Example of a Lyrical poem (for seniors) Example of an Elegy
When I stop and pray The Doomed -- regard the Sunrise
When the storm clouds boil around me, The Doomed -- regard the Sunrise And the lightning splits the sky--. With different Delight -- When the howling wind assails me, Because -- when next it burns abroad And life's sea is rolling high-- They doubt to witness it -- When my heart is filled with terror, And my fears, I can't allay-- The Man -- to die -- tomorrow -- Then I find sweet peace and comfort, Harks for the Meadow Bird -- When I simply stop and pray. Because its Music stirs the Axe That clamors for his head -- When the things of life confound me, And my faith is ebbing low-- Joyful -- to whom the Sunrise When my trusted friends betray me, Precedes Enamored -- Day -- And my heart is aching so-- Joyful -- for whom the Meadow Bird When the night seems black and endless, Has ought but Elegy! And I long for light of day-- (Emily Dickinson; www.poetsoup.com) Then I find a silver dawning, When I simply stop and pray.
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; www.poetrysoup.com)
Example of a Sonnet Example of a ODE
From fairest creatures we desire increase, Oh Olive, That thereby beauty’s rose might never die. You are as precious to me as any gem, But as the riper should by time decease, With your beautiful, pure skin as smooth as silk
His tender heir might bear his memory: And as green as the grass in summertime. But thou, contracted to thine own bright eyes, I love your taste and the smell of your tender fruit Feed'st thy light’s flame with self-substantial fuel, Which hides beneath your green armour. Making a famine where abundance lies, Olive, sweet, tasty Olive, Thyself thy foe, to thy sweet self too cruel. How I love you so and my mealtimes wouldn't be Thou that art now the world’s fresh ornament the same And only herald to the gaudy spring, If you weren't in my life. Within thine own bud buriest thy content Oh Olive, And, tender churl, mak'st waste in niggarding. Nothing can compare to you, nothing at all, Pity the world, or else this glutton be, You are food of the gods, a king's riches To eat the world’s due, by the grave and thee And, most importantly, you are mine, oh Olive!
(W. Shakespeare. www.webexhibit.org) (Anonymous; www.youngwriters.co.uk)
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How to present a poem.
o The colour of saying necessary for presenting a poem from memory requires the use of movement, voice and facial expression. o Movements, when used, should enhance the spoken word and should be used as a personal interpretation. o Participants should not literally translate the words into movement! In other words: guard against moving on each word. o The participant should adhere to the rhythm of the poem. o Movements should be economical, motivated and planned. o The word must be heard and the flow and intention of the poet must be carried over. o Generallhy 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).
611 LIMERICK, Prescribed or Own Choice No. Grade Max. The Limerick: A humorous and often epigrammatic or indecent verse form of 00 Grade R 1 min. 5 lines with a rhyme scheme of aabba. 01 Grade 1 1 min. 1 min. Grade 0 - 1 should present ONE Limerick. 02 Grade 2 Grade 2 – 4 should present TWO Limericks. 1 min. 03 Grade 3 When the lymerick has a clear storyline or adapted from a known fabel or 1 min. publishd childrenstory it falls under the narrative genre.) 04 Grade 4 612 NARRATIVE POEM, Prescribed or Own Choice No. Grade Max. The Narrative: A continuous account of an event or series of events. Thus this 00 Grade R 2 min. poem tells a story. The mood can be comical or serious. 01 Grade 1 2 min. 02 Grade 2 2 min. The following subcategories of the Narrative poem display broadly the same 03 Grade 3 2 min. characteristics. However, these poems are often too long and would not fit into the allocated time frame. Therefore only an excerpt from these poems 04 Grade 4 3 min. could be presented: 05 Grade 5 3 min. 06 Grade 6 3 min. The Ballad: A narrative poem, sometimes of folk origin, political or family 07 Grade 7 3 min. histories, the supernatural, originally intended to be sung. It consists of simple 08 Grade 8 3 min. 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 09 Grade 9 3 min. the story itself, it doesn’t dwell upon personal feelings or attitudes. 10 Grade 10 3 min. 11 Grade 11 3 min. The Epic: An extended narrative poem celebrating the exploits and 12 Grade 12 3 min. achievements of heroes and/or divine characters. An epic poem is a long, 18 Open section 3 min. narrative poem that is usually about heroic deeds and events that are 3 min. 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 19 Open section 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.
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613 SONNET, Prescribed or Own Choice No. Grade Max. Though a poem in the Lyrical category, the Sonnet has a very specific 07 Grade 7 1-2 min structure: 08 Grade 8 1-2 min A total of 14 lines Iambic pentameter 09 Grade 9 1-2 min Formal rhyme scheme 10 Grade 10 1-2 min
Types: 11 Grade 11 1-2 min a) Italian sonnet (Petrarchan) comprises an octave (stanza of 8 lines) followed by a 12 Grade 12 1-2 min sestet (stanza of 6 lines). b) English sonnet (Shakespearean) comprises three quatrains (4-line groupings) and a 19 Open section 1-2 min final couplet (2 lines).
614 LYRIC POETRY, Prescribed or Own Choice No. Grade Max. The Lyric: The most common type of verse. The poem is fairly short and 00 Grade R 2 min expresses the poet’s personal emotions or sentiments, a state of mind, a 02 Grade 1 2 min process of thought and feeling. A single speaker expresses love, or justifies 02 Grade 2 2 min values, may try to persuade, meditate on something or analyse a situation. 03 Grade 3 2 min 04 Grade 4 2 min The following subcategories of lyrical poetry display broadly the same 05 Grade 5 2 min characteristics. However, these poems are often too long and would not fit 06 Grade 6 2 min into the allocated time frame. Therefore only an excerpt from these poems 07 Grade 7 2 min could be presented: 08 Grade 8 3 min 09 Grade 9 3 min 10 Grade 10 3 min The Ode: A long lyric poem with an elevated style and formal stanza structure 11 Grade 11 3 min (rhymed or unrhymed) usually serious or meditative in nature. This poem is 12 Grade 12 3 min usually written in praise of someone or something. 3 min
The Elegy: A subjective lyric poem that refers to specific people, places or events related to death. A poem of lament and consolation concerning a 19 Open section particular person’s death, or reflection on death in general.
For more information refer to the Guidelines for Poetry.
615 FREE VERSE, Prescribed/Own Choice No. Grade Max. Free Verse: A type of narrative or lyric verse that deliberately employs 07 Grade 7 3 min. irregular rhythmical patterns and absence or irregularity of rhyme. 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.
616 POETRY ENSEMBLE, (Own choice) No. GRADE The presentation of ONE poem (narrative or lyrical) by 2 – 3 participants. This 01 Grade 1 3 min. item can serve as a confidence booster for many shy and/or nervous 02 Grade 2 3 min. participants. 03 Grade 3 3 min. 04 Grade 4 3 min. 05 Grade 5 4 min. The use of movement is optional and as with voice and facial expression 06 Grade 6 4 min. should always be motivated to enhance the spoken word. In other words: 07 Grade 7 4 min. there should be a reason for every movement. 08 Grade 8 5 min. 09 Grade 9 5 min. 10 Grade 10 5 min. For more information refer to the Guidelines for Poetry. 11 Grade 11 5 min. 12 Grade 12 5 min. 19 Open section 5 min.
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THEATRE PERFORMANCE
Please note the time limit on the setting and striking of sets (props and décor) 1 minute for set-up 1 minute for striking
NOTES ON CHARACTERIZATION 12
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 kink 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?
12 Notes on Characterization courtesy of Annelize Hicks.
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"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.
617 CHARACTER PORTRAYAL No. Grade Max. This category can be compared to the scene or duologue, but with the major 02 Grade 2 min difference in that the different characters are portrayed by ONE PARTICIPANT 03 Grade 3 min ONLY. As in the scene, the text may not contain any narrative sections. 04 Grade 4 05 Grade 5 06 Grade 6 The participant will be adjudicated on his skills to portray different characters 07 Grade 7 6 min through dialogue, gesture, movements and facial expressions. A 08 Grade 8 6 min suggestion of costumes may be used, taking into account that more than 09 Grade 9 7 min one character is to be portrayed. 10 Grade 10 7 min 11 Grade 11 8 min 12 Grade 12 8 min 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 19 Open section 8 min tension and climax is still applicable.
618 ONE MAN SHOW (SOLO PRODUCTION) No. Grade Max. The participant will be required to present a well-balanced programme based 02 Grade 2 10 min on a central theme allowing opportunity for a demonstration of versatility and 03 Grade 3 10 min agility. Poetry, prose, monologues, mime and any medium of dramatic 04 Grade 4 10 min 05 Grade 5 10 min expression may be included and could be bridged with music, movement or 06 Grade 6 12 min sound effects. 07 Grade 7 12 min 08 Grade 8 12 min A mere conglomeration of items already presented at the annual Eisteddfod 09 Grade 9 12 min will not be accepted. A copy of the programme must be handed to the 10 Grade 10 15 min adjudicator prior to the presentation. 11 Grade 11 15 min 12 Grade 12 15 min Note: A maximum of 2 minutes will be allowed for setting and striking the stage. 19 Open section 15 min
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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 4th 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 might ask the children for help, as when Peter Pan appeals to the audience to clap for Tinkerbell. Other examples where the fourth wall can be broken is where there is a narrator as will be discussed at the eamples.
Thus for the purpose of participating in the National Eisteddfod we can conclude that a MONOLOGUE is a dramatized extract performed by ONE actor of ONE character, continuously portrayed. The character may speak by himself or to other imagined characters. (Please note that only ONE person is portrayed and NO narrative sections are included!)
The presentation should include movement, gesture and speech. Props and appropriate costumes may be used, although a “hint of costume” could also be enough.
Preferably monologues should be taken out of a published play/film. Due to the lack of suitable material 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.
