Music - National Eisteddfod

Transcription

Part 1: Extract
Music Section
NATIONAL EISTEDDFOD OF SOUTH AFRICA™
PROSPECTUS
2016 -2017
MUSIC 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
PART 1 ................................................................................................................... 2
INTRODUCTION & OVERVIEW ................................................................................ 2
MESSAGE FROM THE CHAIRPERSON OF THE BOARD OF DIRECTORS ....................................................................... 3
MISSION STATEMENT ................................................................................................................................................ 4
NATIONAL EISTEDDFOD ACADEMY: AN OVERVIEW .................................................................................................. 5
ADJUDICATORS’ FORUM ......................................................................................................................................... 12
PROGRAM OF EVENTS FOR 2016 - 2017 ................................................................................................................. 13
NATIONAL EISTEDDFOD EISTEDDFOD OF SOUTH AFRICA™: DATES FOR 2016 ....................................................... 13
NEA YOUNG PERFORMER & YOUNG ARTIST AWARDS COMPETITION 2017 ........................................................... 15
FINANCIAL : FEES 2016 ......................................................................................... 16
ENTRY FEES: NEA EISTEDDFOD 2016 ....................................................................................................................... 16
REQUIREMENTS FOR PARTICIPATION IN EISTEDDFOD 2016:.................................................................................. 16
OTHER FEES AND CHARGES FOR 2016 .................................................................................................................... 17
CONTACT AND BANKING DETAILS ........................................................................................................................... 17
RULES AND REGULATIONS ................................................................................... 18
ASPECTS TO CONSIDER WITH ENTRIES .................................................................................................................... 18
REQUIREMENTS FOR SUBMITTING A RECORDED PERFORMANCE .......................................................................... 23
ACKNOWLEDGEMENT OF ACHIEVEMENT ............................................................. 25
CERTIFICATES & DIPLOMAS ..................................................................................................................................... 25
ADDITIONAL REGIONAL AWARDS ........................................................................................................................... 27
NEA YOUNG PERFORMER AWARDS COMPETITION ................................................................................................ 29
GUIDELINES FOR THE EVALUATION OF EISTEDDFOD AWARDS .............................................................................. 30
GUIDELINES FOR ADJUDICATION: A RUBRIC EXAMPLE ........................................................................................... 32
NEA YOUNG PERFORMER AWARDS COMPETITION PREVIOUS WINNERS .............................................................. 34
PART 2 ................................................................................................................. 42
NEA CONFIDENCE BUILDER .................................................................................. 42
NEA CONFIDENCE BUILDER ..................................................................................................................................... 43
NEA CONFIDENCE BUILDER - ENTRY FORM ............................................................................................................. 45
PART 3 ................................................................................................................. 46
INDIGENOUS SOUTH AFRICAN ARTS .................................................................... 46
WHAT IS INDIGENOUS ART? .................................................................................................................................... 47
INDIGENOUS ARTS CATEGORIES .................................................................................................................................. 49
CATEGORIES, ITEM NUMBERS & DESCRIPTIONS ..................................................................................................... 50
CONTEXTUALISING INDIGENOUS ARTS ................................................................................................................... 57
PART 4 ................................................................................................................. 62
MUSIC SECTION ................................................................................................... 62
MUSIC SECTION ....................................................................................................................................................... 63
EXPLANATORY NOTES & DEFINITIONS ........................................................................................................................... 63
CODES FOR VOICE AND INSTRUMENTS ................................................................................................................... 66
CLASSICAL MUSIC ................................................................................................. 74
RULES AND GUIDELINES FOR CLASSICAL MUSIC ..................................................................................................... 74
CHORAL MUSIC........................................................................................................................................................ 77
INSTRUMENTS: NOVICE & ELEMENTARY LEVEL ..................................................................................................... 78
CLASSICAL CATEGORIES ........................................................................................................................................... 80
Introduction and
Overview ◄ i
CLASSICAL CROSSOVER MUSIC ............................................................................. 83
RULES AND GUIDELINES: CROSSOVER MUSIC ......................................................................................................... 83
CLASSICAL CROSSOVER CATEGORIES ...................................................................................................................... 85
CONTEMPORARY MUSIC ...................................................................................... 88
RULES AND GUIDELINES: CONTEMPORARY MUSIC ................................................................................................. 88
CONTEMPORARY CATEGORIES ................................................................................................................................ 90
MUSIC PRODUCTIONS .......................................................................................... 98
SUMMARY OF MUSIC CODES ................................................................................................................................ 100
PART 9 .............................................................................................................. 109
REGISTRATION AND ENTRY FORMS.................................................................... 109
Introduction and
Overview ◄ ii
-2015
PART 1:
Introduction & Overview
Introduction and
Overview ◄ 2
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 20162017.
WSJ VAN WYK
CHAIRMAN
01 May 2016
Introduction and
Overview ◄ 3
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 ◄ 4
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 ◄ 5
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 ◄ 6
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 ◄ 7
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 ◄ 8
o
o
o
o
o
o
Prospectus development.
Processing of entries.
Scheduling of events.
Scheduling of adjudicators.
Processing of results.
Acknowledgement of outstanding achievements at regional gala events.
Eisteddfod activities in 2015 attracted more than 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 semifinal events adjudicated by a panel of adjudicators, culminates in the final National Eisteddfod Academy Young
Performer Awards Competition where the selected finalists compete for cash prizes and bursaries.
NEA Arts Development Project
The NEA Arts Development Project (previously known as the Dikonokono Arts and Culture Festival) is the
developmental arm of the NEA that takes culture to the doorstep of any interested school.
Teachers, particularly at rural and township schools, do not always have the necessary specialized skills to teach
learners in the arts. Subsequently, many talented learners in these schools often do not have the opportunity to
develop their artistic ability.
With the support of funding from sponsors like the NLDTF, NAC, ACT and RMB this project supported schools in
previous years by:

Exposing learners (including learners with special educational needs) in rural and other communities to
the magic of the arts through training and participation in the arts.
Introduction and
Overview ◄ 9




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:
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
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
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 ◄ 10
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
National Arts Council
Rand Merchant Bank
Gauteng Department of Education
Damelin College Bramley
Academy College
Business and Arts South Africa
UNISA Music Foundation
Ekurhuleni Metropolitan Council
T.I.M.E.
Southdowns College
St. Andrew’s School for Girls
RMS Randfontein Rural Development Project
Primedia Lifestyle
Pieter Jacobs
Vukile Property Fund
Partnerships
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 ◄ 11
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 edu@eisteddfod.co.za.
Mr Ismael Mahomed –
Adjudicators’ Panel NEA Awards 2013
Mr Dan Lefoka
NEA Board Member and Music Adjudicator
Introduction and Overview
◄ 12
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
:
Late Hard copy entry (subject to a higher fee)5
:
Online Entries
(further extention as per region will be announced online) :
31 May 2016
10 June 2016
30 June 2016
Proposed Activity Dates 2016
Broad time frame: 15 Aug – 7 October 2016
Detail of CURRENTLY available REGIONS / LOCAL AREAS
Eastern Gauteng
Joburg Central/South
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
SHOWCASE REGION
Joburg North
PROVINCE
LOCAL AREA
Benoni
Boksburg
Etwatwa
Kathlorus
Kemptonpark
Springs
Tembisa
?
Alexandra
Auckland Park
Bedfordview
Benmore
Glenvista
Greenside
Houghton
Hyde Park
Lenasia
Melville
Norwood
Parktown
Sandown
Soweto
?
Blairgowrie
Bryanston
Dainfern
Fairland
Ferndale
Fontainebleau
Fourways
Kayalami
Linden
Lonehill
Midrand
Northcliff
Sharonlea
?
Proposed Activity Showcase event
Dates for 2016
2016
19 Sep – 7 Oct
27 Oct
16 Aug – 7 Oct
27 Oct
15 Aug – 7 Oct
Gr. 0 - 3
14 & 21 Oct
Gr. 4 - 7
18 & 19 Oct
Seniors
25 Oct
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!
Dates 2015 – 2016
◄ 13
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Northern Cape
Northern Cape
Northern Cape
Northern Cape
Northern Cape
Western Cape
Heidelberg
Vanderbijlpark
Vereeniging
?
North West
Mpumalanga
Limpopo
International
Kwazulu Natal
Northern
Cape
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
International
Kwazulu Natal
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
North West
North West
North West
North West
North West
North West
Centurion
Pretoria
Soshanguve
Tshwane
?
Western Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
LOCAL AREA
Northern
Gauteng
SHOWCASE REGION
Southern
Gauteng
PROVINCE
Western Cape
Fochville
Little Falls
Merafong City
Mogale City
Muldersdrift
Randfontein
Roodepoort
Ruimsig
Weltevredenpark
Westonaria
?
Maputo
?
Bela-Bela
Makhado
Modimolle
Musina
Polokwane
Vaalwater
?
Mbombela
Emhalhleni
Komatipoort
Lydenburg
Malelane
Middelburg
Steelpoort
?
Delareyville
Klerksdorp
Madibeng
Potchefstroom
Rustenburg
?
Kathu
Kuruman
Postmasburg
Upington
?
?
Proposed Activity Showcase event
Dates for 2016
2016
12 Sep – 29 Sep
31 Oct/1 Nov
15 Aug – 23 Sep
5 – 16 Sep
13 Oct
1 – 3 Sep
29 Oct
12 – 23 Sep
29 Aug – 1 Sep
31 Oct/1 Nov
15 – 18 Aug
5 – 8 Sep
29 Oct
29 – 31 Aug
15 – 18 Aug
To be confirmed
12 – 16 Sep
? = Potential new LOCAL AREA within the region
Eisteddfod Proposed Activity Dates 2017
14 August – 6 October 2017
Dates 2015 – 2016
◄ 14
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
Music: Classical style
(vocal & instrumental)
Music: Crossover style
(vocal & instrumental)
Music: Contemporary
style (vocal &
instrumental)
Awards
Cat
NEA-001
NEA-002
NEA-003
NEA-004
NEA-005
NEA-006
NEA-007
NEA-008
NEA-009
NEA-010
NEA-011
NEA-012
NEA-013
NEA-014
NEA-015
NEA-016
NEA-017
NEA-018
Awards Grades
(as in 2015!)
Entry level (Gr. 0 - 3)
Intermediate (Gr. 4 – 6)
Senior (Gr. 7 – 9)
FET (Gr. 10 – Open)
#
Senior (Gr.groups
8 – Open
Ensemble
Larger groups##
Junior (Gr. 4 – 6)
#
Senior
(Gr.groups
8 – Open
Ensemble
Larger groups##
#
Senior (Gr.groups
8 – Open
Ensemble
Larger groups##
Awards Description
Speech & drama (all
languages)
Public speaking
Dance
#
##
Awards
Cat
NEA-019
NEA-020
NEA-021
NEA-022
NEA-023
NEA-024
NEA-025
NEA-026
NEA-027
NEA-028
NEA-029
NEA-030
NEA-031
NEA-032
NEA-033
Awards Grades
(as in 2015!)
Entry level (Gr. 0 – 3)
Intermediate (Gr. 7 – 9)
Senior (Gr. 10 – Open)
Ensemble groups #
Larger groups##
Junior (Gr. 0 - 7)
Senior (Gr. 8 – Open)
Groups #
#
Senior (Gr.groups
8 – Open
Ensemble
Larger groups##
Ensemble groups: 2 – 5 participants;
Larger Groups: 6 and more participants
Categories NEA YOUNG ARTIST AWARD COMPETITION
Creative Arts
NEA-034 Entry level (Gr. 0 - 3)
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.
Dates 2015 – 2016
◄ 15
FINANCIAL : FEES 2016
ENTRY FEES: NEA EISTEDDFOD 2016
Online
entries
Only!*
NEA Confidence Builder
(1 participant)
Individual entries
(1 participant)
Ensemble groups
(2 – 5 participants)
Small groups
Medium sized groups
Large groups (entry fee as
per number of participants)
21 – 30 participants
81- 100 participants
Full shows / productions
R 60
Entry fees and dlosing date for entries
Hard copy entries (on paper, by fax or by e-mail)
Early bird entry fee
Entry fee
Late entry fee
(BEFORE 31 May only) (1 – 10 June)
(AFTER 10 June)
R 60
R 70
Not applicable
R 165
R 165
R 185
R 285
R 210
R 210
R 230
R 330
R 250
R 250
R 270
R 370
R 275
R 275
R 295
R 395
R 300
R 325
R 350
R 410
R 480
R 550
R 650
R 1700
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
300
325
350
410
480
535
650
1700
320
345
370
430
500
555
670
1800
420
445
470
530
600
655
770
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
◄ 16
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
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.
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 entry@eisteddfod.co.za 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: entry@eisteddfod.co.za
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.
◄ 17
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.
◄ 18
 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
o
o
o
Hand delivered to the NEA office, 1st Floor, 284 Oak Ave, Ferndale, Randburg
By fax to (011) 787-3534
By e-mail to entry@eisteddfod.co.za.
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.
◄ 19
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: info@eisteddfod.co.za.). 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
Intermediate phase
Senior phase
FET phase
Primary school level
Secondary school level
Open section
: Grades R – 3
: Grades 4 – 6
: Grades 7 – 9
: Grades 10 - 12
: Any combination of grades on primary school level (Gr. 0 – 7)
: Any combination of grades on scondary school level (Gr. 8 – 12)
: 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.
◄ 20
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.
◄ 21
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 entry@eisteddfod.co.za
 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.
◄ 22
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
entry@eisteddfod.co.za together with a copy of the entry form. (For more information, refer to the complete
instructions on the next page).
◄ 23
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
entry@eisteddfod.co.za together with a copy of the entry form.