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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)
Example where the character is a narrator and the 4th wall principle does not count. (Refer to description above) Narrator: A story begins. A child is born. He grows into a man. He experiences happiness. He meets a girl. They fall in love. They get married. They have children. The children grow up and move away. There's a fifty percent chance that he and his wife will stay together. (Flips a coin.) Hmm. by himself now, the man grows old. Older. Older. And dies. 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 demand that our characters experience conflict. And why must our main character be tortured emotionally and sometimes physically? Because it is fun to watch
(Taken from: Conflict; Wade Bradfordt)
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619 MONOLOGUE: COMIC (in costume) No. Grade Max. 01 Grade 1 2 min. 02 Grade 2 2 min. The nature of the extract should be humorous. 03 Grade 3 2 min. 04 Grade 4 2 min. Please note the time limit on the setting and striking of sets (props and décor): 05 Grade 5 3 min. 1 minute for set-up 06 Grade 6 3 min. 1 minute for striking 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. 620 MONOLOGUE: DRAMATIC (in costume) No. Grade Max. 01 Grade 1 2 min. The nature of the extract should be dramatic (serious). 02 Grade 2 2 min. 03 Grade 3 2 min. Please note the time limit on the setting and striking of sets (props and décor): 04 Grade 4 2 min. 05 Grade 5 3 min. 1 minute for set-up 06 Grade 6 3 min. 1 minute for striking 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.
621 MONOLOGUE: Contemporary, South African (in costume) No. Grade Max. 03 Grade 3 2 min. The monologue should be taken from a South African play written after 1965. 04 Grade 4 2 min. The nature of the play could be dramatic or comic. 05 Grade 5 3 min. 06 Grade 6 3 min. 07 Grade 7 3 min. Please note the time limit on the setting and striking of sets (props and décor): 08 Grade 8 3 min. 1 minute for set-up 09 Grade 9 3 min. 1 minute for striking 10 Grade 10 4 min. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 4 min.
622 SCENE No. Grade Max.
3 min 13 Foundation phase 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 involving 2 – 5 participants (small group) or larger groups (more than 5 Intermediate 14 4 min participants). phase
A section of a play or an adaptation of a novel, or self-written play may be 15 Senior phase 4 min 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. 16 FET phase 5 min.
Kindly note: The script should be learnt of by heart. The duration should NOT Primary school exceed the maximum time as allocated per grade. 17 4 min level
Please note the time limit on the setting and striking of sets (props and décor): Secondary school 18 5 min 1 minute for set-up level 1 minute for striking 6 min 19 Open section
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623 STAND-UP COMEDY No. Grade Max. 07 Grade 7 5 min. An individual performance of a comic routine, consisting of jokes, one liners, 08 Grade 8 5 min. etc. This performance could also make provision for audience interaction. Props, items of costume, etc., may be used but are not compulsory. 09 Grade 9 5 min.
Please note that the general framework as well as most of the content for this 10 Grade 10 6 min. section must be well prepared. It is only the audience interaction that may be 11 Grade 11 6 min. impromptu at times. 12 Grade 12 6 min.
19 Open Section 8 min.
624 PLAY, Mini play (12 – 15 minutes) No. Grade Max. 15 min 13 Foundation phase Short play. Own compositions may be used. Intermediate 15 min 14 phase A synopsis of the play and a brief description of the various characters 15 Senior phase 15 min involved in the play should be provided to the adjudicator prior to the 16 FET phase 15 min Primary school 15 min performance. 17 level Secondary school 15 min 18 Kindly note: The adjudicator may request a faxed/e-mailed copy level of the script in advance. 15 min 19 Open section
625 PLAY, One act play (limit: 40 minutes) No. Grade Max. 30 min. 13 Foundation phase Plays presented should be a well written ONE act play. Acting length not to Intermediate 30 min. 14 exceed 40 minutes* plus 10 minutes to set and strike the set (for FET / phase Secondary school phase only – the limit for primary school is 30 minutes). 30 min. 15 Senior phase Costumes, music, sound effects, props and rostra allowed. To be performed 40 min. from memory. Minimum number of performers 2, no maximum. No songs, 16 FET phase Primary school 30 min. operetta, etc. are allowed. Competitors must take responsibility for own 17 equipment. level Secondary school 40 min. A synopsis of the play, a brief description of the various characters involved in the play 18 level and the cast should be provided to the adjudicator prior to the performance. The 40 min. adjudicator may request a faxed/e-mailed copy of the script in advance. 19 Open section (* 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) 626 WORKSHOP PRODUCTION No. Grade Max. 30 min Actors are expected to create a new production by following the following 13 Foundation phase procedure: Intermediate 30 min 14 phase selection of a theme that is relevant to their lives and their 15 Senior phase 30 min communities
improvisation 16 FET phase Primary school 30 min selection of relevant scenes 17 level rehearsal Secondary school 30 min 18 performance level 30 min Maximum performance time of 30 minutes, with preparation time of 10 minutes, which includes setting, and clearing of the stage. Rostra, tables, chairs, 19 Open section etc. are allowed. Examples of successful Workshop Productions include: The Island, Love Crime and Johannesburg, Sizwe Banzi is dead.
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627 EXPERIMENTAL WORK No. Grade Max. 13 Foundation phase 15 min. Intermediate 15 min. A group presentation, based on a controlled theme. Inclusive of varied 14 phase disciplines and may include movement, music, dance and sound effects, but 15 Senior phase 15 min. must include the spoken word . Four or more participants may enter. Work to 16 FET phase 15 min. consist of a variety of material, e.g. group mime, drama, dancing, song, Primary school 17 individual items. This is not a play. Original, creative work is expected. Lighting, level Secondary school 15 min. sound effects and music are not allowed to dominate the word. The use full 18 level costumes is not required.
This category provides numerous opportunities for creative thinking and new 19 Open section 20 min. ideas.
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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!
628 PREPARED READING SKILLS (POETRY OR PROSE) No. Grade Max. The purpose of this category is to build the confidence of participants and to 01 Grade 1 1 min. develop their reading skills. 02 Grade 2 1 min. 03 Grade 3 1 min. Although participants should be very familiar with the text, they will be 04 Grade 4 2 min. adjudicated on their READING SKILLS (fluency, phrasing, use of eye contact and 05 Grade 5 2 min. effective use of voice) and should not recite the material. 2 min. 06 Grade 6 IMPORTANT: Participants choose their own reading material which should be 07 Grade 7 2 min. appropriate to their age group. The participants should prepare THREE pieces 08 Grade 8 3 min. (which might be extracts from the same book) of which copies must be presented 09 Grade 9 3 min. to the adjudicator prior to their performances. The adjudicator will then select 10 Grade 10 4 min. one of the prepared pieces which the participant will then be requested to read. 11 Grade 11 4 min. 12 Grade 12 4 min. 19 Open section 5 min.
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629 UNPREPARED READING, PROSE No. Grade Max. 01 Grade 1 (The adjudicator will provide reading matter.) 02 Grade 2 03 Grade 3 04 Grade 4 Emphasis will be on the interpretation of text and expressive vocal 05 Grade 5 performance. Gr. 10 – Open section could be expected to read from a 06 Grade 6 newspaper or magazine. 07 Grade 7 08 Grade 8 Adjudication: Participants are judged on fluency, eye contact with audience, 09 Grade 9 different characters/situations, etc. through facial expression and voice 10 Grade 10 11 Grade 11 projection. 12 Grade 12 19 Open section
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.)
630 UNPREPARED READING, POETRY No. Grade Max. 01 Grade 1 (The adjudicator will provide reading matter.) 02 Grade 2 03 Grade 3 04 Grade 4 Participants are judged on fluency, sufficient eye contact with audience and 05 Grade 5 enlightment of the meaning of the poem through facial expression and use of 06 Grade 6 the voice. Learners must be prepared and taught the skills to present a 07 Grade 7 variety of poems as applicable for their grade. Emphasis will be on the 08 Grade 8 interpretation of the poem and expressive voice performance. 09 Grade 9 10 Grade 10 11 Grade 11 IMPORTANT: Learners must be prepared and taught the skills to present a 12 Grade 12 variety of poems (e.g. narrative, lyric, etc.) 19 Open section
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.
631 PREPARED SCRIPT READING – AUDITIONING No. Grade Max. 07 Grade 7 4 min. The purpose of this section is to prepare participants for future auditions. TWO participants are expected to select and read from an age appropriate 08 Grade 8 5 min. script (e.g. play/TV/radio/drama, etc.). Participants should not memorize the 09 Grade 9 5 min. 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 10 Grade 10 5 min. enter this section. Pupils from different grades to be entered under the highest grade. Only Grade 7 – Open may enter this section. 11 Grade 11 5 min. 12 Grade 12 5 min.
18 Open section 5 min.
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PREPARED GROUP READING or READER’S 632 No. Grade Max. THEATRE Readers Theater is a dramatic presentation of a written work, i.e. a book 07 Grade 7 4 min. or a short story. Reading parts are divided among the readers which they 08 Grade 8 5 min. then read from the “script”, No need to memorize! The focus is on reading 09 Grade 9 5 min. the text with expressive voices and gestures thus making comprehending 10 Grade 10 5 min. the text meaningful and fun. 11 Grade 11 5 min. 12 Grade 12 5 min. In Readers theatre, actors use vocal expression to help the audience 18 Open section 5 min. understand the story rather than visual storytelling such as sets, costumes, and intricate blocking.
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PUBLIC SPEAKING
GUIDELINES FOR 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 and research content which results in their own opinion, which is not a mere duplication of other participants’ speeches.
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 Speech and Drama ◄ 91
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
PUBLIC SPEAKING: Prepared SPEECH TO INFORM 633 No. Grade Max. (Individual) In addition to the standard guidelines (see above) the participant must demonstrate 01 Grade 1 2 min. skill in oral communication by using good speech construction and delivery 02 Grade 2 2 min. techniques to INFORM the audience. The presentation should be interesting and 03 Grade 3 2 min. 04 Grade 4 3 min. could also involve some humor. 05 Grade 5 3 min. 06 Grade 6 3 min. Desired response: Clear understanding; explanation; instruction; learning and 07 Grade 7 4 min. knowledge. Time limit as per grade. 08 Grade 8 4 min. 09 Grade 9 4 min. Example: 10 Grade 10 5 min. 11 Grade 11 5 min. Did you know that during the first six months of 2004, approximately 200 million birds died or 12 Grade 12 5 min. were destroyed in attempt to stop the pandemic of avian influenza (5)? Did you hear that United 19 Open Nations coordinator, Dr David Nabarro, estimated the number of possible human casualties as section 5-150 million people? Are you aware that since its discovery in the 1990-ies the avian flu has 5 min. been contracted by more than 100 people, and one half of them died. PUBLIC SPEAKING: Prepared SPEECH TO PERSUADE 634 No. Grade Max. (Individual) In addition to the standard guidelines (see above) the participant must demonstrate 01 Grade 1 4 min. skill in oral communication by using good speech construction and delivery 02 Grade 2 4 min. techniques to PERSUADE the audience. 03 Grade 3 4 min. 04 Grade 4 4 min. 05 Grade 5 4 min. Desired response: Action, practice of belief brought about through argument and 06 Grade 6 5 min. reason. Time limit as per grade. 07 Grade 7 5 min. 08 Grade 8 7 min. Example 09 Grade 9 7 min. 10 Grade 10 7 min. There is little doubt that the planet is warming. Over the last century, the planets temperature has risen 11 Grade 11 7 min. by around 1 degree Fahrenheit (0.6 of a degree Celsius). The warmest since the mid 1800’s was the 12 Grade 12 7 min. 1990s. The hottest years recorded were 1997, 1998, 2001, 2002, 2003. 19 Open 7 min. section 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.
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PUBLIC SPEAKING: Prepared SPEECH TO INSPIRE 635 No. Grade Max. (Individual) In addition to the standard guidelines (see above) the participant must demonstrate 01 Grade 1 2 min. skill in oral communication by using good speech construction and delivery 02 Grade 2 2 min. techniques to INSPIRE the audience. 03 Grade 3 2 min. 04 Grade 4 3 min. 05 Grade 5 3 min. Desired response: 06 Grade 6 3 min. Animation or exaltation of the human spirit and arousal of emotions. Time limit as 07 Grade 7 4 min. per grade. 08 Grade 8 4 min. 09 Grade 9 4 min. Example of a speech to inspire: 10 Grade 10 5 min. 11 Grade 11 5 min. 12 Grade 12 5 min. Everybody wants to be happy in life. We all want to live a perfect life. We want that great job 19 Open or a successful business. We want to be married to Mr. Right or Mrs Perfect. We want to section 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. 5 min.
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: www.motivation-for-dreamers.com; Dr Moses)
PUBLIC SPEAKING: Prepared SPEECH TO ENTERTAIN 636 No. Grade Max. (Individual) 01 Grade 1 2 min. In addition to the standard guidelines (see above) the participant must demonstrate 02 Grade 2 2 min. skill in oral communication by using good speech construction and delivery 03 Grade 3 2 min. 04 Grade 4 3 min. techniques to ENTERTAIN the audience. 05 Grade 5 3 min. 06 Grade 6 3 min. Desired response: 07 Grade 7 4 min. Delight, amusement, enjoyment and laughter. Time limit as per grade. 08 Grade 8 4 min. 09 Grade 9 4 min. 10 Grade 10 5 min. 11 Grade 11 5 min. Example 12 Grade 12 5 min.
19 Open 5 min. My old patrol cap, the one I am holding in my hand, is my friend's present. It has neither section double thick bill nor internal pocket, neither chinstraps nor breathtaking 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.
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PUBLIC SPEAKING: Prepared RESEARCH SPEECH 637 No. Grade Max. (Individual) In addition to the standard guidelines (see above) the participant must demonstrate 01 Grade 1 2 min. skill in oral communication by using good speech construction and delivery 02 Grade 2 2 min. techniques to discover new or old facts by the scientific study or course of critical 03 Grade 3 2 min. 04 Grade 4 3 min. investigation. 05 Grade 5 3 min. 06 Grade 6 3 min. Desired response: 07 Grade 7 4 min. Clear understanding, learning and new knowledge. Time limit as per grade. 08 Grade 8 4 min. 09 Grade 9 4 min. Example 10 Grade 10 5 min. 11 Grade 11 5 min. Global warming is a fact! 12 Grade 12 5 min. 19 Open 5 min. Chairman, ladies and gentlemen, it does not take a genius to know: Global warming is a fact! section 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.
PUBLIC SPEAKING: Prepared CURRENT EVENT 638 No. Grade Max. SPEECH (Individual) In addition to the standard guidelines (see above) the participant must demonstrate 01 Grade 1 2 min. skill in oral communication by using good speech construction and delivery 02 Grade 2 2 min. techniques in the analysis of the cause and effect of a current event. The participant 03 Grade 3 2 min. 04 Grade 4 3 min. is expected to deliver a speech on relevant issues of the day, e.g. the Tsunami 05 Grade 5 3 min. disaster, death of the Pope, etc. In order to be relevant, speeches in this section 06 Grade 6 3 min. cannot be prepared months in advance. 07 Grade 7 4 min. 08 Grade 8 4 min. Desired response: 09 Grade 9 4 min. Clear understanding, learning and new knowledge. Time limit as per grade. 10 Grade 10 5 min. 11 Grade 11 5 min. Example 12 Grade 12 5 min. 19 Open 5 min. South Africa is at Cliff's edge section Current developments in South Africa are reminiscent of events in 1985. 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.
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SPECIAL OCCASION / COURTESY SPEECHES – 639 No. Grade Max. UNPREPARED 01 Grade 1 1-2 min. The adjudicator will present the participant with a scenario relevant to 02 Grade 2 1-2 min. his/her frame of reference: 03 Grade 3 1-2 min. 04 Grade 4 1-2 min. Introducing a speaker* 05 Grade 5 1-2 min. Presenting a speaker with a gift and a vote of thanks* 06 Grade 6 2-3 min. A farewell speech* 07 Grade 7 2-3 min. Welcoming an audience to a function 08 Grade 8 2-3 min. 09 Grade 9 2-3 min. 10 Grade 10 2-3 min. 11 Grade 11 2-3 min. 12 Grade 12 2-3 min. 18 Open section 2-3 min. 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. - 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”) o Why is this speaker suitable for the specific situation... what was his experience in the topic of the day, academic, maybe his life experience? o Add a short “teaser” by telling the audience what’s in it for them...what will they gain from his/her knowledge) o How do you know the speaker? o 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 - 11/2 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.
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If you have to present the guest speaker with a small gift or token of appreciation, keep the following in mind: The "thanker" 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 thankers left hand and passed smoothly to the guest’s left hand while the guest and thanker shake right hands.
C. Farewell Speach
You can give farewell speeches for different occasions, usually when someone is leaving a hometown or retiring from a job. Some farewell speeches honor 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 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.
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640 UNPREPARED PUBLIC SPEAKING: (Individual) No. Grade Max. 01 Grade 1 2 min. Procedure: 02 Grade 2 2 min. 03 Grade 3 2 min. 04 Grade 4 2 min. Subject to be handed out before the competition starts. Participants will 05 Grade 5 2 min. have 5 minutes to prepare. Time limit as per grade. 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. 641 PUBLIC SPEAKING (Group) No. Grade Max. Teams should exist of 4 members; however teams with only 3 members 07 Grade 7 10 min. may also participate. Topic: own choice. The group should adhere strictly to 08 Grade 8 15 min. the time limit. Groups that fail to do so will be penalized. 09 Grade 9 15 min.
The following criteria could be used: 10 Grade 10 15 min. Chairperson: Introduce the speakers and the topic. He is also responsible 11 Grade 11 15 min. for the co-ordination of the presentation by providing the necessary link 12 Grade 12 15 min. between speakers and by summarizing when applicable. 19 Open section 15 min. 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. Humor 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
642 UNPREPARED PUBLIC SPEAKING (Group) No. Grade Max. 07 Grade 7 10 min. Teams should exist of 4 members, however teams with only 3 members may 08 Grade 8 10 min. also participate. Participants to report 30 minutes before the scheduled 09 Grade 9 10 min. 10 Grade 10 10 min. starting time of their session to receive their topic. The group should adhere 11 Grade 11 10 min. strictly to the time limit. Groups that fail to do so will be penalized. A topic 12 Grade 12 10 min. will be provided by the adjudicator. 19 Open section 10 min.
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. Humor could be introduced by one of the speaker if the topic allows it.
Breakdown of the time allocation for group public speaking: 1 The chairperson/moderator: Introduction – 1 /2 minutes Three speakers: 2 minutes each 1 The Chairperson’s bridging gaps between speakers: /2 minute each Conclusion by the Chairperson: 1 minute Total: 10 minutes
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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 neighboring 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
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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.
643 DEBATING – PARTLY PREPARED* No. Grade Max. 08 Grade 8 45 min. A debate is a series of formal spoken arguments for and against a definite 09 Grade 9 45 min. proposal. An entry comprises of two teams of 3 members each and a 10 Grade 10 45 min. 11 Grade 11 45 min. chairperson. Teams comprising of learners of various grades should enter 12 Grade 12 45 min. under the highest grade. 19 Open section 45 min. * Participants to report to the adjudicator ONE HOUR before the scheduled participation time to receive the topic for their debate.