Only ONE performance should be copied on a DVD. Use a separate DVD for EACH entry/performance/recording.
Finally submit the entry by mail / courier according to the process as outlined
All DVD entries should reach the NEA BEFORE 16:00 on 31 August 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 entry@eisteddfod.co.za.
o The NEA will confirm receipt of this link asap, however if you do not receive confirmation within 7
days, please email you NAME and the ENTRY REFERENCE NUMBER to info@eisteddfod.co.za.
o If needed, e-mail info@eisteddfod.co.za for assistance regarding the dropbox process.
DELIVERY / POSTAL ADDRESS:

DVD entries can be hand delivered / mailed / couriered to the following address:
By hand:
National Eisteddfod Academy
Unit 103, First floor
284 Oak Avenue
RANDBURG
2194
By registered mail:
PO Box 1288
RANDBURG
2125
Couriered by Postnet:
Postnet Fontainebleau
Shop 16, Village Shopping Centre
Cnr. Rabie and 4th Street,
Fontainebleau, 2032
◄ 24
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 selfconfidence, assertiveness and the courage to take a stand in this world).
In doing so the adjudicator should never lie or give false feedback to any participant. At all times the individual
achievement of each participant, within the framework of his own developmental phase, should be considered and
acknowledged.
CRITERIA
Having said that, one can now consider the fact that the performance or presentation of any art work requires certain
“measureables” or 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
◄ 25
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.
◄ 26
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.
◄ 27
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.
◄ 28
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.
◄ 29
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.
◄ 30
The challenge for schools is often to evaluate awards and achievements by learners in extramural activities, arts and
culture in particular. The NEA recommends that eisteddfod achievements could be divided into the following levels that
could also be aligned with different levels of awards as awarded by schools:
Level 1
Level 2
Level 3
Level 4
Awards on level 1 could
include awards like
certificates presented to
individuals / groups to
acknowledge achievement.
The main focus of level 1
awards is to promote
participation in various
activities, both internally and
on a district / regional level.
Awards on level 2 could involve
awards known as “colours”. This
award is usually something that can
be attached to the school uniform
(e.g badges)
Level 2 awards are normally
reserved for achievements on a
broader, regional level, e.g. school
district.
Awards on level 3 involve
awards like special chords, etc.
that is attached to and added
to the normal school blazer.
Awards on level 4 are
symbolized by special
blazers.
Level 3 awards are normally
reserved for participation on a
broader, provincial level.
Level 4 awards are
reserved for
achievements on a
national or international
level.
Numerous achievements on
this level might enable a
learner to qualify for an
award on level 2, either in the
same or subsequent years.
A learner normally has to
accumulate a predetermined
number of marks to qualify
for an award, e.g. 50 marks.
This can be achieved by a
combination of NEA
certificates where the values
are as follows:



Silver = 5 marks
Gold = 10 marks
Diploma = 30 marks
E.g.
5 x gold=50 marks
1 diploma +2 x gold =50
marks
Numerous achievements on this
level might enable a learner to
qualify for an award on level 3,
either in the same of subsequent
years.
The award cannot be achieved
by a mere accumulation of
marks, and additional
requirements can apply.
For a level 2 award a learner has to
accumulate a predetermined
number of marks to qualify, e.g. 90
marks. (In the eisteddfod context an
additional prerequisite might be
that at least one diploma will be
required.
Achievement in specific
events:
 NEA Awards
Competition: Selection
for Semi-final round =
Participation on
provincial level.
This award could involve an
achievement in specific events:
Multiple awards on level 2,
e.g.
 2 x Ambassador Award
 6 x diploma awards
 3 x category winner
 4 x item winner
NEA Young Performer Awards
Competition:

Selection for Quarter Final
Round = 45
NEA Awards
Competition
Participation in Final
Round – national winner
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.
◄ 31
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
o
o
o
o
excellent and
sincere;
displays originality (“spark”);
displayed an exceptionally high level of skills, knowledge & understanding.
B: Or that the participant delivered a performance that was
o
o
o
satisfactory,
displaying the basic skills, knowledge and understanding;
evidence of the fact that the candidate still has to work on one or more of these aspects., etc.
In view of these descriptions, compared with the criteria provided below, performance A will receive a diploma award, while
performance B will receive a Silver award.

DIPLOMA is awarded for an excellent performance where the participant has performed above the ideal level on most
yardsticks – this is to say that the skills level, knowledge & understanding pertaining to the yardsticks / measurables are above the
ideal level. An excellent performance is not necessarily perfect in all aspects, however a performance on this level will most
definitely display originality (“spark”), creativity and 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.
◄ 32
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
Partly attained
Attained

Gold
Diploma
Attained
above average
Brilliantly
attained

Not attained

Vocal strength
Control over movement and gesture
Focus
Energy
Emotional Involvement
Senior Primary level
Certificate
Bronze

Silver
Gold
Diploma
Attained
above average
Brilliantly
attained

Not attained
Partly attained
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

Not attained
Silver
Gold

Partly attained
Attained
Diploma

Attained
above average
Brilliantly
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
◄ 33
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
Contemporary Music
Dance
Creative work
JUNIOR LEVEL
Speech & Drama (Gr. 4 – 6)
Classical/Crossover Music
(Gr. 4 – 6)
Dance (Gr. 4 – 6)
Creative Work (Gr. 4 – 7)
INTERMEDIATE PHASE (7 - 9)
Speech & Drama
Contemporary Music
Dance
FET LEVEL (GR. 10 – OPEN)
Speech & Drama
Classical Music
Crossover Music
Dance
GROUPS
Music: Classical Style
Speech & Drama
Janco de Lange
Fadzai, Ndou
Warrick Naudé
Xio-Chi Juan
Sonja Myburg Drama Skool
The King’s Colleg & Prep. School
Maragon Private School
Bryneven Primary School
Stefan de Wit
Sonja Myburg Dramaskool
Keamogetswe Modise
Randfontein High
Ané Bierman
Chantel da Silva
Bryanston Parallel Medium
Laerskool Unika
Minke Marais
Annelé Retrief
Tamsyn Leigh Dexter
Hoërskool Noordheuwel
Southdowns College
Southdowns College
Cantona James
James Deacon
Michelle Smorfitt
Winita Main
Randfontein High School
St Stithians’Boys College
St Peter’s College
Monnaskoor
Sir Pierre van Ryneveldt
Hoërskool Monument
◄ 34
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
Crossover Music
Speech & Drama
Dance
Creative work
Xiao-Chi Juan
Anika De Beer
Adam Botha
Warrick Naude
Marie-Louise Theron
Bryneven Primary School
Bryanston Parallel Medium School
Laerskool Fairland
Bryanston Parallel Medium School
Junior level (Gr. 0 - 7)
Creative work (Gr. 0 – 7)
Speech & Drama (Gr. 4 – 6)
Classical Music (Gr. 4 – 7)
Contemporary Music (Gr. 4 – 7)
Dance (Gr. 4 – 7)
Katya Ludick
Stefan De Wit
Benjamin Valkin
Anele Pontes
Samantha Bhoola
Sonja Myburg Dramastudio
King David Primary School
Orange Grove Primary School
Ashton College International
Intermediate Phase (7 - 9)
Speech & Drama
Mikaela Mondlane
Upstage Concepts
Senior Level (Gr. 8 - Open)
Creative work
Classical Music
Crossover Music
Contemporary Music
Speech & Drama
Dance
Marisa Hazakis
Althea Steynberg
Amy Joy Rigby
Khanyisile Mkhize
Lerato Tshabalala
Saskia Hinsberger
Crawford College [Lonehill]
Tiensie Lategan Studio
Heronbridge College
Greenside High School
Crawford College [Lonehill]
The Turning Point Studio
Groups
Music: Classical Style
Speech & Drama
Dance
Linden Koor
Spreekkoor
Jannas Pom-Poms
Hoërskool Linden
Hoërskool Jan Viljoen
◄ 35
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)
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 Contemporary Music
Winner Dance
Gianna Leah Guilherme
William Chien
Amory Smith
Kayla Fraenkel
Jabulani Tshimong
Dainfern College [Music Dept]
Anton- Van Wouw Primary School, Trained by Studio Cha
Monument Primary, Trained by Luan De Beer Vocal Coaching
Molaetsa Primary School
Junior Level (Gr. 4-7):
Winner Contemporary Music
Winner Dance
Winner Speech and Drama
Maurits Laubser
Althea Steynberg
Robin Du Plessis
Alexia Bazzo
Kaelin Wills
Laerskool Louis Trichardt
Tiensie Lategan Studio
Bryanston Parallel Medium, Trained by June Kraus
Art of Motion
Maragon Private School, Trained by Linda Theron Studio
Senior Level (Gr. 8 – Open section):
Winner Speech and Drama
Nwabisa Phikwa
Jason Day & Merrick Kyle
Hillbrow Theatre Project
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)
◄ 36
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)
Jordan Dowds (Crawford Prep Lonehill)
Kediboni Rasekhula (Hillbrow Theatre Project)
Music:
Althea Steynberg (Tiensie Lategan Ateljee)
André Breet (Hoërskool Florida Musieksentrum)
Amory Smith (Studio Cha)
Chloé Marais (Studio Cha)
Nico Thomaides (Saheti School/ June Kraus Academy)
Jenique Hougaard (Laerskool Kenmare)
Jared Keshwar (Crawford College Lonehill)
Kylah Jasmin Barry (Windsor House Academy)
Dance:
Carla Bruwer (Replay Hip Hop Academy)
Shaunell Schoonraad (Hoër Volkskool Heidelberg)
Melissa Purdon (Just Sing)
Winners Senior Section (Groups)
Khayelihle Dhladhla, Kelebogile Musi, Banele Nkosi,
Mutshinya Nkhwatshirema & Eshley Parache (Footworkz)
The Underworld (Stiehla Dance Studio)
Winner: Speech & Drama (Grd. 0 - 3)
Winner: Speech & Drama - Senior
Winner: Classical Music - Junior
Winner: Classical Music - Senior (Piano)
Winner: Crossover Music – Foundation phase (tie)
Winner: Crossover Music - Senior Section Senior
Winner: Contemporary Music - Junior Section
Winner: Contemporary Music - Senior Section
(Instrumental)
Winner: Contemporary Music - Senior Section (Vocal)
Winner: Dance - Junior Section
Winner: Dance – Senior Section
Winners Senior Section (Small Groups)
Winners: Dance - Large Groups
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)
Lize-Mari Ellis (Laerskool AG Visser)
Willie Jansen Van Rensburg (Sonja Myburg Dramaskool)
Stephan Verhoef (Sonja Myburg Dramaskool)
Busisiwe Khanyile (St Mary's DSG Pretoria)
Rynhard Du Preez (Sonja Myburg Dramaskool)
Winner: Speech & Drama - (Grd. 7 - 9)
Winner: Speech & Drama - Senior (English)
Winner: Speech & Drama - Senior (Afrikaans)
◄ 37
Music:
Iman Bulbulia (Kingsmead College)
Grace Magubane (Christine Dercksen)
André Breet (Hoërskool Florida Musieksentrum)
Isabella Snyman (June Kraus Academy)
Alexandra Snyman (June Kraus Academy)
Jason Strong (Grade 10) – (Confident Kids)
Cara Pistorius (Grade 10) (Hoërskool Menlopark)
Ruben Pieterse (Studio Cha)
Winner: Classical Music - Junior Section - (Gr. 0 - 3)
Winner: Classical Music - Senior Section (Vocal)
Winner: Classical Music - Senior (Piano)
Winner: Crossover Music - Junior Section
Winner: Crossover Music - Senior Section Senior
Winner: Contemporary Music - Senior Section
(Instrumental)
Winner: Contemporary Music - Senior Section (Vocal)
Winner: Contemporary Music - Junior Section (Vocal)
Dance:
Reze-Tiana Wessels (Duncan Studio Of Celtic Dance)
Winner: Dance - Junior Section
Basheer Moolman (Ferndale High School)
Kristin Hattingh, Kate Hurley, Aryn – Lee Harris, Nicola Moore
& Neil Roberts (Duncan Studio Of Celtic Dance)
Winners: Traditional Music
G J Van Aswegen, Buddy Marais, Jean-Elize Marais
(Hoërskool Monument/Laerskool Protearif)
Dominican Indumo Yoluisha - Marimba Band
(Dominican Convent School)
Winners: Traditional Music - Western Instruments
Winner: Traditional Music - African Instruments
NEA AWARDS 2010
Winner and overall best performer
Robert Webb (Maragon Private School)
Overall best performer of the evening with a total prize money of R10,000 for his performance of Roald Dahl’s “The Witches” . He also received the award for the overall best
performance in speech and drama and was also awarded as the best junior drama performer.
Runner-up
Nolene van der Merwe (Hoërskool Linden) &
Dominican Juniors Marimba Band (Dominican Convent School)
The Marimba band also received the award for overall best music performance and the award for the most inspiring performance.
Best Senior Performer
Speech and Drama
Contemporary Music
Classical Music
Derick Kunz (C.J. Cilliers Drama Studio)
Nolene van der Merwe (Hoërskool Linden)
Nerine Gouws (Tiensie Lategan Studio)
Best Junior Performer
Speech and Drama
Contemporary Music
Dance Performance
Robert Webb (Maragon Private School)
Alexandra Snyman (Just Sing Studio)
Reze-Tiana Wessels (Bryanston Parallel Medium)
Best Dance Group
Gumboot dancers from Cornerstone College. They also received the award for the overall best dance performance
Adjudicators’ Special Junior Awards in Speech and Drama
Onkgopotse Tsitsi (The King’s School West Rand)
Mitchell Harris (Lyzandra Drama Studio)
◄ 38
NEA AWARDS 2009
Best Senior Performers:
Dance
Contemporary Music
Classical Music
Speech and Drama
Death Rattle (Morné du Toit, Laurie du Toit, Anthony Joubert, Rafael da Costa
and Brandon Smith) (Frontstage Studio, Middelburg)
Julian Hepburn (Pretoria Boys High School)
Jason Mayr (Tiensie Lategan Music Studio)
Arno Daiber
Best Junior Performers:
Speech and Drama
Dance
Classical Music
Contemporary Music
Ziske van Dyk & Izel Potgieter (Maritza Uys Studio, Komatipoort)
Kristin Hattingh & Reze-Tiana Wessels (Bryanston Parallel Medium)
Wilmien Janse van Rensburg (Laerskool Jan CIllliers)
Hannah Reynolds (Leoni Els Studio, Tshwane)
Visual Arts
Best Junior
Best Senior
Elani Nell (Frontstage, Middelburg)
Johan Gebhardt (Hoërskool Monument, Krugersdorp)
Most Inspiring Junior Performer
Best Large Group Performers
Ying-Shan Tseng (Teacher - Elize Welthagen)
Gospel Choir of Lenz Public School, Soweto
Scholarships
Academy College Scholarship
Creative Arts Scholarship Damelin College
Bramley
Julian Hepburn (Pretoria Boys High School)
Gordon Rikhotso (Delta Park School)
NEA AWARDS 2008
Best Senior Performer:
Speech & Drama R5000
Contemporary Music
Dance
Classical Music
Suné Nieuwoudt (Ars Pulcerrimus Drama Studio)
R5000 Claudia Brown-Coleman (Trés Animé Studio)
R5000 Leagile Mpete (Monnyth Dance House)
R5000 Ta Tria Koritsia (Tiensie Lategan Studio))
Best Junior Performer:
Speech & Drama
Classical Music
Contemporay Music
Dance
R1000
R1000
R1000
R1000
Willie Janse van Rensburg (Sonja Myburgh Drama Studio)
Jason Mayr (Tiensie Lategan Studio)
Julian Hepburn (Pretoria Boys High)
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:
2nd Prize:
3rd Prize:
R5 000 :
R3 000 :
R2 000 :
Camille Bracher – Dance (Ballet Theatre African)
Violanta Odendaal - Drama (Laerskool Jan van Riebeeck)
Sulani Steenkamp - Recorder (Christine McLachlan)
Damelin College bursary :
Kgothatso Kekana – Recorder (Mamelodi High School)
Maudée Montierre – Singing (Virtuoso Performing Arts)
◄ 39
The NEA Award for best performance groups:
Advanced Marimba Band (Parktown High School for Girls)
NEA AWARDS 2006
1st Prize:
2nd Prize:
3rd Prize:
4th Prize:
R5 000
R3 000
R2 000
R1 500
:
:
:
:
Andile Ndlovu – Dance (Ballet Theatre African)
Jason Mayr – Recorder (Tiensie Lategan Studio)
Abigail Walsh – Violin (St. Andrews School for Girls)
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:
2ND Prize:
3RD Prize:
4TH Prize:
4TH Prize:
R5 000
R2 500
R1 000
R 500
R 500
:
:
:
:
:
Samantha Van Gysen –Violin (Kwa Zulu Natal)
Berdene Du Toit - Drama (Hoërskool RANDBURG)
Camille Bracher - Ballet (Ballet Theatre Afrikan)
Stefanie M. Rynboom – Piano (Diane Coutts)
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
◄ 40
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
◄ 41
PART 2
◄ 42
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.
◄ 43
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:



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.



Speech and Drama
 Solo verse speaking (poetry)
 Poetry ensemble
 Prepared reading
Music
 Vocal solo with piano accompaniment only
 Instrumental solo (acoustical instruments only)
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.
◄ 44
NEA
Confidence
Builder
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
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
Reg. No.
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
communication
( when applicable)
E-mail of parent /
participant
Cell No. of parent (1)
__ __ __ -__ __ __-__ __ __ __
*
*Kindly provide the
disability code where
applicable
CATEGORY
Vocal Solo
Instrumental solo
Afrikaans
English
IsiNdebele
IsiXhosa
IsiZulu
Sepedi
Sesotho
Setswana
SiSwati
TshiVenda
XiTsonga
Cell of parent (2)
or participant:
A Blind / Partially sighted
B Deaf/Hard of Hearing
Select

__ __ __-__ __ __-__ __ __ __
C Intellectually
challenged
D Learning disabled
E Physically challenged
Not Applicable
Confidence Builder:
Speech and Drama items
Item Code:

Solo verse speaking (poetry)
Prose
Poetry ensemble
Prepared reading
9000
9001
9002
9003
9000
9001
9002
9003
Confidence Builder: Music items
Vocal Solo with piano accompaniment
Instrumental solo (acoustical instruments only
9004
9005
9004
9005
TOTAL:
Entry fee
Instrument: (e.g piano, recorder,) when applicable:
Grade:
Please note: The entry fee is R 70 when submitted on paper entry form AFTER 31 May (hard copy / fax or email). 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
◄ 45
PART 3
Indigenous South African Arts
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™
◄ 46
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 homegrown 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;
◄ 47




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.
◄ 48
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
IsiNDEBELE
IsiXHOSA
IsiZULU
KHOISAN
NAMA
AFR
NDE
XHO
ZUL
KHO
NAM
SEPEDI
SESOTHO
SETSWANA
SiSWATI
TshiVENDA
XITSONGA
SEP
SOT
TSW
SWA
VED
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
01
02
03
04
05
06
07
08
09
10
Grade R
Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8
Grade 9
Grade 10
2 minutes
3 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
5 minutes
5 minutes
5 minutes
11
12
13
14
15
16
17
18
19
20
Grade 11
Grade 12
Foundation phase group
Intermediate phase group
Senior phase group
FET Phase
Primary school group
Secondary school group
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
6 minutes
6 minutes
6 minutes
◄ 49
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



To enter this section, select the appropriate CODE / LANGUAGE /
CULTURAL group in TABLE A.
This section is open to individual performers, as well as small and large
groups.
The music / dance performance should represent a particular South
African ethnic group and therefore it is important that:
o The leader / group should research how, where and when that
particular music/dance is performed.
o This background information about the performance should be
provided on the entry form.
o On the day of the performance the participant(s) should also
provide this information to the adjudicator in the format of a
brief script that describes what the performance represents.
o The performance should be authentic regarding regalia, style
of music, dance/movement.
A maximum time-limit of 5 minutes will be allowed for a performance in
this category.
Solos
1 Participant
Duet
2 Participants
Trio
3 Participants
Quartet
4 Participants
Quintet
5 Participants
Small groups (6 - 10
competitors)
Medium sized groups
(11 – 20 Participants)
1000
1001
1002
1003
1004
1005
1006
Large groups (more
than 20 participants)
1007
◄ 50
Oral Tradition section
Oral tradition refers to performance using spoken language and can include the following subsections (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
also be used to praise kings or chiefs or a brave man or
woman in the community. It is usually performed by one
person.
Solos : 1 Participant
1008
Duet : 2 Participants
Trio : 3 Participants
Quartet : 4 Participants
Quintet : 5 Participants
Small groups (6 - 10 Participants)
Medium sized groups (11 – 20
participants)
1009
1010
1011
1012
1013
1014
Large groups (21+ participants)
1016
1017
1018
1019
1020
1021
1022
participants)
1023
1024
◄ 51
A maximum time-limit of 5 minutes will be allowed for the
performance.
PRAISE SONGS
Praise songs
A praise song is used for the same reasons as a “Praise Poem”, with
the difference that it is performed by a group with a leader who
functions as a soloist in the group, creating a situation of call and
response.
Any other appropriate praise song performer at indigenous
occasions such as wedding, rituals, drinking parties and festivities
characterizing the chosen cultural group.
1015
A maximum time-limit of 5 minutes will be allowed for the performance.
STORY TELLING
Story telling
Story telling (e.g. izinganekwane; ditshomo; iintsomi) is
about the oral history that is passed from one generation to
the next through storytelling and reciting epic poems.
A maximum time-limit of 5 minutes will be allowed for the
performance.
RECITING AFRICAN POEMS
Reciting African poems
1025
1026
1027
1028
1029
1030
participants)
1031
1032
1033
1034
1035
1036
1037
1038
participants)
1039
1040
1041
1042
1043
1044
1045
1046
participants)
1047
1048
◄ 52
The presentation of a memorised poem, in an African language,
using movement, voice and facial expression. Movements should
enhance the spoken word and should be used as a personal
interpretation and not a literal translation of the words into
movement. Participants will be allowed to present new,
unpublished poems. Participants in this section must provide
copies of their poems to the adjudicator prior to their performance.
A maximum time-limit of 5 minutes will be allowed
for the performance
RECITING AFRICAN POEMS PROSE
Reciting African prose
The presentation of a memorised poem, in an African language,
using movement, voice and facial expression. Movements should
enhance the spoken word and should be used as a personal
interpretation and not a literal translation of the words into
movement. Participants will be allowed to present new,
unpublished poems. Participants in this section must provide
copies of their poems to the adjudicator prior to their performance.
A maximum time-limit of 5 minutes will be allowed
for the performance
AFRICAN DRAMA
Drama
Acting with an indigenous story line – (not township
theatre).
 A maximum time-limit of 5 minutes will be allowed
for an individual performances.
 A maximum time-limit of 15 minutes will be
allowed for a small or large group performance.
A maximum of 2 minutes set-up time will be
allowed for each performance
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
Marabi
Marabi was the name given to a South African keyboard style (usually
played on pedal organs, which were relatively cheap to acquire) that had
something in common with American ragtime and the blues, played in
ongoing cycles with roots deep in the African tradition. The sound of
marabi was intended to draw people into the shebeens and then to get
them dancing. It used a few simple chords repeated in vamp patterns
that could go on all night - the music of South African pianist and
composer Abdullah Ibrahim still shows traces of this form. This was
usually found in the urban townships, in particular the Sophiatown and
Alexandra townships. From there is spreads to rural areas where the
“clever” township boys and girls show the rural people what they have
learned in Gauteng /Goli.
(Refer to Table C for Grade codes and time frame)
Solos
1 Participant
Duet
2 Participants
Trio
3 Participants
Quartet
4 Participants
Quintet
5 Participants
competitors)
Medium sized groups
1049
1050
1051
1052
1053
1054
1055
Large groups (more
1056
Solos
1 Participant
1057
Duet
2 Participants
1058
Trio
3 Participants
1059
Quartet
4 Participants
1060
Read more: http://www.southafrica.info/about/arts/922564.htm#ixzz1oGO7p2CO
Quintet
5 Participants
1061
competitors)
1062
Medium sized groups
1063
Large groups (more
1064
◄ 53
Read more: http://www.southafrica.info/about/arts/922563.htm#ixzz1oGL49Q7g
KWELA
Kwela
The term "kwela" is derived from the Zulu for "get up". The primary instrument
of kwela, the pennywhistle, was a cheap and simple instrument and also
susceptible to use as a solo or an ensemble instrument. Part of the popularity of
the pennywhistle was perhaps based on the fact that flutes of different kinds
had long been traditional instruments among the peoples of the more northerly
parts of South Africa. The pennywhistle thus enabled the swift adaptation of folk
tunes into the new marabi-inflected idiom.
Lemmy Mabaso was one of South Africa's most famous pennywhistle stars, as
well as Spokes Mashiane and Boy Masaka of Brits.
MBAQANGA
The Mbaqanga is a mode of African-inflected jazz that had many and
1065
1066
1067
1068
1069
1070
Read more: http://www.southafrica.info/about/arts/922565.htm#ixzz1oGM4CqYL
participants)
1071
1072
1073
1074
1075
1076
1077
Read more: http://www.southafrica.info/about/arts/music.htm#ixzz1oGK9fSZS
1078
participants)
1079
1080
1081
various practitioners. It developed out of the marabi and kwela. The
cyclic structure of Marabi, combined with various traditional dance
styles (such as the Zulu indlamu,) with a strong influence of the
American big band swing, crystallised into the "African stomp" style,
giving a notably African rhythmic impulse to the music and making it
irresistible to its new audiences. (Exponents of Mbaqanga were the
late Mahlathini with the Mahotella Queens, Soul Brothers, Dark City
Sisters and Izintombi Zomqashio.)
ISICATHAMIYA
The missionary emphasis on choirs, combined with the traditional vocal
music of South Africa which also included choreography, gave rise to a
mode of male a capella singing that blended various styles with an
African indigenous approach. This style evolved in the hostels because
of the migratory labour system. This tradition is still alive today in the
Isicathamiya form, of which Ladysmith Black Mambazo are the
foremost and most famous exponents.
MASKANDI
Maskandi
Maskandi is played on cheap, portable instruments, or modern Duet : 2 Participants
instruments tuned or produced to imitate the polyphonic sounds
of the old instruments. Traditionally, a maskandi muso had one Trio : 3 Participants
song, a long one that evolved as the story of the musician's life
grew.
1082
Maskanda is distinguished by an instrumental flourish that sets
the tone at the beginning of each song, picked guitar style, and
rapidly spoken sections of Zulu praise poetry, called "izibongo".
The content is not always praise, though, and with pop, house
and other influences colouring maskanda, it has become more
about the storytelling ethic and the modern migrant culture,
than simply about the musical style.
1085
1086
participants)
1087
1088
◄ 54
1083
1084
http://en.wikipedia.org/wiki/Maskanda
KOFIFI
Kofifi is actually the place called Sophiatown. Music that was played
there was very similar to African Jazz. People in Kofifi had a way of
dancing to the music. Kofifi people would be identified by the way
they used to dance to the music.
1089
1090
1091
1092
1093
1094
participants)
1095
1096
1097
1098
1099
1100
1101
1102
participants)
1103
1104
AFRICAN JAZZ
African Jazz is music that was played particularly in the now Gauteng
Province. It was mostly found around Alexandra, Soweto and
Sharpville.
This was instrumental music and we still find a lot of it today. It is
played by well-known performers such as Jonas Gwangwa and Hugh
Masikela. Other exponents were groups such as the Alexandra All Star
Band, Sharptown Swingsters etc.
PANTSULA
Pantsula
1105
1106
Pantsula is a syncopated, quick-stepping, and low to the ground
form of dance which evokes the urban street culture of which
it is a part.
1107
1109
1110
participants)
1111
1112
the gumboot dance (or Isicathulo) is an African dance that is Small groups (6 - 10 Participants)
performed by dancers wearing Wellington boots, commonly Medium sized groups (11 – 20
called gumboots In South Africa.
participants)
1113
1115
1108
GUMBOOT DANCE DANCE
1114
◄ 55
BOEREMUSIEK
“Boeremusiek” is an instrumental folk music, dating from
the period during which the people who practiced it where
internationally known as "Die Boere" The Boers of South
Africa. It is informal music that is played in a distinctive way
and was primarily intended as accompaniment for social
dancing. For the purpose of this conversation we exclude
other kinds of Afrikaans music from the same period like
ballads, serenades and music aimed at passive audiences.
The concertina was, and is still to this day,
the
top
lead
instrument
in
“Boeremusiek”. Apart from the different
types of concertinas that are found in
“Boeremusiek”, there are different dance
rhythms and variations in accompaniment.
Source: WIKIPEDIA, Boeremusiek.
1116
1117
1118
1119
1120
10
1121
participants)
1122
Small groups
Participants)
(6
Large
groups
participants)
-
(21+
1123
CAPE MALAY MUSIC
Cape Malay Music
This cultural group developed a characteristic 'Cape
Malay' music. An interesting secular folk song type, of
Dutch origin, is termed the nederlandslied. The language
and musical style of this genre reflects the history of South
African slavery; it is often described and perceived as 'sad'
and 'emotional' in content and context. The
nederlandslied shows the influence of the Arabesque
(ornamented) style of singing. This style is unique in South
Africa, Africa and probably in the world.
Participants)
participants)
Large
groups
(21+
participants)
1124
1125
1126
1127
1128
1129
1130
1131
Table C
00
01
02
03
04
05
06
07
08
09
10
Grade R
Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8
Grade 9
Grade 10
2 minutes
3 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
5 minutes
5 minutes
5 minutes
11
12
13
14
15
16
17
18
19
20
Grade 11
Grade 12
Foundation phase group
Intermediate phase group
Senior phase group
FET Phase
Primary school group
Secondary school group
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
6 minutes
6 minutes
6 minutes
◄ 56
CONTEXTUALISING INDIGENOUS ARTS8
Arts:
Indigenous:
Western concept
Traditional; belongs to a place and its peoples. For the people it was a way of life
and not an art form.
A. MUSIC
1.Pre-colonial era: Music according to ages and gender
o
o
o
o
o
o
Differentiation of music for different occasions: weddings,
wars (amahubo); historical events (amahubo); ukungcweka;
initiation; umsindo; ijadu; children’s games; etc.
Structure and texture: different pentatonic scales;
Harmonies; rounds; leader; movement (differed according to type of song;
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
o
o
o
o
o
Mutual influences of neighbouring ethnic groups: Khoi dances now done by Tswanas.
Isicathamiya now very popular.
Maskandi music has grown in popularity.
Folk songs with choreography very popular with choirs.
Birth of other styles with western influences.
Commercialisation.
B. Kings’ praises; clan names; fairy tales.
8
Notes courtesy of Mr. Ludumo Magangane
◄ 57
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 semiliterate 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.
◄ 58
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.
◄ 59
Entry Form 2016
(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?
(Kindly provide the EXACT number in the appropriate box.)
A. CULTURAL GROUP
& LANGUAGE
Afrikaans
IsiNdebele
IsiXhosa
IsiZulu
Khoisan
Nama
Sepedi
Sesotho
Setswana
Siswati
Tshivenda
Xitsonga
1
2 - 5 6 – 10
B. INDIGENOUS ART SECTION
Music and Dance Section
Indigenous Instrumental Music
Praise poems
Praise songs
Story telling
Reciting African Poem / Prose
Drama
HOME-GROWN ART SECTION
Marabi
Kwela
Mbaqanga
Isicathamiya
Maskandi
Kofifi
African Jazz
Pantsula
Boeremusiek
Cape Malay Music
__________________________________
NAME IN PRINT
11- 20
21+
C. GRADE
Foundation phase
(Gr. 0 – 3)
Intermediate phase
(Gr. 4 – 6)
Senior phase
(Gr. 7 – 9)
FET phase
(Gr. 10 – 12)
Primary School
level (Gr. 0 – 7)
Secondary school
level (Gr. 8 – 12)
Open section
Select only ONE box
in each of the
columns A, B and C
______________________________________
SIGNATURE
__________________
DATE
◄ 60
◄ 61
PART 4
Music Section
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™
Music Category
◄ 62
MUSIC SECTION
EXPLANATORY NOTES & DEFINITIONS
The various music categories has been integrated into ONE category.
The Music Category comprises of the following sections:
 Choral Music
 Classical Music
 Crossover Music
 Contemporary music
 Music Theatre
An overview of all the categories are provided, followed by a summary of
the various vocal and instrumental categories.
Music Category
◄ 63
DEFINITION