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STORY TELLING
644 STORY TELLING: Individual - unprepared No. Grade Max. Adjudicator will provide a topic/theme to stimulate the thought process of 01 Grade 1 2 min. the participant. Participants are allowed 5 minutes to prepare. Participant 02 Grade 2 2 min. to tell ameaningful story - this is not an unprepared speech. Accent is on 03 Grade 3 2 min. 04 Grade 4 2 min. creativeness and imagination. No notes allowed. Movement is allowed. 05 Grade 5 2 min. It is important NOT to confuse this category with PROSE 06 Grade 6 2 min. 07 Grade 7 2 min. 08 Grade 8 3 min. Note: Refer to the discussion on oral tradition in the African culture as 09 Grade 9 3 min. 10 Grade 10 3 min. guidelines to this category. 11 Grade 11 3 min. 12 Grade 12 3 min. #Grade R may not enter for this section. 19 Open section 3 min.
NB. PARTICIPANTS TO REPORT 10 MINUTES PRIOR TO THE TIME AS INDICATED ON PARTICIPANT SLIP TO RECEIVE THEIR TOPIC. 645 STORY TELLING: Group - unprepared No. Grade Max. Participants are allowed 20 minutes to prepare. Adjudicator will provide a 13 Foundation phase 3 min. topic/theme to stimulate the thought process of the learners. A group may 14 Intermediate phase 4 min. consist of 2 - 6 participants, but not more than 6. Each participant’s 15 Senior phase 4 min. 16 FET phase 5 min. contribution needs to be complementary. The presentation should display 17 Primary school level 7 min. a beginning, middle, climax and conclusion section. The accent falls on Secondary school creativity and group participation. 18 8 min. level
NB. PARTICIPANTS TO REPORT 30 MINUTES PRIOR TO THE TIME AS INDICATED ON PARTICIPANT SLIP 19 Open section 8 min.
646 STORY TELLING: Individual - Prepared No. Grade Max. The acted story may be a complete story, or an extract from any narrative 00 Grade R 2 min. source, for example, novels, myths and legends, fables, folk tales or the 01 Grade 1 2 min. oral tradition. Music, props, costume, rostra and chairs may be used. 02 Grade 2 2 min. 03 Grade 3 2 min. Movement is allowed. 04 Grade 4 3 min. 05 Grade 5 3 min. The origin of storytelling comes from he oral tradition of the African 06 Grade 6 3 min. 07 Grade 7 3 min. culture. The elderly used to sit around the fire and teach the younger 08 Grade 8 3 min. generation life lessons with stories. This in not PROSE. Let the origin of 09 Grade 9 3 min. stortelling guide you in your choice of movement, use of props and other 10 Grade 10 4 min. décor. 11 Grade 11 4 min. 12 Grade 12 4 min. Example of a traditional story (Aesops fable) 19 Open section 4 min.
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.
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647 STORY TELLING: Group - Prepared No. Grade Max. The acted story may be a complete story, or an extract from any narrative 13 Foundation phase 4 min source, for example, the novel, myths and legends, fables, folk tales or the 14 Intermediate phase 6 min oral tradition. Music, props, costume, rostra and chairs may be used. 15 Senior phase 8 min. Movement is allowed. Minimum number of performers: TWO, no 16 FET phase 10 min. maximum. 17 Primary school level 8 min. Secondary school 18 15 min. level 19 Open section 15 min.
IMPROVISATIONAL THEATRE
# 648 GROUP POETRY: UNPREPARED ORIGINAL WRITING No. Grade Max. Age group: Gr. 4 - Open section. Minimum number of performers: 3, no 14 Intermediate phase 3 – 4 min. maximum. The adjudicator will provide the topic/theme. The participants 15 Senior phase 4 – 5 min. will have 60 minutes to write and prepare their own original poem. The 16 FET phase 4 – 5 min. participants then perform their poem with expression. Gesture and Secondary School 4 – 5 min. movement are permitted. Time limit: 2 - 6 minutes (depending on age 18 level group). 19 Open Section 5 – 6 min 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.
649 CREATIVE RADIO ADVERT : Group - unprepared No. Grade Max. Minimum number of candidates: three, no maximum. Each group will be 01 Grade 1 1 min. given a choice of two products by the adjudicator as stimulus, prior to the 02 Grade 2 1 min. commencement of the section - e.g. makeup, soap powder, computer, etc. 03 Grade 3 1 min. 04 Grade 4 1 min. The participants will have 30 minutes to prepare and need to report to the 05 Grade 5 1 min. venue controller at least 30 minutes before the scheduled starting time of 06 Grade 6 1 min. this section. 07 Grade 7 1 min. 08 Grade 8 1 min. Maximum duration of advert: 30 seconds. Time limit may not be 09 Grade 9 1 min. exceeded. 10 Grade 10 1 min. No costumes or props. Candidates must wear appropriate clothes 11 Grade 11 1 min. (black clothes, tracksuit, shorts, and shirt). 12 Grade 12 1 min. Kindly note that visual elements DO NOT apply for an audio creative advert 19 Open section 1 min. 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/e-mail address, retail outlets, etc. o Vocal technique – as for all other categories of oral communication. o Tonality, e.g. Toys – lighthearted tone; Headache pills – serious, reasuring attitude.
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650 CREATIVE TV ADVERT: Group - unprepared No. Grade Max. Minimum number of candidates: three, no maximum. Each group will be 01 Grade 1 1 min. given a choice of two products by the adjudicator as stimulus, prior to the 02 Grade 2 1 min. commencement of the section - e.g. makeup, soap powder, computer, etc. 03 Grade 3 1 min. 04 Grade 4 1 min. The participants will have 30 minutes to prepare and need to report to the 05 Grade 5 1 min. venue controller at least 30 minutes before the scheduled starting time of 06 Grade 6 1 min. this section. 07 Grade 7 1 min. 08 Grade 8 1 min. Maximum duration of advert: 60 seconds. Time limit may not be 09 Grade 9 1 min. 10 Grade 10 1 min. exceeded. 11 Grade 11 1 min. No costumes or props. Candidates must wear appropriate clothes 12 Grade 12 1 min. (black clothes, tracksuit, shorts, and shirt). 1 min. 19 Open Section 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/e-mail address, retail outlets, etc. o Vocal technique – as for all other categories of oral communication. o Tonality, e.g. Toys – lighthearted, playful; Headache pills – serious, reasuring attitude.
651 THEATRE SPORTS (Beginners) No. Grade Max. This section is only for participants that have never been exposed to 13 Foundation phase 4 – 6 min theatre sports in any form (4 or more participants). 14 Intermediate phase 4 – 6 min 15 Senior phase 4 – 6 min 16 FET phase 6 – 8 min. The rules are as for the Theatre Sports (advanced) section but only the 17 Primary school level 4 – 6 min following games will be played. 18 Secondary school level 6 – 8 min. 19 Open section 6 – 8 min. 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 1st 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?
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.
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652 THEATRE SPORTS (Advanced) No. Grade Max. This event is improvisational theatre where the audience [in a small way] 15 Senior Phase (Grade 7 4 – 6 min and participants often collaborate to create stories, scenes or other aspects – 9) of theatre. 16 FET Phase 6 – 8 min.
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 18 Secondary school 6 – 8 min. preparations. Due to the diverse nature of the available theatre sports games each 19 Open section 6 – 8 min. 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 653 IMPROVISATION (INDIVIDUAL) No. Grade Max. An improvised act: The adjudicator will offer a choice of subjects 5 minutes 01 Grade 1 1 – 2 min. before the start of the item. Participant chooses one subject/situation to 02 Grade 2 1 – 2 min. 1 – 2 min. be announced clearly. The participant is requested to portray an original 03 Grade 3 act/situation with the use of speech, movement and gestures. Participants 1 – 2 min. are judged on the use of space, movement, sound effects and vocabulary. 04 Grade 4 05 Grade 5 3 min Participant may use one of two methods: 06 Grade 6 3 min Free interpretation (may use story teller, characterization, and 3 min interaction with imagined character(s).) 07 Grade 7 3 min Traditional interpretation when one character is continuously 08 Grade 8 interacting with imagined characters. 3 min 09 Grade 9 No learner should be exposed to this item without the necessary 10 Grade 10 3 min preparation. It is imperative that the participant should acquire and develop the relevant skills and techniques in advance. 11 Grade 11 3 min 12 Grade 12 3 min 19 Open section 3 min 654 GROUP IMPROVISATION No. Grade Max. An improvised act for a group of 4 or more participants: The adjudicator 13 Foundation phase 6 min. will offer a choice of subjects 5 minutes before the start of the item. Participants choose one subject/situation to be announced clearly. The 14 Intermediate phase 6 min. 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. 15 Senior phase 6 min.
Participants may use one of three methods: 16 FET phase 6 min. Free interpretation (may use story teller, characterization, and interaction with imagined character(s).) 17 Primary school level 6 min. Traditional interpretation when one character is continuously interacting with the others in the group. 18 Secondary school level 6 min. A scene where all have equal parts and interesting characters. 19 Open section 6 min.
* Participants to report 30 minutes in advance.
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MOVEMENT & MIME THEATRE
GUIDELINES FOR MIME
MIME13 – 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 notes14: 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)!
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.
13 Notes on Mime courtesy of Willie Straus 14 Additional notes on Mime courtesy of Marelize Engelbrecht
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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
MOV- MIME, UNPREPARED – INDIVIDUAL No. GRADE MAX. 655 00 Grade 0 1 min. The participant will receive a topic 5 minutes prior to participating. One 01 Grade 1 2 min. person using gestures and movement should portray an original situation. 02 Grade 2 2 min. 03 Grade 3 2 min. The pupils will be judged on use of space and movement, but no speech 04 Grade 4 2 min. and props may be used. Mime attire if possible. 05 Grade 5 2 min. 06 Grade 6 3 min. 07 Grade 7 3 min. 08 Grade 8 3 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. MOV- MIME, PREPARED - GROUP No. GRADE MAX. 656 13 Foundation phase 3 min. The pupils will be judged on use of space and movement, but no sound 14 Intermediate phase 3 min. or props may be used. This item to be presented in mime attire if 15 Senior phase 3 min. 16 FET phase 4 min. possible. Minimum number of participants: 2 17 Primary school level 3 min.