Many hours go into choir rehearsals. However, the opportunities offered by festivals are mostly limited to a single
“programme” option. The National Eisteddfod Academy took a fresh look at this section and has subsequently opened
a new horizon for conductors and choir members, young and old. Kindly refer to Table B in this section for more detail.

There are no specific prescribed pieces in this category for choirs. All items are own choice.

Please take note of the number of songs to be performed for a specific item:
o CHOIR: PROGRAMME PERFORMANCES: the number of songs is limited to THREE.
o CHOIR: PERFORMANCES OF SINGLE WORKS /SONGS: only ONE song per item.

Arrangements for accompanists should be made well in advance. Any choir without access to a piano or accompanist
can contact the NEA office for contact details in this regard.

Senior choirs are encouraged to perform at least one song a cappella (unaccompanied).

Time limit: Competitors should not exceed the time limit.

A choral work may not be presented in more than one section.

Although junior primary school choirs normally sing in unison, they are encouraged to include part-singing. Senior
primary school choirs are expected to sing in two - or more parts.

A choir should have at least 20 members (smaller groups should enter the vocal section).

Copies of the choir programme must be submitted to the adjudicator prior to the performance.

No copies of music for the traditional section are required.

KINDLY NOTE: Backing tracks may only be used in the “CROSSOVER” Section.

Items that require sound equipment for the playing of backing tracks will be scheduled at a venue where these facilities
are available. Alternatively, participants may provide their own sound equipment.
CONVENTIONAL CHOIR SECTION
(NO SOUND SYSTEM)
Requirements:
CHOIR CLASSICAL CROSSOVER SECTION
(WITH BACKING TRACK )
Requirements:
 In the conventional choir section NO
electronic devices may be used.
 Choirs need to provide their own
accompanists.
 Any acoustical instruments may be used
for accompaniment, with or without a
piano.
TIME LIMITS:
The performance could be
terminated when the time limit is exceeded.
 This category has been included to
provide for the diverse needs of
participating schools.
 The backing track may not include singing
voices.
 This item will be scheduled at a venue
where playback facilities for backing
tracks are available.
Alternatively,
participants may provide their own sound
equipment.
TIME LIMITS:
The performance could be
terminated when the time limit is exceeded
Music Category
◄ 64
DEFINITION
1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or
formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from
Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn,
Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner.
2. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19th centuries.
This style is one of the categories within the broader definition of Classical Music as outlined in (1).
3. Accompaniment (when required) must be played on an acoustic instrument (this refers to an instrument that is
not electronically amplified).
DEFINITION
Crossover music describes a style of music where two different styles are mixed:
a) resulting from a mixture of two different artistic categories or styles, or from
b) aspects of one category becoming popular in another.
A simple example is Pavarotti’s large contemporary style concerts where opera music amongst others were presented
in the same style as a contemporary Pop or Rock show.
Other examples are music with a strong “Classical” feel pertaining to the style of the music, instrumentation and orchestration, but
also with contemporary characteristics (e.g. music performed by people like Josh Groban (“You raise me up”); the music of Richard
Clayderman that is music with a “Classical” feel, but is intended for or appreciated by a wide public, and “could be regarded as
oversimplified for the sake of greater accessibility.”
DEFINITION
Contemporary music can be described as music that is
a) distinctively modern in style;
b) in existence at the present time;
c) musically commercial, especially by being tuneful, uptempo, and repetitive, and targeted at the general public and
the youth market in particular.
d) intended for or appreciated by a wide public, and often regarded as oversimplified for the sake of greater
accessibility.
DEFINITION
Musical Theatre provides for any performance that involves singing, dancing and acting.
Music Category
◄ 65
CODES FOR VOICE AND
INSTRUMENTS
HOW TO COMPLETE THE MUSIC ENTRY FORM
Selecting an ITEM NUMBER involves three steps:
ITEM NUMBER:
TABLE A
A
3
/
0
TABLE B
2
0
0
TABLE C
1
/
0
9
The entry number comprises of three components provided in Tables A, B and C.
o
o
o
Decide on the Instrument for the performance (voice, piano, strings, etc.)
Decide if the performance will be acoustical (“live”, in other words without any electronic
amplification or instruments or backing tracks) or with a backing track (in other words with
electronic amplification of the voice, or any other electronic assistance)
Select the appropriate code from TABLE A, e.g.
o The code for a vocal performance with piano accompaniment will be A30. When a backing
track will be used the code will be B30.
(Note: the A stands for Acoustical and the B for Backing track)
o
Decide on the Performance Style (classical / crossover / contemporary), as well as the NUMBER
of PERFORMERS that will participate in the specific entry and select the appropriate code from
TABLE B.
o The number of performers involved in the item will be the final determining factor for
selecting the code from TABLE B.
o
Select the appropriate grade code for the participant from Table C. Clearly print the selected code
in the last 2 open blocks provided for the item number. Grade code “09”= a participant in “Grade
9”.
CODES FOR VOICE AND INSTRUMENTS
Vocal / Instrumental Codes
◄ 66
A B
IMPORTANT:
It is the responsibility of the participant to select the appropriate code:
The codes in column A should be used for ALL acoustical performances ONLY. All the item
numbers for entries in this section are preceded with a letter “ A” ( “A” for acoustical). This is
to say that only acoustical instruments (where sound is generated by vibrating strings, reeds,
mouth pieces or membranes) or unamplified voice could be entered in this section.
IMPORTANT: NO electronic equipment like microphones, CD players etc. will be provided at
venues where these items will be performed.
LIVE MUSIC
COLUMN A
COLUMN B
The codes in column B should be used for ALL performances that involve any form of electronic
interference or equipment (microphones, amplifiers, CD-players, sound mixers, etc.)
The necessary sound equipment will be provided at selected venues for this purpose. Due to
the cost involved a higher entrance fee could be charged at selected venues.
This category provides for a performance by a solo voice or vocal ensemble. Kindly note the
difference between the code for solo items and ensembles (duo, trio, etc.). Participants should
provide their own accompanists.
In the junior section typical children songs and traditional songs generally performed with
piano accompaniment is recommended. (Although the current trend is to enter learners to
sing popular contemporary songs with backing tracks and microphones, even as early as from
Grade 0, teachers are advised to allow junior pupils to sing age appropriate songs with piano
accompaniment. The educational value of acoustical singing on the development of a musical
ear should not be underestimated!)
CONVENTIONAL
A30
VOICE
A31
MIXED CHOIR /CHAMBER CHOIR
MUSIC WITH BACKING TRACKS
VOCAL / INSTRUMENTAL CODES AND REQUIREMENTS
B30
BACKING TRACK
TABLE A:
B31


The number of choristers will determine the selection of the item code.
o Chamber Choir : Medium sized group (11 – 20 members)
o Choir: Large group (20+ members)
Over and above the specific categories for CHOIR PROGRAMMES (the presentation of a
programme comprising of 3 songs), Choirs may also select ANY of the codes for classical,
classical crossover or contemporary music. Select the appropriate CHOIR code in tabel A + the
applicable code in tabel B
BACKING TRACK

CONVENTIONAL
This category provides for performances by choirs comprising of male and female voices
◄ 67
CHILDRENS’ CHOIR
A32
B32
A33
B33
A34
B34
A35
B35
A36
B36
This category provides for performances by choirs comprising of young female and young
unchanged voice male singers.



applicable code in tabel B.
Although junior primary school choirs normally sing in unison, they are encouraged to include partsinging. Senior primary school choirs are expected to sing in two - or more parts, if posible.
CHOIR: FEMALE VOICES
This category provides for performances by choirs comprising of female voices.



CHOIR: MALE VOICES
This category provides for performances by choirs comprising of male voices.



CHOIR: SENIOR CITIZENS
This category provides for performances by choirs comprising of Senior Citizens.