18 Secondary school level 4 min.
19 Open section 4 min. MOV- MIME, PREPARED – INDIVIDUAL No. GRADE MAX. 657 00 Grade R 2 min. One person using gestures and movement should portray an original 01 Grade 1 2 min. situation. The pupil will be judged on use of space and movement. No 02 Grade 2 2 min. 03 Grade 3 2 min. speech and props may be used. Mime attire if possible. 04 Grade 4 2 min. 05 Grade 5 2 min. 06 Grade 6 3 min. 07 Grade 7 3 min. 08 Grade 8 3 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.
Speech and Drama ◄ 105
M0V-658 MOVEMENT DRAMA No. GRADE MAX. 13 Foundation phase 3 – 5 min. A group of learners (2 or more) chooses a theme, which they enact by 14 Intermediate phase 5 – 7 min. using movements only. The emphasis should be directed towards the 15 Senior phase 5 – 7 min. experiences, emotions, etc., rather than events. Learners could make use 16 FET phase 5 – 7 min. of music to enhance the mood and emphasize the emotions/feelings that the movements represent. 17 Primary school level 5 – 7 min. 18 Secondary school level 7–10 min. 19 Open section 7–10 min. MOV-659 PHYSICAL THEATRE No. GRADE MAX.
13 Foundation phase 3 – 5 min. 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 14 Intermediate phase 5 – 7 min. actor will concentrate on: 1. The use of body shape and position 15 Senior phase 5 – 7 min. 2. Gesture 3. Facial expressions 16 FET phase 5 – 7 min. 4. Posture 5. Rhythmic movement, pace and the energy of the body 17 Primary school level 5 – 7 min. 6. Gait Physical theatre can be distinquished from dance in that it tends to focus more on narrative, character and action. However, the boundaries 18 Secondary school level 7–10 min. between the two are rather blurred. 19 Open section 7–10 min.
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THEATRE PERFORMANCE: Puppet Theatre
GUIDELINES FOR PUPPET THEATRE 15
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 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 11-12 Marionettes or any of the above.
Items can be performed solo or in teams.
Description of types of puppets.
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 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).
15 Notes on Puppetry courtesy of Alida van Deventer and reviewed by Johan Swanevelder.
Speech and Drama ◄ 107
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.
Adjudication
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!
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 ....
Speech and Drama ◄ 108
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 072-187-0259 or the agent (N. Swanevelder on 072-476-6661) for bookings in this regard.
660 PUPPET THEATRE, Individual No. Grade Max. Puppetry is fun and exciting for pupils who love the stage but are too shy to act in 01 Grade 1 2 – 3 min. front of an audience. It also challenges the artistic and mechanically minded. It 02 Grade 2 2 – 3 min. 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 03 Grade 3 2 – 3 min. given more attention. After all it is a performing art. Please consult active 04 Grade 4 2 – 5 min. puppeteers for ideas on these techniques. 05 Grade 5 2 – 5 min.
Each level has a different technique - so the children can experience different 06 Grade 6 3 – 5 min. types of puppetry as they move through school. The children should do all the 07 Grade 7 3 – 5 min. work. Levels: 08 Grade 8 6 – 10 min. Grade 1-3 Simple rod puppets or sock puppets. 09 Grade 9 6 – 10 min. Grade 4-5 Glove puppets. 10 Grade 10 6 – 10 min. Grade 6-7 Shadow puppets. Grade 8-10 Three-dimensional rod puppets, or any of the above. 11 Grade 11 6 – 10 min. Grade 11-12 Marionettes or any of the above. 12 Grade 12 6 – 10 min. 19 Open section 6 – 10 min. Items can be performed solo or in teams. Groups may comprise of different age groups. 661 PUPPET THEATRE, Small Groups No. Grade Max. Foundation 13 3 – 5 min. Each level has a different technique - so the children can experience different phase types of puppetry as they move through school. The children should do all the Intermediate 3 – 5 min. 14 work. phase 15 Senior phase 3 – 5 min. Levels: 16 FET phase 6 – 10 min. Grade 1-3 Simple rod puppets or sock puppets. Primary Grade 4-5 Glove puppets. 17 3 – 5 min. school level Grade 6-7 Shadow puppets. Secondary 6 – 10 min. 18 Grade 8-10 Three-dimensional rod puppets, or any of the above. school level Grade 11-12 Marionettes or any of the above. 19 Open section 7 – 15 min.
Items can be performed in teams. Groups may comprise of different age groups.
Kindly contact the NEA Office on 011-886-6005 or by e-mail ([email protected]) if you have any queries. Additional information will also be published on the webpage from time to time (www.eisteddfod.co.za).
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ECTUS 2014 -2015 PART 8:
Registration and Entry Forms
© Copyrighted NEA 2016 (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.)
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ENTRY & REGISTRATION FORMS FOR 2016
IMPORTANT NOTICE:
Please note that a higher entry fee is charged for ALL ENTRIES submitted on entry forms. This includes all versions of entries on entry forms (submitted on paper, by fax or e-mail). A lower entry fee is charged for ALL entries submitted ONLINE.
REGISTRATION FORMS 2016 To be completed by all individuals / participating bodies. Please note that you could also register ONLINE on the website www.eisteddfod.co.za.
ENTRY FORM FOR NEA CONFIDENCE BUILDER To be used for entries for ONE participant.
ENTRY FORM FOR INDIVIDUAL ENTRIES 2016 To be used for single and multiple entries for ONE participant.
ENTRY FORM FOR MULTIPLE ENTRIES 2016 To be used for a single entry number with up to 5 participants.
SMALL GROUP ENTRY FORM 2016 To be used for a group entry number with up to 5 participants.
LARGE GROUP ENTRY FORM 2016 To be used for a groups with 6 and more participants.
SPECIAL REQUEST FORMS 2016 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.
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REGISTRATION FOR NATIONAL EISTEDDFOD OF SOUTH AFRICA 2016
Kindly REGISTER for participating in Eisteddfod 2016 by providing the outstanding information below. Please note that the proposed dates for 2016 are from 15 August - 7 October.
Kindly return this form ASAP by e-mail [email protected]) or fax (011-787-3534).
PART 1: Details of school / institution
Kindly provide the information as requested below
A. ADDRESS AND CONTACT DETAILS: (Please print clearly) NAME OF SCHOOL / INSTITUTION / STUDIO
POSTAL ADDRESS CODE:
E-mail ADDRESS (school) PHYSICAL ADDRESS: STREET & NUMBER GPS Co-ordinates RESIDENTIAL AREA /TOWN TEL. NO. FAX NO. TELEFAX NO.
B. DETAILS OF CONTACT PERSON / REPRESENTATIVE: NAME OF REPRESENTATIVE TELEPHONE NUMBER (Work) FAX NO. (Work) CONTACT NUMBER (After hours) HOME: CELL: E-MAIL ADDRESS of REPRESENTATIVE When is your birthday? Day: Month:
PART 2: Availability and level of hosting
Kindly indicate if you would be able to host eisteddfod events at your school. If yes, kindly indicate the level of hosting that you would be able to offer () : YES, willing to host and manage venue(s) at our institution - all participants welcome. We will manage the venue and will provide the necessary staff as required (Adjudicator assistant, venue control, ticket sales, refreshments for adjudicator). (Kindly note: Management fee payable*) YES, venue available for participants from any institution - We do not take responsibility for the management of the venue. The NEA should provide the necessary staff to manage the venue. (Kindly note: no management fee will be paid.) YES, willing to host and manage venue EXCLUSIVELY for learners from our school. (Kindly note that no management fee will be paid.)
NO, Cannot host any event in 2016 – will participate at venues as provided by the NEA. Management fee option selected Advertisement on NEA website option selected.
* The NEA will pay a management fee at a rate of R500 per session of 4 hours (or R125 per hour for shorter sessions), which could be utilized at the discretion of the school (to subsidize entry fees, pay for the food, honoraria to assistants, etc.). Schools may also utilize learners for this purpose as this could form part of the school’s leadership development programme. Alternative option: Opportunity to advertise on the NEA website and in regional programme booklets
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PART 2: Detail of available VENUES
Venues for the various sections can be classified according to SIZE and FACILITIES (e.g. stage, sound equipment, instruments). More than ONE venue of the same SIZE or with the same FACILITIES may be available at any given institution. Distinguish between the different venues by providing an appropriate name for each venue:
DESCRIPTION OF VENUES:
A. Small venue: Seat less than 30 people SE
B. Medium venue: Seat 30 – 100 people Available Dates:
(PLEA
available
C. Large venue: Seat 100 – 500 people Kindly provide exact detail of available dates for EACH venue within the
necessary for
D. Very large venue: Seat 500+ – proposed time frame for your region (refer to dates on the next page).
Should the same dates apply to ALL venues, you may use the calendar on the Select A, B or C depending on the size of each of the venues you last page to indicate ALL AVAILABLE DATES.
items
will be able to provide and prodive the NAME of this venue: Eg. : A – Music room; A – Classroom; C – School hall;
D - Auditorium Good quality, tuned piano available in venue indicate the when venue has TWO PIANOS Concerto items!) Suitable floor and sound equipment for Dancing Sound equipment (mics, CD player, etc.) for backing track Suitable for dramatic arts Acoustic Drumkit in venue
We, ………..………………………………………………………..…(headmaster) and …………………………..……..(contact person) from ……………………………………………….. hereby confirm the availability of the venue(s) as indicated above. Banking details for the Venue Management Fee (if applicable) :
Name of account holder: Account number: Advertising Bank: Account type: Cheque Savings Credit card option preferred Branch code: Yes No
SIGNATURE (HEAD MASTER):………………………………………………………………..SIGNATURE (CONTACT PERSON): …………………………………………………………………………………..
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PART 3: Detail of available REGIONS / LOCAL AREAS
Proposed Activity Dates for 2016: 15 Aug – 7 October 2016 (For more information also refer to the notes below. For more information about dates, kindly refer to the website www.eisteddfod.co.za as this will be updated from time to time)
PROVINCE SHOWCASE REGION LOCAL AREA to select PROVINCE SHOWCASE REGION LOCAL AREA to select Gauteng Benoni Gauteng Centurion
Gauteng Boksburg Gauteng Pretoria Gauteng Etwatwa Gauteng Soshanguve Gauteng Kathlorus Gauteng Tshwane
Gauteng
Northern Gauteng Kemptonpark Gauteng ?
Gauteng Springs Gauteng Heidelberg Gauteng Tembisa Gauteng Vanderbijlpark
Eastern Gauteng Gauteng ? Gauteng Vereeniging
Gauteng Alexandra Gauteng Gauteng ?
Southern Gauteng Auckland Park Gauteng Bedfordview Gauteng Fochville Gauteng Little Falls
Gauteng Benmore
Gauteng Glenvista Gauteng Merafong City Gauteng Greenside Gauteng Mogale City Gauteng Houghton Gauteng Muldersdrift Gauteng Hyde Park Gauteng Randfontein Gauteng Lenasia Gauteng Roodepoort Gauteng Melville Gauteng Ruimsig Gauteng Norwood Gauteng Western Gauteng Weltevredenpark Gauteng Joburg Central/South Parktown Gauteng Westonaria Gauteng Sandown Gauteng ? Gauteng Soweto International International Maputo Gauteng ? Kwazulu Natal Kwazulu Natal ? Gauteng Blairgowrie Limpopo Bela-Bela
Limpopo Makhado Gauteng Bryanston Gauteng Dainfern Limpopo Modimolle
North Limpopo Musina Gauteng Joburg Fairland Limpopo Polokwane Gauteng Ferndale Limpopo Gauteng Fontainebleau Limpopo Vaalwater Gauteng Fourways Limpopo ? Gauteng Kayalami Mpumalanga Mbombela
Gauteng Linden Mpumalanga Emhalhleni Gauteng Lonehill Mpumalanga Komatipoort Gauteng Midrand Mpumalanga Lydenburg Gauteng Northcliff Mpumalanga Malelane Mpumalanga Middelburg
Joburg North
Gauteng Sharonlee Mpumalanga Gauteng ? Mpumalanga Steelpoort Mpumalanga ?
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PROVINCE SHOWCASE REGION LOCAL AREA to select PROVINCE SHOWCASE REGION LOCAL AREA to select North West Delareyville Northern Cape Kathu
North West Klerksdorp Northern Cape Kuruman North West Madibeng Northern Cape Postmasburg
North West Potchefstroom Northern Cape Cape Upington
Northern North West Rustenburg
North West Northern Cape ? North West ? Western Cape Western Cape ?
The “?” in grayscale blocks indicate the option to add a NEW LOCAL AREA not provided for in the list.
It speaks for itself that a Regional Showcase will only be presented in regions where it is warranted by a significant number of entries. Similarly, the number of entries could also warrant the presentation of multiple showcases in a region, e.g. Joburg North (previously known as Randburg and Sandton regions).
Please note: Various circumstances (e.g. mid-terms, school holidays, school activities that you are aware off, etc.) could cause difficulties with the proposed time frame for your region. If needed, you are welcome to propose alternative dates for hosting eisteddfod activities in your region in order to provide for those challenges. The adjudication of Full Shows / Productions (revue, etc.) can be arranged on any date according to you production schedule. Kindly contact Rolien at the NEA Office in this regard.
Kindly use the 2016 calendar below to indicate () AVAILABLE dates within the proposed time frame. (Please discuss alternative dates with the NEA Office.) Please ensure that the venues /dates that you offer have been booked with the responsible person and have been included in your year plan. Please consider ALL dates that will NOT BE AVAILABLE due to other pre-planned school commitments, holidays, Religious or Holy Days.
Aug. 2015 Mon 17 Tue 18 Wed 19 Thu 20 Fri 21 Sat 22 Example: Mon 24 Tue 25 Wed 26 Thu 27 Fri 28 Sat 29 Sept. 2015 Mon 31 Tue 1 Wed 2 Thu 3 Fri 4 Sat 5
Aug Mon 7 Tue 8 Wed 9 Thu 10 Fri 11 Sat 12
Kindly note: The NEA if prepared to present eisteddfod activities in ANY region, provided that the number of entries submitted is sufficient to cover the cost of doing so. When only a limited number of entries can be submitted, individual participants and groups in these regions also have the option to submitted their entries by means of VIDEO RECORDED entries. Please refer to the website for more information in this regard or contact the NEA Office (011 886 6005) / [email protected].
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Calendar for 2016: PLEASE MARK AVAILABLE DATES ONLY
July 2016 Mon 25 Tue 26 Wed 27 Thu 28 Fri 29 Sat 30
August 2016 Mon 1 Tue 2 Wed 3 Thu 4 Fri 5 Sat 6
Mon 8 Tue 9 Wed 10 Thu 11 Fri 12 Sat 13
Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Public School Holiday Public School Holiday Mon 15 Tue 16 Wed 17 Thu 18 Fri 19 Sat 20
Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday
Mon 29 Tue 30 Wed 31 Thu 1 Sept Fri 2 Sept Sat 3 Sept
Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday Independent School Holiday
Sept. 2016 Mon 5 Tue 6 Wed 7 Thu 8 Fri 9 Sat 10
Independent School Holiday Mon 12 Tue 13 Wed 14 Thu 15 Fri 16 Sat 17
Mon 19 Tue 20 Wed 21 Thu 22 Fri 23 Sat 24 Heritage Day Mon 26 Tue 27 Wed 28 Thu 29 Fri 30 Sat 1 Oct Public Shools close Oct. 2016 Mon 3 Tue 4 Wed 5 Thu 6 Fri 7 Sat 8 Public School Holiday Public School Holiday Public School Holiday Public School Holiday Public School Holiday Public School Holiday
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NATIONAL EISTEDDFOD OF SOUTH AFRICA™ Use for C. DETAILS OF ENTRY / ENTRIES
Individual SECTION GRADE Name of “Trained by” institution / When in www.eisteddfod.co.za CATEGORY NUMBER CODE doubt, provide brief detail of item for entries reference purpose. ENTRY FORM FOR INDIVIDUAL ENTRIES ONLY Example E N G 0 6 1 2 0 9 “The Drama Studio – Narrative poem” Complete all Sections 1. N / G A. RESPONSIBLE PERSON / INSTITUTION 2. / A.1 Who is responsible for submitting this entry? SCHOOL STUDIO PARENT (Select one of the 3 options in the columns on the right). 3. / A.2. Provide the NAME of the option selected in A.1 4. / A.3 Who will submit the applicable entry fees to the NEA? SCHOOL STUDIO PARENT NOTE: You will participate in the region as selected by the registered school/studio/parent in A2. 5. / (All communication about this entry will go to this school / studio / parent. This name will be printed on the certificate if no other information is provided in B or C.) 6. / A.4. If the trainer/s for all / some of these entries is/are not the same as the NAME listed in A.2, provide the name of the trainer/studio next to the entry on the entry list. (NB will be printed on 7 / the certificate as Trained by [Name of Trainer] if registered on the NEA database) .
B. PROFILE OF PARTICIPANT 8 / NAME SURNAME 9 / COMPULSORY INFORMATION: Entries cannot be processed without an ID Number OR Date of Birth YEAR MONTH DAY Female Male 10 / ID number or Date of birth 11 / NAME OF SCHOOL (This refers to the public / private school the participant is attending and could be the same as in A2)
12 / School Grade Language of ( when applicable) communication If you wish to add more entries, please attach additional copies of this page to the first page. Please provide your name on all additional pages. E-mail of parent / participant ENTRY FEE: Cell No. of parent (1) Cell of parent (2) Number of TOTAL AMOUNT Entry fee ______-______-______or participant: ______-______-______Until 31 May : R165 entries DUE *Kindly provide the * A Blind / Partially sighted C Intellectually E Physically challenged Until 15 June: R185 disability code where challenged After 15 June: R285 X R185 R applicable B Deaf/Hard of Hearing D Learning disabled Not Applicable DETAILS OF PAYMENT: Please indicate with √ in appropriate blocks where 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 and attach to DATE OF ELECTRONIC COMPULSORY: Reference Number for Institution
this entry. Do NOT make any notes in this regard on this entry form as it will YES NO E TRANSFER Provide Reference Number for not be considered. F Institution on the deposit slip. T ____/____/2016 Fax proof of transfer to [011] I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus for this event and on CASH CHEQUE 787 3534 the web page. I accept the decision of the NEA management about all matters regarding this event. I accept that the NEA Bank: ABSA Account Name: and its host venues are indemnified against any loss, theft of injury sustained during this festival. I hereby authorize the NEA Entry fee due: R______to use recordings / pictures of performances at some of NEA events on the NEA’s social platforms and website. National Eisteddfod Academy Branch: Northcliff Account Number: 404 747 8448 Code: 33 47 05 Type: Current Account ______POSTAL ADDRES: PO BOX 1288, RANDBURG, 2125 Name in Print Signature Date
CLOSING DATE FOR HARD COPY ENTRIES 31 MAY 2016
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SPECIAL REQUEST 2016 FOR INDIVIDUALS
INDIVIDUAL ENTRY
For attention: Manager: Administration National Eisteddfod Academy
Name of participant: ______I.D. Number: ______
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 ACTIVITY (Provide a brief description of the activities and/or motivate your request) DATE(S)
(Block out the UNAVAILABLE dates on the calendar below.)