CHOIR (Differently abled participants)
This category provides for performances by choirs with differently abled participants.
 The number of choristers will determine the selection of the item code.
◄ 68
AMATEUR MUSIC PRODUCTION
A37
B37
A38
B38
A39
B39
A40
B40
Entries in this category comprises of a combination of :
 the spoken word
 vocal / instrumental music
 dance sequences
In addition appropriate design elements (décor / props / costumes) may be used.
PLEASE NOTE: Can ONLY be used in conjunction with codes for
Music Productions
ACCORDION
The accordion is a portable, freely vibrating reed instrument. It consists of a keyboard and bass
casing that are connected by a collapsible bellows. Within the instrument are metal reeds, which
create sound when air, generated by the movement of the bellows, flows around them and
causes them to vibrate. The accordion is constructed from hundreds of pieces, and much of it is
hand assembled. First constructed in the early nineteenth century, the accordion continues to
evolve into an ever more versatile instrument.
Source: http://www.encyclopedia.com/topic/accordion.aspx
DIGITAL PIANO / KEYBOARD
The digital Keyboard has become a serious instrument in recent times with a number of
examining bodies already providing for it up to Grade 8 and Fellowship level (Trinity College and
London School of Music).
Digital pianos / keyboards are musical instruments that produces its sounds using electronics.
Such an instrument sounds by outputting an electrical audio signal that ultimately drives a
loudspeaker. As the features of these instruments might differ depending on make and model,
participants need to provide their own instruments when entering in this section.
Digital piano / keyboard may be entered under column A when no amplification is required
(instruments with onboard loudspeakers)
PIANO*
*Use the code A41 for items that require TWO pianos
**When performing with a backing track, the participant must confirm with the sound
technician if it would be possible to tune the sound track with the piano, if necessary.
A41
TWO PIANOS
This category provides for items that would require TWO pianos, e.g. CONCERTO MOVEMENT
where the accompaniment is to be performed on a second piano or an ENSEMBLE for TWO
pianos.
These items subsequently can only be scheduled at a venue where 2 pianos are be available.
A42
PIPE ORGAN
B42
This item will be adjudicated at a venue as determined by the NEA. The participant should
contact the NEA office in order to arrange for the necessary preparation time.
◄ 69
RECORDER
FLUTE
PICCOLO
CLARINETTE
OBOE
BASSOON
COR ANGLAIS
SAXOPHONE
A43
A44
A45
A46
A47
A48
A49
A50
B43
B44
B45
B46
B47
B48
B49
B50
TRUMPET
TUBA
TROMBONE
FRENCH HORN
A51
A52
A53
A54
B51
B52
B53
B54
VIOLIN
VIOLA
CELLO
DOUBLE BASS
A55
A56
A57
A58
B55
B56
B57
B58
ACOUSTICAL GUITAR
A59
B59
A60
B60
A61
B61
An acoustic guitar is a guitar that produces sound acoustically—by transmitting the vibration of
the strings to the air—as opposed to relying on electronic amplification (see Electric guitar).
The sound waves from the strings of an acoustic guitar resonate through the guitar's body,
creating sound. This typically involves the use of a sound boardand a sound box to strengthen
the vibrations of the strings.
The main source of sound in an acoustic guitar is the string, which is plucked or strummed with
the finger or with aplectrum.
Source: https://en.wikipedia.org/wiki/Acoustic_guitar
HARP
The harp is a stringed musical instrument which has a number of individual strings running at
an angle to its soundboard, which are plucked with the fingers.
Source: https://en.wikipedia.org/wiki/Harp
ELECTRICAL GUITAR
An electric guitar is an instrument guitar that uses the principle of electromagnetic induction to
convert vibrations of its metal strings into electric signals. Since the generated signal is too
weak to drive a loudspeaker, it is amplified before sending it to a loudspeaker. Since the output
of an electric guitar is an electric signal, the signal may easily be altered using electronic circuits
to add color to the sound. Often the signal is modified using effects such as reverb and
distortion. Conceived in 1931, the electric guitar became a necessity as jazz musicians sought
to amplify their sound. Since then, it has evolved into a stringed musical instrument capable of
a multitude of sounds and styles. It served as a major component in the development of rock
and roll and countless other genres of music.
Source: https://en.wikipedia.org/wiki/Electric_guitar
◄ 70
SYMPHONIC PERCUSSION
A62
B62
A63
B63
A64
B64
A65
B65
This category provides for any instruments or combination of instruments of the percussion
family, including instruments of definite and indefinite pitch, e.g.
Instruments of definite pitch:
Kettle drum (timpani)
Tubular bells
Celesta
Xylophone
Marimba
Instruments of indefinite pitch:
Snare drum
Tenor drum
Bass drum
Triangle
Cymbals
Gong
Castanets
Rattle
This item can involve a performance by an individual player or more than one performer on a
combination of the above-mentioned instruments. Maximum duration as per grade. A total of
ten minutes will be allowed to set up the instruments prior to the performance and to remove the
instruments after the performance.
PERCUSSION BANDS (including the Orff ensemble)
This item involves the performance on a variety of percussion instruments by lower grade /
primary school children. Music has been published for such bands and many of the classics
have been arranged for them where the percussion orchestration is supported by a piano that
provides the melody and harmony. Own arrangements may be performed.
The traditional Orff ensemble may also be entered in this section.
More than one item may be performed as long as the total duration does not exceed the
maximum performance time per grade. Enter according to the highest grade or school phase.
A total of ten minutes will be allowed to set up the instruments prior to the performance and
to remove the instruments after the performance.
DRUM KIT
When entered as A18 no backing track facilities will be needed. The participant may perform
with accompaniment on a backing track when entered as B18. An acoustical drumset will only
be provided at selected venues. Participants should provide their own drum sets when they
select a venue where drumsets are not provided.
MARIMBA
The marimba is a percussion instrument consisting of a set of
wooden bars struck with mallets to produce musical tones.
Participants need to providce their own instruments.
◄ 71
DJEMBE DRUMS
A66
B66
A67
B67
A djembe is a rope-tuned skin-covered played with bare hands, originally from West Africa.
According to the Bambara people in Mali, the name of the djembe comes from a Bambara
saying that translates to "everyone gather together in peace" and defines the drum's purpose.
The djembe has a body (or shell) carved of hardwood and a drumhead most commonly made
from goatskin.
The djembe can produce a wide variety of sounds, making it a most versatile drum. The drum is
very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble.
Traditionally, the djembe is played only by men. Even today, it is rare to see women play djembe
or dunun in West Africa, and African women express astonishment when they do see a female
djembe player.
Source: WIKIPEDIA, Djembe.
MIXED INSTRUMENTAL ENSEMBLES (2 – 10 players)
This category provides for a combination of instruments from the different instrument families,
e.g. woodwind and strings, woodwind and brass, etc.
CHAMBER ORCHESTRA (11 - 20 Players)
A68
Chamber orchestra (6 – 20 Players) can only be used in conjunction with the Code for groups in
Table B of the Classical music section. Maximum performance time as per grade applies. More
than one item may be performed as long as the total duration does not exceed the maximum
performance time per grade. Enter according to the highest grade or school phase. A total of ten
minutes will be allowed to set up the instruments prior to the performance and to remove the
instruments after the performance.
Any combination of symphonic instruments may be used ( e.g. strings, windwind, brass, etc.)
A69
ORCHESTRA (more than 20 players)
An orchestra will have more than 20 players. This code can only be used in conjunction with the
Code for groups in Table B of the Classical music section. Maximum performance time as per
grade applies. More than one item may be performed as long as the total duration does not
exceed the maximum performance time per grade. Enter according to the highest grade or
school phase. A total of ten minutes will be allowed to set up the instruments prior to the
performance and to remove the instruments after the performance.
Any combination of symphonic instruments may be used ( e.g. strings, windwind, brass, etc.)
◄ 72
CONTEMPORARY BAND
A70
B70
A71
B71
A contemporary band is any combination of instrumentalists and vocalists that are associated
with contemporary music, including vocals, keyboard instruments, brass instruments, the
electric and acoustic guitar, drums, etc. In this context it also implies that the sound of some
of the instruments has to be amplified or that the way in which they produce sounds, will
involve electronics. Participants need to provide their own instruments. When acoustical
instruments only are used, it can be entered as A70. When amplification is necessary it should
be entered as B70.
OTHER INSTRUMENT NOT LISTED
Any instrument not listed should be entered in this section. Participants are requested to
provide the name of the instrument on the entry form.
◄ 73
CLASSICAL
MUSIC
RULES AND GUIDELINES FOR CLASSICAL MUSIC
DEFINITION
1. Classical music describes music that is considered serious or intellectual and is usually written in a traditional or
formal style, as opposed to such genres as pop, rock and folk music. Classical music includes music by composers from
Albonini to Bach, Chopin, DeBussy, Elgar, Franck, Gerswin, Handel, Ibert, Janaceck, Kuhlau, Liszt, Mendelssohn,
Offenbach, Palestrina, Rimsky-Korsakov, Stravinsky, Teleman, Verdi and Wagner.
2. Classical music also more specifically describes the style of music composed in Europe in the 18 th and 19th centuries.
This style is one of the categories within the broader definition of Classical Music as outlined in (1).
3. The following serves as a guideline for classifying classical music in the various style periods:
 Baroque & earlier: Music from c. 1450 – 1700. Composers: Palestrina, Bach, Handel, Vivaldi, etc.
 Classical: Music from c. 1700 – 1800. Composers: Haydn, Mozart, Beethoven
 Romantic: Music from c. 1800- 1900. Composers: Liszt, Chopin, Tsjaikocvsky and others
 Impressionism: Music from c. 1900 – 1920 Composers: Debussy, De Falla, Ravel
 20th Century: Music since c. 1920 – 2000 and later: Schonberg, Stockhausen, Bartok and others
GRADING
For the sake of clarity it needs to be emphasized that entries are categorized according to school grades. Grading in this
context has no link with the grading of external examining bodies as performance level indicator. (Also refer to the “General
guidelines” in this regard.) Subsequently, with the exception of novices (that refer to participants with less than 18 month’s
experience in music), participation is not subject to any level of achievement at any stage.
NOVICE
All students who have been studying for less than 18 months should enter in this category. However, the 18 months refer
to a student’s total experience and involvement in music.
ELEMENTARY LEVEL
Sstudents that, having passed the novice stage of 18 months, are still performing pieces on an elementary level can
enter in this category . These pieces usually come from tutor books, are fairy easy and often are simplified arrangements
of well-known folk tunes, classical pieces, and even contemporary pieces, etc. Very often it doesn’t fit into the Classical
categories as described above.
74► Classical Music (Novices)
WORKS WITH MULTIPLE MOVEMENTS




Only one movement of a sonate / concerto / suite may be performed in any given item.
The Baroque flute / recorder sonata (comprising of various very short movements) and the Prelude and Fugue will be
considered as ONE piece. (The Prelude and Fugue may also be presented separately, but time limits should be
observed!
Participants may perform a particular piece of music in one category only. No pieces performed in other categories
may be performed in the Recital category or vica versa.
Set-up time should be arranged well in advance of performance time.
ACCOMPANIMENT
Please note that the proficiency of the accompanist is important, since it could impact on the overall artistic impression of
the performance.
When accompaniment is required, an acoustical instrument should accompany participants in this section. A piano (or
sometimes a digital piano) will be provided and no other electronic devices will be available. An an electronic instrument
that does not require additional sound equipment may also be used.
ARRANGEMENTS FOR SOLO
More advanced participants are encouraged to perform works as they were originally composed, rather than simplified
arrangements.
SOLO PERFORMANCES ON SYMPHONIC INSTRUMENTS
Symphonic instruments (flute, violin, trumpet, etc.) may perform with piano accompaniment or unaccompanied. For
Eisteddfod purposes all “solo” performances on strings, woodwind, brass, etc. should be entered in categories for “solo”
performances (even though it might be accompanied by a piano) and will be adjudicated as “solo performances”. When
the accompanist is also a student, the item might also be entered as a duet.
ENSEMBLE WORK
In the case of an ensemble the score must be written in 2 parts (duet); in 3 parts for a trio; in 4 parts for a quartet, etc. No
continuous singing/playing in unison is allowed in this section.
REPEATED SECTIONS / MULTI-VERSE SONGS
General requirements (except if very short):
o No repeats, except Da Capo – repeats should be performed.
o For vocal solos participants should prepare a maximum of 2 verses of multi-verse songs.
USING RECORDED ACCOMPANIMENT
For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality
is that this is not always possible. Although not ideal, participants will be allowed to perform (sing/play) with a recorded
version of the acoustical accompaniment in the event of an accompanists not being able to attend the session. These items
should then be entered into the Crossover section so that it can be scheduled at venues where the necessary sound
equipment will be available.
COPIES OF MUSIC

A copy of all music must be submitted to the adjudicator’s assistant prior to the performance.
PHOTOCOPIES
The Copyright Act 98 of 1978, as amended, prohibits the use of photocopies without the written consent of the publishers.
Consequently participants must play from an original copy and will be DISQUALIFIED IF THEY PLAY FROM PHOTOCOPIES
ONLY (the use of some copies to assist in turning pages is allowed). Copies of the piece to be performed must be presented
to the adjudicator. These copies will be destroyed afterwards.
TIME LIMITS


Any performance should stay within the prescribed timeframe.
Exceeding the time limit could result in the termination of the performance.
CORRECT ENTRY NUMBER




It is the responsibility of the participant/teacher to select and provide the the correct entry number on the
entry form.
The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly.
If the entries have been submitted timeously, printout copies of the processed entries will be provided to schools /
studios to assist in this regard.
Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty
fee of R70.00 per incorrect entry.
FURTHER INFORMATION