Calendar for 2015: BLOCK OUT DATES THAT ARE NOT AVAILABLE July 2016 Mon 25 Tue 26 Wed 27 Thu 28 Fri 29 Sat 30
August Mon 1 Tue 2 Wed 3 Thu 4 Fri 5 Sat 6 2016 Mon 8 Tue 9 Wed 10 Thu 11 Fri 12 Sat 13 Independent School Independent School Independent Independent Independent Independent Holiday Holiday School Holiday School Holiday School Holiday School Holiday Public School Holiday Public School Holiday Mon 15 Tue 16 Wed 17 Thu 18 Fri 19 Sat 20 Independent School Independent School Independent Independent Independent Independent Holiday Holiday School Holiday School Holiday School Holiday School Holiday Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Independent School Independent School Independent Independent Independent Independent Holiday Holiday School Holiday School Holiday School Holiday School Holiday Mon 29 Tue 30 Wed 31 Thu 1 Sept Fri 2 Sept Sat 3 Sept Independent School Independent School Independent Independent Independent Independent Holiday Holiday School Holiday School Holiday School Holiday School Holiday Sept. Mon 5 Tue 6 Wed 7 Thu 8 Fri 9 Sat 10 2016 Independent School Holiday Mon 12 Tue 13 Wed 14 Thu 15 Fri 16 Sat 17
Mon 19 Tue 20 Wed 21 Thu 22 Fri 23 Sat 24 Heritage Day Mon 26 Tue 27 Wed 28 Thu 29 Fri 30 Sat 1 Oct Public Shools close Oct. Mon 3 Tue 4 Wed 5 Thu 6 Fri 7 Sat 8 2016 Public School Holiday Public School Holiday Public School Public School Public School Public School Holiday Holiday Holiday Holiday Please note: Incomplete forms cannot be processed.
IMPORTANT: SPECIAL REQUESTS SHOULD BE SUBMITTED WITH THE ENTRIES OR SHOULD REACH THE NEA OFFICE BY THE CLOSING DATE FOR ONLINE ENTRIES Closing date for ONLINE entries: 30 June 2016. Although the NEA will attempt to accommodate all reasonable requests, NO guarantee can be provided.
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NEA
Confidence NATIONAL EISTEDDFOD OF SOUTH AFRICA™ Builder
www.eisteddfod.co.za
NEA CONFIDENCE BUILDER - ENTRY FORM Complete all Sections
A. RESPONSIBLE PERSON / INSTITUTION A.1 Who is responsible for submitting this entry? Please provide the Registration Number as provided Reg. No. when registering online A.2. Provide the NAME of school / parent in A.1 A.2 Who will submit the applicable entry fees to the NEA? SCHOOL STUDIO PARENT NOTE: You will participate in the region and local as selected by the registered school/studio/parent in A. (All communication about this entry will go to this school / studio / parent. This name will be printed on the certificate if no other information is provided in B or C.)
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 Language of ( when applicable) communication E-mail of parent / participant Cell No. of parent (1) Cell of parent (2) ______-______-______or participant: ______-______-______*Kindly provide the * A Blind / Partially sighted C Intellectually E Physically challenged disability code where challenged applicable B Deaf/Hard of Hearing D Learning disabled Not Applicable
CATEGORY Select Confidence Builder: Item Code: Entry fee Speech and Drama items Vocal Solo Solo verse speaking (poetry) 9000 9000 Instrumental solo Prose 9001 9001 Afrikaans Poetry ensemble 9002 9002 English Prepared reading 9003 9003 IsiNdebele IsiXhosa Confidence Builder: Music items IsiZulu Vocal Solo with piano accompaniment 9004 9004 Sepedi Instrumental solo (acoustical instruments only 9005 9005 Sesotho TOTAL: Setswana Instrument: (e.g piano, recorder,) when applicable: SiSwati Grade: TshiVenda XiTsonga
Please note: The entry fee is R 70 when submitted on paper entry form AFTER 31 May (hard copy / fax or e-mail). Online entries are charged at R 60 per entry only.
I am aware of the fact 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 for this event indemnified against any loss, theft of injury sustained during this festival.
______Name in Print Signature Date
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NATIONAL EISTEDDFOD OF SOUTH AFRICA™ SINGLE
www.eisteddfod.co.za ITEM NR.
Closing date for HARD COPY entries: 31 May 2016 / ONLINE entries ONLY: 30 June 2016 MULTIPLE ENTRY FORM FOR SINGLE ITEM NUMBER WITH MULTIPLE PARTICIPANTS PARTICIPANTS (For use by class teachers for participants with ONE entry only!)
A. KINDLY TICK THE APPROPRIATE BOX. A.1. Participants on this list are from the same school/studio and are entered for the same item. They will participate in the local area IF “YES”, name of school/studio: / timeframe as selected by this school/studio. Communication about these entries will go to this school/studio. This name will be printed on the YES NO certificates. If “YES”, provide the name of the school/studio in column on the right (If NO, use entry form for individual entries).
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
COMPULSORY INFORMATION: DISABILITY CODE* ID Number** or Date of Birth Names of Participants Entry fee Grade Cell. No. (Parent) Blind/Partially Sighted A Month Code* Year Date Male / Female
Disability Disability Deaf/Hard of Hearing B 1. Intellectually challenged C
2. Learning disabled D
3. Physically challenged E
4. 5. ID NUMBER** 6. First 6 numbers = Date of 7. birth as YMD 8. Numbers 7 – 10 = Gender 9. Female 4999 or less 10. Male 5000 or greater
C. DETAILS OF PAYMENT: Please indicate with √ in appropriate blocks where applicable
DATE OF ELECTRONIC COMPULSORY: Reference Number for Entry fee due: Bank: ABSA Account Name: National Eisteddfod E TRANSFER Provide Reference Number for Institution on the Institution Academy F deposit slip. Branch: Northcliff Account Number: 404 747 8448 T CASH CHEQUE ____/____/2016 Fax proof of transfer to [011] 787 3534 R______Code: 33 47 05 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 for this event and on the web page. 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
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Small Group B. Contact details for trainer / institution / studio / parent responsible of this entry NATIONAL EISTEDDFOD OF SOUTH AFRICA™ entries only School/studio/parent www.eisteddfod.co.za 2-10 Area code & fax no.: Area code & tel. No: participants SMALL GROUP ENTRY FORM FOR 2016 Cell. No. E-mail address:
Complete all Sections – use ONE form per group C. DETAILS OF ENTRY: CATEGORY SECTION NUMBER GRADE CODE ENTRY FEE Closing date for HARD COPY entries: 31 May 2016
/ R A. RESPONSIBLE PERSON / INSTITUTION
A.1 Who is responsible for submitting this entry? SCHOOL STUDIO PARENT (Select one of the 3 options in the columns on the right. Number of participants:
A.2. Provide the NAME of the option selected in A.1 Means of payment A.2 Who will submit the applicable entry fees to the NEA? SCHOOL STUDIO PARENT CAS H CHEQUE EFT Date of payment NOTE: You will participate in the region / local as selected by the registered school / studio / parent in A2. ______/______/ 2016 (All communication about this entry will go to this school / studio / parent. This name will be printed on the
certificate if no other information is provided in D.) NB!! Complete a Special Request form and attach to this entry if you wish the NEA to consider a particular A.3. If the trainer/s for all / some of these entries is/are not the same as the NAME request when scheduling your items. Do NOT make any notes in this regard on this entry form as it will listed in A.2, provide the name of the trainer/studio next to the entry on the entry list. YES NO not be considered. (This entry will be printed on the certificate as “trained by [Name of Trainer]”).
ID NUMBER D. DETAILS OF PARTICIPANTS FOR THIS ITEM: (Please complete in clear print!) First 6 numbers = Date of
COMPULSORY INFORMATION: ID Number or Date of Birth birth as YMD Names of participants Grade Cell. No. of Parent Name of School Year Month Date Male / Female Numbers 7 – 10 = Gender
Code* 1 2 3 4 5 6 7 8 9 10 Disability Female 4999 or less
1. Male 5000 or greater
2. 3.
4 DISABILITY CODE*
5 Blind/Partially Sighted A
6 Deaf/Hard of Hearing B
7 Intellectually challenged C 8 Learning disabled D 9 Physically challenged E 10
Closing date for HARD COPY entries: 31 May 2016 / ONLINE entries ONLY: 30 June 2016 *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 for this event and on the web page. 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.
Account Name: National Bank: ABSA Branch: Northcliff ______Eisteddfod Academy Name in Print Signature Date Branch Code: Account Number: Type: Current 33 47 05 404 747 8448
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NATIONAL EISTEDDFOD OF SOUTH AFRICA™ MEDIUM & www.eisteddfod.co.za LARGE LARGE GROUP ENTRY FORM FOR 2016 GROUP (Use one form per group) ENTRY
More than 10 Closing date for HARD COPY entries: 31 May 2016 / ONLINE entries ONLY: 30 June 2016 participants A. KINDLY TICK THE APPROPRIATE BOX. A.1 Who is responsible for submitting this entry? (Select one of the 3 options in the SCHOOL STUDIO PARENT columns on the right. A.2. Provide the NAME of the option selected in A.1 A.2 Who will submit the applicable entry fees to the NEA? SCHOOL STUDIO PARENT A.3. If the trainer for this entry is not the same as the NAME listed in A.2, provide the name of the trainer next to YES NO the entry on the entry list. (This entry will be printed on the certificate as “trained by [Name of Trainer]”).
B. CONTACT DETAILS OF THE INSTITUTION/INDIVIDUAL RESPONSIBLE FOR THIS ENTRY Will be determined by the information as submitted on the Registration form of the relevant AREA FOR PARTICIPATION institution / studio. (All communication about this entry will go to this school / studio / parent. This name will be printed on the certificate if no other information is provided in D.) NAME OF CONTACT PERSON AREA CODE & FAX NO.: AREA CODE & TEL. NUMBER: CELL. No. E-MAIL ADDRESS:
C. DETAILS OF GROUP ITEM: (Please complete in print!) NAME OF GROUP & GRADE (as LANGUAGE OF it should appear on the certificate) COMMUNICATION: NAME OF TEACHER / TRAINER
IMPORTANT! HOW MANY PARTICIPANTS IN THE GROUP? (Entry cannot be processed if this information is omitted). Kindly provide the EXACT number or TICK the appropriate box.