Any questions regarding the music category could be e-mailed to info@eisteddfod.co.za.
A specialist in this field will respond to your enquiry as soon as possible.
CHORAL MUSIC
CONCERT PROGRAMME
Medium sized group: 11 20 participants
Large group: 21+
participants
Chamber choir
Choir
2000
2001
Requirements:
 A programme consisting of 3 works in contrasting styles is to be presented. The choice of
songs and balance of the programme selected will be taken into account for adjudication.
 Choirs may sing either accompanied (by acoustical instrument(s)) or a cappella
(unaccompanied). Please note that the proficiency of the accompanist is important, since the
overall artistic impression of the performance is assessed.
 Kindly ensure that the correct TABEL A code is selected when the choir will sing with a backing
tracks. These events need to be scheduled at venues where the necessary facilities for this
purpose are available. A copy of the choir music must be submitted to the adjudicator prior
to performance.
TIME LIMITS: Choirs should not exceed the time limit.
TABLE C
00
13
14
15
16
17
18
19
20
Grade R
Foundation phase (Gr. 0 – 3)
Intermediate phase group (Gr. 4 – 6)
Senior phase (Gr. 7 – 9)
FET Phase
Primary school (Gr. 0 – 7)
Secondary school (Gr. 8 – 12)
Open section
Senior citizens
6 minutes
6 minutes
6 minutes
8 minutes
12 minutes
8 minutes
12 minutes
12 minutes
12 minutes
RELIGIOUS PROGRAMME
Chamber choir
The Requirements as for Concert Programme apply.
Choir
2002
Large group: 21+
participants
2003
2004
Large group: 21+
participants
2005
GOSPEL PROGRAMME
Chamber choir
Choir
AFRICAN CONCERT SONGS
Medium sized group: 11 Chamber choir
2006
20 participants
The African concert songs refers to the usual folk music or “izitibili”
of African choirs, in other words the concert songs that choirs usually
do with song and dance. (This is not be confused with Indigenous
music.)
Large group: 21+
Choir
2007
participants
The African concert songs refers to the usual folk music or “izitibili”
of African choirs, in other words the concert songs that choirs usually
do with song and dance. (This is not be confused with Indigenous
music.)
Choirs may also select ANY of the codes for classical, classical crossover or contemporary music. Select the
appropriate CHOIR code in tabel A + the applicable code in tabel B.
INSTRUMENTS: NOVICE & ELEMENTARY LEVEL
This section only provides for instrumental items – No vocal item should be entered into this section!
CLASSICAL : NOVICE INSTRUMENTAL ITEM CODES
NOVICE SOLO (Primary School)
All primary school students who have been studying an instrument for less than 18
months should enter in this category. Kindly note that the 18 months refer to a
student’s total experience and involvement in music. As pieces for primary school
novices are normally very short it may be repeated twice, or alternatively
participants may present 2 very short pieces as one item.
SOLO
2008
SOLO
2009
SOLO*
2010
This section provides for ensemble items performed by primary / secondary
school students who have been studying an instrument for less than 18 months.
The 18 months refer to student’s total experience and involvement in music.
Duet
These pieces are normally very short and may thus be repeated. Alternatively
participants may present 2 very short pieces as one item. Part playing is not
required and students may play in unison.
Quintet
SMALL GROUP (5 – 10
members)
MEDIUM SIZED GROUP (11 20 members)
2011
2012
2013
2014
NOVICE SOLO (Secondary School)
All secondary school students who have been studying an instrument for less than
18 months should enter in this category. Kindly note that the 18 months refer to a
student’s total experience and involvement in music.
NOVICE PUPIL & TEACHER DUO
Music tutor books often include small and simple concert pieces where the
teacher’s part provides some flair to the music. This category is particularly
useful for learners who are very shy and reliant on the teacher and allows the
opportunity to build their confidence. The presence of the teacher helps to
create an environment where the participant can feel safe and secure. These
pieces are normally very short and may thus be repeated. Alternatively
participants may present 2 very short pieces as one item. Only students who
have been studying for less than 18 months may enter in this category.
*Although this is a duet, it will be treated as a solo for practical reasons, entry fees etc.)
NOVICE GROUP
Trio
Quartet
2015
2016
NOVICE- DIGITAL KEYBOARD ENSEMBLE
Students who have been studying digital keyboard for less than 18 months may
enter in this category. (Kindly note: the 18 months refer to a student’s total
experience and involvement in music). This item allows these students to
perform in ensemble with other digital keyboard players. These pieces are
normally very short and may thus be repeated. Alternatively participants may
present 2 very short pieces as one item. Part playing is not required and
students may play in unison. Participants must provide their own instruments
and should provide the adjudicator with a copy of their music prior to their
performance.
Duet
Trio
Quartet
Quintet
members)
2017
2018
2019
2020
2021
MEDIUM SIZED GROUP (11 20 members)
2022
SOLO
2023
NOVICE - INSTRUMENTAL RECITAL
Students who have been studying an instrument (piano, digital keyboard,
recorder, violin, etc.) for less than 18 months may enter in this category. (Kindly
note: the 18 months refer to a student’s total experience and involvement in
music).
Participants should present a programme of 3 pieces. No piece that has been
entered separately may be performed in this section.
Participants must provide their own instruments (where applicable) and should
provide the adjudicator with a copy of their music prior to their performance.
INSTRUMENTAL PERFORMANCE – ELEMENTARY LEVEL
This category provides for students that, having passed the novice stage, are still
performing pieces on an elementary level. These pieces usually come from tutor
books, are fairy easy and often are simplified arrangements of well-known folk
tunes, classical pieces, and even contemporary pieces, etc.
Solo
Ensemble : Duo
Ensemble: Trio
Ensemble: Quartet (4)
Ensemble: Quintet (5)
2024
2025
2026
2027
2028
Small group: 6 - 10
participants
Large group: 21+
participants
2029
Solo
2032
2030
2031
INSTRUMENTAL RECITAL – ELEMENTARY LEVEL
Students that, having passed the novice stage, are still performing pieces on an
elementary level, may enter for this category. These pieces usually come from
tutor books, are fairy easy and often are simplified arrangements of well-known
folk tunes, classical pieces, and even contemporary pieces, etc
Participants should present a programme of 3 pieces. No piece that has been
entered separately may be performed in this section.
TABLE C : GRADES
00
01
02
03
04
05
06
07
08
09
10
Grade R
Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8
Grade 9
Grade 10
2 minutes
3 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
5 minutes
5 minutes
5 minutes
11
12
13
14
15
16
17
18
19
20
Grade 11
Grade 12
Foundation phase group*
Intermediate phase group*
Senior phase group*
FET Phase group
Primary school group*
Secondary school group*
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
5 minutes
5 minutes
5 minutes
CLASSICAL CATEGORIES
Important: From an educational perspective it is recommended that teachers /
participants, as far as possible, attempt so select music originally composed to provide for
the different skills level of particularly young performers, rather than using simplified
versions of more complex works.
CLASSICAL: VOCAL / INSTRUMENTAL CATEGORIES AND ITEM CODES
MUSIC BY SOUTH AFRICAN COMPOSER
Solo
Ensemble : Duo
Ensemble: Trio
This category provides for the performance of music by a South African
composer.
Ensemble: Quartet (4)
Ensemble: Quintet (5)
Small group: 6 - 10 participants
Medium sized group: 11 - 20
participants
Large group: 21+ participants
2040
2041
2042
2043
2044
2045
2046
2047
MUSIC FROM THE BAROQUE and earlier
Solo
Ensemble : Duo
Ensemble: Trio
Baroque & earlier: Music from c. 1450 – 1700. Composers: Palestrina, Bach,
Handel, Vivaldi, etc.
Ensemble: quartet (4)
Ensemble: quintet (5)
participants
2048
2049
2050
2051
2052
2053
2054
2055
MUSIC FROM THE CLASSICAL PERIOD
Solo
Ensemble : Duo
Ensemble: Trio
Describes the style of music composed in Europe in the 18th and 19th centuries.
participants
2056
2057
2058
2059
2060
2061
2062
2063
MUSIC FROM THE ROMANTIC PERIOD
Solo
Ensemble : Duo
Ensemble: Trio
Romantic: Music from c. 1800- 1900. Composers: Liszt, Chopin, Tchaikovsky and
others.
participants
2064
2065
2066
2067
2068
2069
2070
2071
80► Classical Music
MUSIC FROM THE IMPRESSIONISM
Solo
Ensemble : Duo
Ensemble: Trio
Impressionism: Music from c. 1900 – 1920 Composers: Debussy, De Falla, Ravel
participants
2072
2073
2074
2075
2076
2077
2078
2079
20 TH CENTURY COMPOSITION
20th Century: Music since c. 1920 – 2000 and later: Schonberg, Stockhausen,
Bartok and others
Solo
Ensemble : Duo
Ensemble: Trio
participants
2080
2081
2082
2083
2084
2085
2086
Solo
Ensemble : Duo
Ensemble: Trio
participants
2088
2089
2090
2091
2092
2093
2094
Solo
Ensemble : Duo
Ensemble: Trio
participants
2096
2097
2098
2099
2100
2101
2102
Solo
Ensemble : Duo
Ensemble: Trio
participants
2104
2105
2106
2107
2108
2109
2110
2087
EXTRACT FROM AN ORATORIO / OPERA / OPERETTE
This category provides or the performance of extracts (e.g. aria and recitativo) in
their original form from an oratorio, etc.
2095
OWN CHOICE
This category allows the participant the freedom to enter any classical piece as an
own choice. Please note that the composition should be performed as originally
composed.
2103
OWN COMPOSITION (“Serious music”)
This category does not provide for contemporary songs, etc., but creates an
opportunity for the creation of “serious” compositions.
2111
CONCERTO MOVEMENT
One movement from a concerto must be performed. The time limits should be
observed. IMPORTANT: Please contact the NEA office in advance if the duration of
the performance will exceed the allocated time per grade.
o
o
o
o
Time limit Gr. 1 - 4: 5 minutes
Time limit Open Section: 10 minutes
SOLO
2112
Solo
Ensemble : Duo
Ensemble: Trio
participants
2113
2114
2115
2116
2117
2118
Ensemble : Duo
2121
2122
IMPORTANT: Piano concerto entries would require the use of TWO pianos: Use
the following combination of codes: A10 +166 + grade code
CONCERT PROGRAMME / RECITALS
A program consisting of 3 pieces, contrasting in style and/or tempo and/or
character must be performed. No piece that has been entered separately may be
performed in this section.
o
o
o
o
Time limit Open Section: 15 minutes
2119
2120
PUPIL & TEACHER ENSEMBLE (duo, trio, etc.)
During the course of their teaching, teachers of symphonic instruments often
perform standard works (duos, trios, etc.) from the repertoire with their learners,
which (in line with the normal rules and regulations ) would have to be entered in
the open section. This category allows these candidates to enter for pupils/teacher
ensembles according to their own grade.
Example: a flute teacher has 2 grade 10 students that she would like to expose to music for trios. This
category allows her to enter these students in a category where only the students will be adjudicated.
Ensemble: Trio
participants
2123
2124
2125
2126
2127
CLASSICAL CROSSOVER MUSIC
RULES AND GUIDELINES: CROSSOVER MUSIC
IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS.
DEFINITION OF CLASSICAL CROSSOVER MUSIC
Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to
this Prospectus of the National Eisteddfod of South Africa™:
Generally speaking, Crossover music describes a style of music where two different styles are mixed.
For the purposes of this Prospectus, Crossover Music will mean a style of music sung in a classical style with popular
music instrumentation, harmony and rhythm. The label Classical Crossover music will be used to describe the music in
this category.
This includes the composition of new, modern works in a “classical style” with contemporary elements. In the final
analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or
belting element with the performance of music in this category.
COPIES OF MUSIC

In line with the tradition in classical music, a copy of all music to be presented in this section must be submitted to the
adjudicator’s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform
the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be
expected.






entry form.
It is of particular importantance to note the difference between items that need to be performed with live
accompaniment (acoustical) and those items that will require backing tracks.
Instruments will not necessarily be available at venues where items which require backing tracks have been
scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that
purpose only.
If the entries have been submitted timeously, printout copies of the processed entries will be provided to schools /
studios to assist in this regard.
83►Classical Crossover Music
BACKING TRACKS








Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a prerecorded “backing
track” that can only be used when the appropriate sound equipment is available.
No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are
advised to invest in proper backtracks.
Backing Tracks should be provided on CD only as cassette recorders is not always available for playback purposes.
Great care should be taken in handling CD’s as scratched and dirty CD’s often fail to play. It is advisable to have a
backup copy available at all times.
Only use Writeable CD’s (CD-R) for this purpose. Rewritable CD’s (CD-RW) are not always reliable.
Backing track CD’s should be handed to the sound technician at the beginning of a particular session.
Backing track CD’s should be clearly labeled with the participant’s name, item number and particular track number.
It is the responsibility of the participant to collect backing track CD’s at the end of each session. CD’s that were not
collected will eventually be destroyed by the sound technician once adjudication in a particular region has been
completed.
SETUP & SOUND CHECKS
It is the participant’s responsibility to arrange well in advance of the performance time for the necessary times for set-up
and sound checks if required.
SCHEDULING OF CROSSOVER MUSIC ITEMS


The National Eisteddfod Academy reserves the right to schedule Crossover Music items with backing tracks at suitable
venues where the necessary equipment will be available.
If the number of entries received in the backing track category does not warrant the renting of the appropriate
equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is
available. Alternatively, participants may provide their own equipment.
APPROPRIATENESS OF COSTUMES – CROSSOVER MUSIC
Although a costume could add to the stylistic feel of a performance, participants should note that a fancy, expensive
costume will not add to obtaining a higher mark / score. Participants can obtain the same effect by wearing a neutral
(black) costume with a suggestion of costume. This is of particular importance when participants enter for and have to
present a number of items in the same sessions when numerous costume changes could cause a delay in the programme.
LIVE ACCOMPANIMENT
Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument
(i.e. a musical instrument that is not necessarily electronically amplified).
TIME LIMITS


The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a
performance.
MINIMUM DURATION


Except for when the actual duration of a performance of the original composition is between 1 – 2 minutes
(particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract
the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by
other competitions.
It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by
junior performers. This can be done without creating an unmusically shortened versions.
FURTHER INFORMATION


CLASSICAL CROSSOVER CATEGORIES
CLASSICAL CROSSOVER*
Any performance of classical music that would require the use of backing
tracks and sound equipment (an important feature of contemporary music!)
will be accepted in this category of the Crossover section .
Solo
* This will allow a partipant on violin or flute (or any instrument!) to perform
in any category from the Classical section with a backing track in the
Crossover section.
2128
2129
2130
2131
2132
Ensemble : Duo
Ensemble: Trio
Small group: 6 - 10
participants
participants
2133
2134
2135
(For any accompaniment in the Classical section an acoustical instrument and an accompanist is usually required. The reality is that
this is not always possible. Although not ideal, participants will also be allowed to perform (sing/play) with a recorded version of the
acoustical accompaniment in the event of an accompanists not being able to attend the session. These items should then be entered
into this Crossover section so that it can be scheduled at venues where the necessary sound equipment will be available.)
CONTEMPORARY CLASSICAL
This refers to music that is contemporary in its origin, but has a strong
classical feel.
Solo
2136
Ensemble : Duo
The style may be executed in a classical style, but may have contemporary
rhythms. This crossover genre developed in the 90’s as a way of bringing
classical music to a new audience in a manner that they would comprehend.
One of the first artists to start experimenting with this new genre was the
tenor Luciano Pavarotti, who initially took shortened versions of classical
compositions and performed it with his friends the Three Tenors. From there
he started performing with pop artists in his series of benefit concerts:
Pavarotti and Friends. Out of that came other artists like Vanessa Mae, Josh
Groban, Andrae Bocelli etc…
This is a category for those people who want to do classical compositions or
classically inspired music, but with a flare. Some of the songs in this category
include:
2137
Ensemble: Trio
2138
2139
2140
participants
2141
2142
2143
Examples:
Artist
Josh Groban
Russell Watson
Il Divo with Toni Braxton
Sarah Brightman and Cliff Richard
Filippa Giordano
Andrea Bocelli and Celine Dion
Song
You Raise Me Up
Magic Of Love
The Time Of Our Lives
All I Ask Of You (which can also be used in the Musical Category)
Habanera
The Prayer
Date
2003
2001
2006
1986
1999
1998
GOLDEN OLDIES
Solo
These are songs from the 20’s all the way into the 60’s and the songs are not
songs that fit into Jazz. This is known as Traditional Popular Music . They are Ensemble : Duo
more the Pop songs of the era, they were considered to be the mainstream
Ensemble: Trio
songs of the era, but they share little in common with the Pop songs of today.
The songs had a theme of nostalgia (longing, missing); the theme could also Ensemble: quartet (4)
be very light hearted. Examples are the following:
2144
2145
2146
2147
2148
2149
participants
2150
2151
Examples:
Artist
Marlene Dietrich
Barbra Streisand
Vera Lynn
Edith Piaf
Doris Day
Pete Seeger
Song
Falling In Love Again
People
We’ll Meet Again
La Vie En Rose
Anything Is Possible
Where Have All The Flowers Gone
Date
1930
1963
1939
1946
2002
1962
WORLD MUSIC
This genre includes folk songs from around the world, but in a more
contemporary environment with backing tracks, contemporary harmonies
and rhythms. Every nation has their own brand of traditional folk music.
Many of these songs are presented from time to time with a more
contemporary feel, e.g. O solo mio as sung by Pavarotti. Other artists are The
Chieftons, Enja, Yanni, Lady Smith Black Mambazo.
This genre has therefore been included in this prospectus to give an
opportunity for people to share their cultures with each other, and to
represent greater cultural diversity in our category offerings. In this category
the entrant will be able to perform traditional songs from around the world,
including songs from our native South Africa. (With 11 different languages,
each with distinctive song and dance cultures attached to each tongue,
South Africa has a wealth of material to share!) This genre will give people
the opportunity to explore these songs within a contemporary environment.
Solo
Ensemble : Duo
Ensemble: Trio
Small group: 6 - 10
participants
participants
2152
2153
2154
2155
2156
2157
2158
2159
Examples:
Song
The Click Song
Shosholoza
Sarie Marais
Greensleeves
Frere Jacques
Stella Polonia
O Solo Mio
Al lê die berge nog so blou
Country
S.A. (Xhosa)
S.A. (Zulu)
S.A. (Afrikaans)
English
French
Polish
Italian
S.A. (Afrikaans)
BROADWAY MUSICALS, Songs from
This art-form has been around since the 18th century and it started with Solo
singers, actors, jugglers, acrobats and magicians performing together in a
show. Today the art-form basically consists of songs written for stage Ensemble : Duo
productions.
2160
2161
Ensemble: Trio
2162
Songs entered in this section may include spoken word and dance sequences
within the allocated time frame. (The implication is that ONLY ONE SONG is Ensemble: quartet (4)
performed).
2163
PLEASE NOTE: Please note that this section can only contain songs from a
Broadway or West End musical and cannot contain music from motion Small group: 6 - 10 participants
pictures.
(Participants that want to perform an extract from a broadway music should participants
also refer to: Music Productions for larger scale Broadway musical Large group: 21+ participants
productions).
Famous Musical Songwriters and Lyricists and Theme songs/productions:
No.
Artist
Song/Productions
1.
Gilbert And Sullivan`
The Pirates Of Penzance
2.
Rogers And Hammerstein
Oklahoma
Carousel
The King And I
The Sound Of Music
3.
George And Ira Gershwin
Porgy and Bess
4.
Sir Tim Rice and Lord Andrew Lloyd Webber
Evita, Cats
2164
2165
2166
2167
Year
1879
1943
1945
1951
1959
1935
1970’s
CONTEMPORARY MUSIC
RULES AND GUIDELINES: CONTEMPORARY MUSIC
IMPORTANT: ALL PARTICIPANTS SHOULD ALSO REFER TO THE GENERAL RULES AND REGULATIONS.






entry form.
It is of particular importantance to note the difference between items that need to be performed with live
accompaniment (acoustical) and those items that will require backing tracks.
Instruments will not necessarily be available at venues where items which require backing tracks have been
scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that
purpose only.
Where hard copy entries have been submitted timeously, printout copies of the processed entries will be provided to
schools / studios to assist in this regard.
BACKING TRACKS








Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a prerecorded “backing
track” that can only be used when the appropriate sound equipment is available.
No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are
advised to invest in proper backtracks.
Backing Tracks should be provided on CD only as cassette recorders is not always available for playback purposes.
Great care should be taken in handling CD’s as scratched and dirty CD’s often fail to play. It is advisable to have a
backup copy available at all times.
Only use Writeable CD’s (CD-R) for this purpose. Rewritable CD’s (CD-RW) are not always reliable.
Backing track CD’s should be handed to the sound technician at the beginning of a particular session.
Backing track CD’s should be clearly labeled with the name of the participant, item number and particular track
number.
It is the responsibility of the participant to collect backing track CD’s at the end of each session. CD’s that were not
collected will eventually be destroyed by the sound technician once adjudication in a particular region has been
completed.
SETUP & SOUND CHECKS
It is the participant’s responsibility to arrange well in advance of the performance time for the necessary times for set-up
and sound checks if required.
Contemporary Music
◄ 88
SCHEDULING OF CONTEMPORARY VOCAL ITEMS


The National Eisteddfod Academy reserves the right to schedule Contemporary vocal items with backing tracks at
suitable venues where the necessary equipment will be available.
If the number of entries received in the backing track category does not warrant the renting of the appropriate
equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is
available. Alternatively, participants may provide their own equipment.
AGE APPROPRIATENESS OF TEXT AND COSTUMES – CONTEMPORARY MUSIC
In the contemporary music section it is of particular importance that the age appropriateness of the text should be
considered. The same apply to the choice of costume. Although a costume could add to the stylistic feel of a performance,
participants should note that a fancy, expensive costume will not add to obtaining a higher mark / score. Participants can
obtain the same effect by wearing a neutral (black) costume with a suggestion of costume. This is of particular importance
when participants enter for and have to present a number of items in the same sessions when numerous costume changes
could cause a delay in the programme schedule.
KINDLY TAKE NOTE: The National Eisteddfod Academy does not support the tendency to enter pre-primary and primary
school learners to sing songs that are applicable to adults. Although it might be cute for some when a 6 year old child
sings “I am to sexy for my shirt” or “Underneath your clothes”, it is definitely not acceptable from an educational
perspective.
LIVE ACCOMPANIMENT
Live Accompaniment refers to the accompaniment of a vocal or instrumental performance on an acoustical instrument
(i.e. a musical instrument that is not electronically amplified).
TIME LIMITS


The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a
performance.
MINIMUM DURATION


Except for when the actual duration of a performance of the original composition is between 1 – 2 minutes
(particularly in the junior phase), all performances should at least be 2 minutes in duration. This is to counteract
the tendency to present unnaturally and unmusically shortened versions of songs as is sometimes required by
other competitions.
It is recommended that trainers, where possible, reduce the number of choruses and verses to be presented by
junior performers. This can be done without creating unmusically shortened versions.
FURTHER INFORMATION