16 – 20 21 – 30 31 – 40 41 – 50 51 – 60 61 – 80 81 – 100 101 – 200 Full shows
D. DETAILS OF ENTRY:
CATEGORY SECTION NUMBER GRADE CODE
/ Brief description of item: ______
*Does this group / any member of this group have a A Blind / Partially sighted C Intellectually challenged E Physically challenged different ability? (please tick appropriate box) B Deaf/Hard of Hearing D Learning disabled Not Applicable NB!! If you wish the NEA to consider any particular request when scheduling your items, please complete the Special New to the NEA? Request form on the next page and attach to this entry. Do NOT make any notes in this regard on this entry form as it will not be considered. YES NO
E. DETAILS OF PAYMENT: Please indicate with √ in appropriate blocks where applicable How did you pay the entry fee? COMPULSORY: Reference Number for ENTRY FEE DUE Institution *DATE OF PAYMENT Provide the name of the group and/or the Ref. E F No. on the deposit slip. Fax proof of transfer to T * ____/____/2016 [011] 787 3534 R______
CASH CHEQUE
I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus for this event and on the web page. 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
Banking details:e made payable to National Eisteddfod Academy Account Name: National Eisteddfod Bank: ABSA Branch: Northcliff Academy
Branch Code: 33 47 05 Account Number: 404 747 8448 Type: Current
POSTAL ADDRESS: PO BOX 1288, RANDBURG, 2125
FAX. NO. : 011 – 787-3534 Cheques should be made payable to National Eisteddfod Academy
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PLEASE NOTE: NATIONAL EISTEDDFOD ACADEMY INCOMPLETE FORMS CANNOT BE PROCESSED www.eisteddfod.co.za
SPECIAL REQUESTS FOR INSTITUTIONS 2016
For attention: Manager: Administration National Eisteddfod Academy
Kindly schedule the learners of this institution to accommodate the activities as listed below during the festival period IF and WHEN possible:
DETAILS OF SCHOOL / INSTITUTION / STUDIO : (Please print clearly) NAME OF SCHOOL / STUDIO POSTAL ADDRESS CODE: AREA CODE & TELEPHONE NO. School activities? AREA CODE & FAX NO. Grade activities? NAME OF REPRESENTATIVE CONTACT NUMBER (AFTER HOURS) CELL. E-mail ADDRESS
Kindly provide the following information regarding the activities. Only activities where the timeframe is fixed and available in advance can be accommodated (e.g. participation in provincial / national events, external exams, etc.)
KINDLY LIST THE NATURE OF ACTIVITY ACTIVITY APPLICABLE GRADES (Provide a brief description of the activities) DATE(S)
(Block out the UNAVAILABLE dates on the calendar below.)
Calendar for 2016: BLOCK OUT DATES THAT ARE NOT AVAILABLE July 2016 Mon 25 Tue 26 Wed 27 Thu 28 Fri 29 Sat 30
August Mon 1 Tue 2 Wed 3 Thu 4 Fri 5 Sat 6 2016 Mon 8 Tue 9 Wed 10 Thu 11 Fri 12 Sat 13 Indep./Public School Indep. /Public School Indep. School H/d Indep. School H/d Indep. School H/d Indep. School H/d Holiday Holiday Mon 15 Tue 16 Wed 17 Thu 18 Fri 19 Sat 20 Indep. School Holiday Indep. School Holiday Indep. School H/d Indep. School H/d Indep. School H/d Indep. School H/d Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Indep. School Holiday Indep. School Holiday Indep. School H/d Indep. School H/d Indep. School H/d Indep. School H/d Mon 29 Tue 30 Wed 31 Thu 1 Sept Fri 2 Sept Thu 3 Sept Indep. School Holiday Indep. School Holiday Indep. School H/d Indep. School H/d Indep. School H/d Indep. School H/d Sept. Mon 5 Tue 6 Wed 7 Thu 8 Fri 9 Sat 10 2016 Indep. School Holiday Mon 12 Tue 13 Wed 14 Thu 15 Fri 16 Sat 17 Mon 19 Tue 20 Wed 21 Thu 22 Fri 23 Sat 24 Heritage Day Mon 26 Tue 27 Wed 28 Thu 29 Fri 30 Sat 1 Oct Public Shools H/d Oct. Mon 3 Tue 4 Wed 5 Thu 6 Fri 7 Sat 8 2016 Public School Holiday Public School Holiday Public School H/d Public School H/d Public School H/d Public School H/d
IMPORTANT: SPECIAL REQUESTS SHOULD BE SUBMITTED WITH THE ENTRIES OR SHOULD REACH THE NEA OFFICE BY THE CLOSING DATE FOR ENTRIES. Although the NEA will attempt to accommodate all reasonable requests, NO guarantee can be provided.
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NATIONAL EISTEDDFOD OF SOUTH AFRICA™ SPONSORED
www.eisteddfod.co.za ENTRIES
Closing date for HARD COPY entries: 31 May 2016 / ONLINE entries ONLY: 30 June 2016 INDIVIDUAL PARTICIPANTS ENTRY FORM FOR SPONSORED ENTRIES (To be used for sponsored individual entries (5 entries for 50 entries / 10 for 100 entries submitted and paid for)
A. KINDLY TICK THE APPROPRIATE BOX. A.1. The following entries of OUR INSTITUTION need to be sponsored as outlined in the NEA Prospectus 2016. YES NO IF “YES”, provide name of school/studio: A.2. The entry from below is offered to the nominated institution to enter 10 individual participants free of charge. YES NO Nominated Institution:
B. DETAILS OF SPONSORED ENTRIES:
Important: Provide the ITEM NUMBER COMPULSORY INFORMATION: ID Number** or Date of Birth Names of Surname of appropriate code next to Grade CATEGORY SECTION SECTION Year Month Date Male / Female Participant Participant the name of any participant Code* NUMBER NUMBER
Disability Disability with a different ability
1 2 DISABILITY CODE* 3 Blind/Partially Sighted A
4 Deaf/Hard of Hearing B
5 Intellectually challenged C
6 Learning disabled D
7 Physically challenged E 8 9 ID NUMBER** 10 First 6 numbers = Date of TOTAL VALUE OF SPONSORSHIP: R1 650 (10 entries) / R 825 (5 entries) birth as YMD Numbers 7 – 10 = Gender C. FOR RECORD PURPOSES THE FOLLOWING INFORMATION IS REQUIRED: Female 4999 or less DETAILS OF INSTITUTION THAT IS PROVIDING THE 50/100 ENTRIES REQUIRED FOR THE SPONSORSHIP OF THE ENTRIES ABOVE. Male 5000 or greater D. PAYMENT: Please indicate with √ in appropriate blocks how the entry fees required for these 50 entries were paid.
Reference Number Name of institution: Entry fee paid: Bank: ABSA Account Name: for Institution
DATE OF ELECTRONIC Provide Reference Number for Institution on the Branch: Northcliff National Eisteddfod Academy E TRANSFER deposit slip. F Bracnh Code: 33 47 05 Account Number: 404 747 8448 T CASH CHEQUE ____/____/2016 Fax proof of transfer to [011] 787 3534 R______Type: Current Account
I accept the Rules and Regulations of the National Eisteddfod Academy as outlined in the Prospectus for this event and on the web page. 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
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NEA ARTS DEVELOPMENT PROGRAMME
www.eisteddfod.co.za
APPLICATION FORM 2016
Kindly note: Participation in the schools-based NEA ARTS DEVELOPMENT PROGRAMME is subject to the submission and approval of this application to participate in the project, as well as the availability of sponsorships if required.
This project takes culture to the doorstep of any interested school or organization and provides for the development of learners and staff at institutional level. This internal Festival will be presented on the premises of the institution or a suitable venue as arranged, thereby eliminating the need for expensive traveling costs.
Kindly provide the following detail about your school / institution / studio.
A. YOUR PROVINCIAL AREA: Select ONE of the following. (Please indicate clearly with X in the appropriate block) GAUTENG WESTERN FREE KWAZULU EASTERN LIMPOPO MPUMALANGA NORTHERN NORTH WEST PROVINCE CAPE STATE NATAL CAPE CAPE
B.YOUR LOCAL AREA: NAME OF DISTRICT / AREA
C.YOUR CONTACT DETAILS: (Please print clearly) NAME OF SCHOOL / INSTITUTION / STUDIO / INDIVIDUAL
POSTAL ADDRESS CODE:
AREA CODE & TELEPHONE NUMBER PUBLIC INSTITUTION Yes No AREA CODE & FAX NO. PRIVATE INSTITUTION Yes No NAME OF CONTACT PERSON CONTACT NUMBER (AFTER HOURS) CELL. E-mail ADDRESS IS FINANCIAL SUPPORT REQUIRED? YES NO (Can only be provided if and when funding is available).
Our school is interested to receive training for our teachers and learners in the art forms / YES NO categories as selected below. (Please tick () the appropriate box(es)).
Choral Public Dancing Visual Choral Solo verse Solo Classical singing speaking (traditional & arts verse speaking Singing Music modern) speaking (instrumental)
Name and contact details of responsible Name Tel.: person (if different from the details as provided in Section C):
I understand that participation in the NEA Arts Development Programme is subject to the approval of this application and the availability of a sponsorship. I understand that the NEA will manage the project as mutually agreed. I accept that the NEA and its host venues are indemnified against any loss, theft of injury sustained during festivals.
Visit our web site at: ______www.eisteddfod.co.za SIGNATURE & DESIGNATION DATE
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