Contemporary Music
◄ 89
CONTEMPORARY CATEGORIES
BLUES
Solo
According to The Encyclopaedia Britannica blues is considered to be “secular music of American
Blacks”.
From its obscure origins among the southern blacks in the early 20th century, the blues’ simple but
expressive forms had become in the 60’s one of the most important influences on the development
of popular music in the US. Blues went on to be the building block of Soul/R&B.
As a musical style the blues are characterised by its expressive pitch inflections (blue notes), a three
line textual stanza of the form AAB/ABC/ABA/ABB/AAA and a 12-measure form. Typically the first
2 and a half measures of each line are devoted to singing and the last measure and a half consist
of an instrumental break that repeats, answers or compliments the vocal line.
Ensemble : Duo
Ensemble: Trio
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Small group: 6 10 participants
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
3000
3001
3002
3003
3004
3005
3006
3007
EXAMPLES: Famous Blues Artists And Their Songs:
No.
1.
2.
3.
4.
5.
6.
Artist
B.B King
John Lee Hooker
Robert Johnson
Ray Charles
Stevie Ray Vaughn
Eric Clapton
Song Title
The Thrill Is Gone
Boogie Chillin’
Malted Milk
Georgia On Mind
Hoochie Coochie Man
Tears In Heaven
Year
1969
1948
1938
1960
1992
COUNTRY & WESTERN
Solo
This is a style of US popular music from the early 20th century. The term country and western, is a
compromise developed over time, after the genre started making it's appearance in the 50's and
so it's been defined as any song or rendition that suggests a rural or southern atmosphere.
It ultimately traces its roots to the English Ballad tradition of the US south. Many of the themes of
the lyrics are about divorce, separation, depression etc…
Ensemble : Duo
Ensemble: Trio
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
3008
3009
3010
3011
3012
3013
3014
3015
EXAMPLES: Famous Country and Western Artists and their songs:
Artist
Patsy Cline
Willie Nelson
Kris Kristofferson
Loretta Lynne
Dolly Parton
Song Title
Crazy
To All The Girls I Loved Before
Why Me
Blue
I Will Always Love You
Year
1961
1984
1973
1960’s
1974
Contemporary Music
◄ 90
INSPIRATIONAL MUSIC
This genre goes beyond style and looks to the content of the lyrics being sung. The songs
have an uplifting message, which inspires the listener. The songs do not have a Christian
message, just an inspirational message. Some of the songs that could be included in this
genre are the following:
Examples:
Artist
Westlife
Kelly Clarkson
Will Young
Song
Flying Without Wings
Moment Like This
Anything Is Possible
Date
2000
2000
2002
Solo
Ensemble : Duo
Ensemble: Trio
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group: 21+
participants
3016
3017
3018
3019
3020
3021
3022
3023
GOSPEL MUSIC, PRAISE & WORSHIP
Solo
According to the Encyclopedia Britannica: “Gospel is a form of Black American Music derived from
church worship services and from spiritual and blues singing. Gospel music spread through music
publishing, concert performances, recording and radio and television broadcasts of religious
services from Great Depression Days, i.e. 1930’s”.
EXAMPLES: Famous Gospel Participants and their songs:
Artist
Mahalia Jackson
Shirley Ceaser
The Edwin Hawkins Participants
The Staple Participants
Aretha Franklin
Song Title
The Potter’s House
Steal Away To Jesus
Oh Happy Day
I’ll Take You There
Amazing Grace
Year
1930’s
2001
1969
1972
1971
Ensemble : Duo
Ensemble: Trio
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
3024
3025
3026
3027
3028
3029
3030
3031
CONTEMPORARY FOLK MUSIC
If you look at a musical continuum you will have folk music at the one extreme, fine art/ classical
music at the other extreme and in the middle you will have popular music and all it’s various subgenres.
Solo
Folk music started off many hundreds of years ago as a method of conveying messages and stories
from one generation to another. Seeing that people didn’t have libraries, computers or any other
method of storing historical information.
Folk music as the name says, is the music of the people.
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
Folk music today has not really changed, it is usually a commentary on what is happening in society
at the particular time that the song is written. The songs therefore tend to be of a political nature.
Ensemble : Duo
Ensemble: Trio
3032
3033
3034
3035
3036
3037
3038
3039
EXAMPLES: Famous Folk Artists And Their Songs:
No.
1.
2.
3.
4.
5.
Artist
Bob Dylan
Sarah McLachlan
John Denver
Don McLean
Donavan
Song Title
Knocking On Heaven’s Door
Angel
Leaving On A Jet Plane
Vincent (Starry Starry Night)
Atlantis
Year
1973
1998
1967
1972
1969
Contemporary Music
◄ 91
JAZZ / BIG BAND
Solo
According to the Encyclopedia Britannica: “Jazz is an often improvisational musical form,
developed by the Afro-Americans and influenced by both the European Harmonic Structure and
the African Rhythmic complexity. It also is often characterized by its use of blues and speech
intonations.” Famous artists in this genre include Ella Fitzgerald, LouiS Armstrong, Bing Crosby,
Fred Astaire and others.
Examples
Makin’ Whoppee!
Smoke Get In Your Eyes
The Way You Look Tonight
Pennie From Heaven
Over The Rainbow
Ensemble: Trio
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
No.
1.
2.
3.
4.
5.
Ensemble : Duo
Year
1929
1934
1936
1936
1939
3040
3041
3042
3043
3044
3045
3046
3047
ROCK
This genre has gone through many incarnations, one of the first pure rock bands were
The Rolling Stones, who went on to influence every other Rock band since their inception
in the 60’s. In the 70’s the genre split into 2 main forms: Glam Rock and Hard Rock.
Solo
In the 80’s the genre split once again into two main forms of Rock: Punk and Hair Rock
(which included bands like Bon Jovi and Van Halen). Since then there have been a myriad
of different rock genres: EMO, Grunge, Thrash Metal, Metal and SCREAMO just to name
a few. Even South Africa has an own brand of Rock. This category will explore all the
different genres of Rock.
Ensemble: Trio
Artist
Bon Jovi
The Rolling
Stones
Aerosmith
Guns ‘n Roses
Queen
My Chemical
Romance
Sugardrive
Just Jinjer
Karen Zoid
Song
Livin’ On A Prayer
Sympathy For The Devil
Date
1987
1968
I Don’t Wanna Miss A Thing (can also be used in the
Motion Picture Category)
Sweet Child ‘O Mine
Bohemian Rhapsody
Welcome To The Black Parade
1998
Road
Father And Father
Aeroplane Jane
1997
1997
2007
1988
1975
2006
Ensemble : Duo
Ensemble:
quartet (4)
Ensemble:
quintet (5)
Medium sized
group: 11 - 20
participants
Large group:
21+ participants
Contemporary Music
3048
3049
3050
3051
3052
3053
3054
3055
◄ 92
REGGAE
This is Jamaica’s popular musical and dance style originating in the mid-60’s. Traditional Afro- Solo
Jamaican reggae was further compounded by the North American Blues and R&B and Pop and
Rock ‘n Roll.
Ensemble : Duo
In recent year Reggae has been highly influenced by Hip-Hop and Rap. Reggae originated as a Ensemble: Trio
music of the Jamaican poor, reflecting social discontent and the Rastafarian movement.
Instrumentation of Reggae is characterised by an electric bass played at high volume as a lead Ensemble: quartet (4)
instrument. Around this an ensemble of organ, piano, drums and lead and rhythm guitar (who
play short ostinato phrases, subdividing the beat into patterns of alternating tension and release). Ensemble: quintet (5)
EXAMPLES: Famous Reggae Artists and Their Songs”
No.
Artist
Song Title
Year
1.
Jimmy Cliff
I Can See Clearly Now
1994
2.
Bob Marley And The Wailers
Buffalo Soldier
1960’s
3.
Ziggy Marley And The Melody Makers
Tomorrow People
1988
4.
Beenie Man feat Janet Jackson
Felling It Boy
2002
5.
UB40
Red, Red Wine
1988
Small group: 6 - 10
participants
Medium sized group: 11
- 20 participants
Large group: 21+
participants
3056
3057
3058
3059
3060
3061
3062
3063
LATIN AMERICAN
This is considered any music that is based on the Latin American rhythms. The instrumentation
usually consists of traditional Latin American instruments like: the marimbas, the steel drums,
the timbale and the conga drums to name a few of the instruments.
EXAMPLES: Famous Latin American Artists and Their Songs:
No.
1.
2.
3.
4.
5.
Artist
Jennifer Lopez
Shakira
Ricky Martin
Enrique Iglesias
Julio Iglesias
Song Title
Love Don’t Cost A Thing
Underneath Your Clothes
Living La Vida Loca
Rhythm Divine
To All The Girls I’ve Loved Before
Solo
Ensemble : Duo
Ensemble: Trio
Year
2001
2002
1999
2000
1984
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
3064
3065
3066
3067
3068
3069
3070
3071
ROCK ‘N ROLL
This genre was made famous in the mid-50’s, strongly influenced by the Blues and
Jazz as well as Gospel music from the South of the USA. The genre went on to
dominate the charts for the duration of the 50’s and went on to influence emerging
genres in the 60’s and contemporary music in general. This genre is considered to be
the beginning of Contemporary music, as we know it today. Some of the songs that
are included in this genre include:
Solo
Ensemble : Duo
Ensemble: Trio
EXAMPLES: Famous Latin American Artists and Their Songs
Artist
Elvis Presley
Bill Haley and The Comets
Queen
Jerry Lee Lewis
Little Richard
Chuck Berry
Song
Hound Dog
Rock Around The Clock
Crazy Little Thing Called Love
Great Balls Of Fire
Tutty Frutti
Johnny B Goode
Date
1956
1955
1979
1957
1955
1958
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
Contemporary Music
3072
3073
3074
3075
3076
3077
3078
3079
◄ 93
DISCO
Solo
The disco genre is a genre that forms part of the dance music genre. Disco started in
the early 70’s and rose to prominence in the mid-70’s. The genre dominated the Pop
charts for the next 5 years and every mainstream artist experimented with the genre.
The genre was highly produced and the producers were the people that dictated
what would happen with the songs.
The artists didn’t write their own songs and the production on these songs was very
lavish; including full orchestras, gospel choirs and bands. The songs needed the full
orchestras, orchestrators, conductors, bands leaders and arrangers and as a result
was very expensive to produce, will ultimately led to its demise. In the 80’s there was
a big backlash against everything disco and only in the new millennium did the genre
resurface on albums by big name pop artists. This genre will explore the world of
disco:
Ensemble : Duo
Ensemble: Trio
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
3080
3081
3082
3083
3084
3085
3086
3087
Artist
The Bee Gees
Donna Summer
ABBA
Diana Ross
Candi Staton
Leo Sayer
Song
Jive Talkin’
Could It Be Magic
Dancing Queen
The Boss
Young Hearts Run Free
You Make Me Feel Like Dancing
Date
1975
1976
1976
1979
1978
1976
Contemporary Music
◄ 94
DANCE MUSIC
Solo
After the demise of disco, dance music changed from the organic, mainly orchestral
form of the genre in the 70’s to a more synthetic, electronic form in the 80’s. The
main difference between the dance music of the 70’s and 80’s initially was that the
one form was electronic.
Ensemble : Duo
Ensemble: Trio
The genre has developed over the decades. The genre is very beat driven and the
voices are not as important as the instrumentation. For this reason you will find that
many dance vocalists are not the best vocalists in the world, because they don’t have
to be. Some of the songs that can be included in this genre are:
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
3088
3089
3090
3091
3092
3093
3094
3095
Artist
Madonna
Kylie Minogue
Paula Abdul
Britney Spears
Sophie Ellis-Bexter
Song Title
Music
Spinning Around
Straight Up
Toxic
Murder On The Dance Floor
Year
2000
2000
1988
2003
2003
URBAN MUSIC (R&B / HIP-HOP / SOUL / RAP)
URBAN MUSIC encompasses the following contemporary genres:
 Soul
 R&B
 Hip-hop / Rap
Solo
SOUL / R&B
Defined by the Encyclopedia Britannica as any number of closely related musical styles
developed in the USA by black performers. Based on a mingling of European influences, Jazz,
Blues and Gospel Music.
Ensemble : Duo
Ensemble: Trio
In the mid-50’s the term Rhythm and Blues was a term used by recording companies and trade
publications (Like Billboard Magazine) to designate music intended for a black audience.
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
3096
3097
3098
3099
3100
3101
3102
3103
EXAMPLES: Famous R&B Participants and their songs:
No.
Artist
Song Title
Year
1.
2.
3.
4.
5.
Janet Jackson
Whitney Houston
Toni Braxton
TLC
R Kelly
That’s The Way Love Goes
I Will Always Love You
Un-Break My Heart
Waterfalls
I Believe I Can Fly
1993
1992
1996
1995
1996
Hip-Hop:
Hip-Hop or Rap developed from the streets and ghettos in the late 70’s and 80’s where many youth’s were standing around
with their beat boxes setting their poems to beats and movements. That is also where the break dancing movement
developed.
The artists do not sing, they speak rhythmically and poetically. The genre is highly influenced by the funk genre from the late 60’s
and 70’s and it is even a little influenced by Jazz. In recent years rap artists have been incorporating a lot of R&B into their music and
asking R&B artists to appear on their albums resulting in a new movement (that has incorporated rap and R&B together known as
Hip-Hop).
Many Rap artists have also incorporated a lot of Rock into their music, people like Emminen for example.
EXAMPLES: Famous Hip-Hop/Soul Artists and Their Songs:
No.
Artist
Song Title
Year
1.
2.
3.
4.
5.
Emminen
Nelly feat Kelly Rowland
Will Smith feat Dru Hill & Kool Mo Dee
Jennifer Lopez feat Ja Rule
Christina Aguilera feat Redman
Without Me
Dilemma
Wild Wild West
Ain’t It Funny
Dirty
2002
2002
1999
2001
2002
Contemporary Music
◄ 95
POP MUSIC
Pop music is an imprecise category of modern music, which doesn’t refer as much to the
type of music as it refers to the prospective audience. Pop music is composed with the
deliberate intent to appeal to the majority of the music listening public. The beauty of Pop
music is that it is written in such a way, that the audience doesn’t have to be educated in
its inner workings in order for it to be appreciated. Its just music that people can listen to
and enjoy. The form of the music is simple and follows a very simple verse chorus form.
Solo
This type of music started evolving in 1954. The songs are usually less than 5 minutes, the
instrumentation can include a full orchestra all the way down to a lone singer. The
instruments that make the genre possible are: Electric Guitar, Bass, Guitar, Drums,
Keyboard and Backing Vocals.
Pop songs are generally marked by a heavy rhythmic element, a mainstream style and
traditional structure (which they inherited from the Blues and Gospel music world). The
genre relies on a memorable melody, catchy hooks and a verse chorus structure, with the
chorus sounding sharply different from the verse (rhythmically and harmonically).
Small group: 6 - 10
participants
Large group: 21+
participants
Ensemble : Duo
Ensemble: Trio
2
3
4
5
6
7
8
9
10
11
12
13
EXAMPLES: Famous popular songs:
Artist
Song
Patti Page
How Much Is That Doggie In The
Window
Marc Bliztein
Mack The Knife
Richie Valens
La Bamba
Brian Hyland
Itsy Bitsy Teenie Weenie Yellow
Polka Dot Bikini
The Beach Boys
California Girls
Rod Stewart
Elton John and Kiki Dee
Kylie Minogue
Bon Jovi
Toni Braxton
Jennifer Lopez
Nelly feat Kelly Rowland
Alicia Keys
Do You Think I’m Sexy
Don’t Go Breaking My Heart
The Loco-Motion
Livin’ On A Prayer
Un-Break My Heart
Let’s Get Loud
Dilemma
You Don’t Know My Name
3109
3110
3111
Pop music stands for Popular Music and depending on the era the music will be different
in its effort to communicate to the people of the day. The popular music of the 40’s was
Jazz, the popular music of the 50’s was Rock ‘n Roll, the 70’s was characterized by Disco
and so on and so forth. The genre is ever changing and the best definition of the genre is
what is happening on the charts at that time in the era.
No.
1
3104
3105
3106
3107
3108
Album
Richie Valens
The Bashful Blonde
Summer
Days
(And
Summer Nights!!)
Blondes Have More Fun
Greatest Hits
Kylie Minogue
Slippery When Wet
Secrets
On The 6
Nellyville
The Diary Of Alicia Keys
Genre
50’s Pop Novelty
Year
1952
50’s Pop
50’s Latin Pop
60’s Novelty Pop
1954
1959
1960
60’s Pop
1965
70’s Pop
70’s Pop
80’s Aus Pop
80’s Pop/Rock
90’s Urban Pop
90’s Latin Pop
2000’s Hip-Hop
2000’s Female Pop
1978
1976
1988
1986
1996
1999
2002
2004
MOTION PICTURE THEMES
Depending on the style of the music, some film music fit into the contemporary section,
rather than the crossover section.
Solo
The most important part of this genre is the artist’s characterization. The way the artist
interprets the songs. These songs are often quite dramatic because they are trying to speak
about a specific incident that occurred in the motion picture. Subsequently the
dramatization of the song is very important. These songs also sometimes don’t do so well
in isolation and people understand the songs better in the context of the movie, because
that was the purpose for which the song was written.
Ensemble: Trio
The songs selected for this section need to be songs specifically written for a motion
picture and cannot include songs that have been included in a motion picture. The point
of this genre is the characterisation of the characters in the performance.
Ensemble : Duo
Small group: 6 - 10
participants
Large group: 21+
participants
3112
3113
3114
3115
3116
3117
3118
3119
EXAMPLES: Famous popular songs:
No.
1.
2.
3.
Artist
Dolly Parton
Irene Cara
Madonna
Song Title
I Will Always Love You (from “The Littlelest Whorehouse In Texas”)
Fame (from “Fame”)
Into the Groove (from “Desperately Seeking Susan”)
Year
1976
1983
1985
Contemporary Music
◄ 96
OWN CHOICE
Solo
Any song can be entered into the “OWN CHOICE” section.
Ensemble : Duo
Ensemble: Trio
Small group: 6 - 10
participants
Large group: 21+
participants
3120
3121
3122
3123
3124
3125
3126
3127
OWN COMPOSITION – CONTEMPORARY STYLE
An own composition may be presented in any contemporary style. Both the song and
presentation thereof will be adjudicated. The number of entries is not limited.
Solo
Please note: An original composition cannot include songs that include an already existing
composition with the inclusion of new lyrics composed by the contestant. This is plagiarism
and copyright infringement and will result in disqualification. E.g. you can't take the
instrumentation of "Drunk In Love" and include new lyrics.
Ensemble: Trio
BOTH the LYRIC and the MELODY should be ORIGINALLY COMPOSED by the participant(s)
Ensemble : Duo
3128
3129
3130
3131
3132
Small group: 6 - 10
participants
3133
A COPY OF THE MUSIC SHOULD BE SUBMITTED TO THE ADJUDICATOR prior to the
performance.
CONTEMPORARY POP CONCERT PRESENTATION
Solo
Participant should present a show in contemporary pop style with a 12 minutes
time limit. Any number of songs can be included in the show, provided the the
time limit is not exceeded. The performance will be adjudicated on:
 stage performance
 interaction and
 communication with the audience
HINT: It is not possible to include an item in this category as originally presented
for adjudication, in the Showcase programme. As a rule only an extract from the
presentation with a maximum duration of 5 minutes will be allowed. Participants
are requested to take this aspect into consideration when compiling and
recording the music for this item.
Ensemble : Duo
Ensemble: Trio
Small group: 6 - 10
participants
Large group: 21+
participants
Contemporary Music
3134
3135
3136
3137
3138
3139
3140
3141
◄ 97
MUSIC PRODUCTIONS
CATEGORIES AND ITEM CODES
CABARET
Participant / group to present a cabaret style production. Within this time limit
the performance may involve any number of songs and styles, the use of the
spoken word and other appropriate dramatic elements, lighting, décor and
costume. Electronic / backtrack or acoustic accompaniment may be used.
PLEASE NOTE: Due to the specialized nature of this item it will only be
adjudicated at selected venues. Kindly contact the NEA Office in this regard.
Solo
Ensemble : Duo
Ensemble: Trio
4000
4001
4002
4003
4004
Small group: 6 - 10
4005
Duration: 12 minutes.
participants
HINT: It is not possible to include an item in this category as originally presented for adjudication, in the Showcase
programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be allowed.
Participants are requested to take this aspect into consideration when compiling and recording the music for this
item.
A CAPELLA VOCAL PRODUCTIONS
Vocal harmony ensemble, to perform with backing tracks / live accompaniment
or a capella. Can be performed with movements , including “serenade” singing;
and glee (glee = singing and dancing)
Ensemble : Duo
Duration: 12 minutes.
4006
4007
4008
4009
Small group: 6 - 10
participants
4010
Ensemble: Trio
BROADWAY MUSICALS (extracts)
This art-form as been around since the 18 th century and it started with singers, Solo
actors, jugglers, acrobats and magicians performing together in a show. Today Ensemble : Duo
the art-form basically consists of songs written for stage productions.
Ensemble: Trio
People like Lord Andrew Lloyd Webber (who was knighted by the Queen of
England because of his contribution to British music) and Sir Tim Rice are the
celebrities in this genre (these 2 men are probably responsible for some of the
biggest musical productions in the last 20 years).
Entries in this category may comprise of 2 – 3 songs and may include




the spoken word
vocal / instrumental music
dance sequences
appropriate design elements (décor / props / costumes)
Small group: 6 - 10
participants
- 20 participants
Large group: 21+
participants
4011
4012
4013
4014
4015
4016
4017
4018
Maximum duration: 10 minutes
Famous Musical Songwriters and Lyricists and Theme songs/productions:
No.
1.
2.
Artist
Gilbert And Sullivan`
Rogers And Hammerstein
3.
5.
George And Ira Gershwin
Sir Tim Rice and Lord Andrew Lloyd Webber
Song/Productions
The Pirates Of Penzance
Oklahoma
Carousel
The King And I
The Sound Of Music
Porgy and Bess
Evita, Cats
Year
1879
1943
1945
1951
1959
1935
1970’s
Music Productions
◄ 98
MUSICAL THEATRE PRODUCTIONS
Each production consists of:




the spoken word
dance sequences
appropriate design elements (décor / props / costumes)
Small group: 6 - 10
participants
4019
Medium sized
group: 11 - 20
participants
4020
Large group: 21+
participants
(Extracts from Operette and Broadway productions may also be entered into this
category).Duration: 30 minutes maximum
4021
item.
MUSIC THEATRE: Experimental musical plays
This is an integrated arts category and is open for learners from grade 5 onwards. A critical
feature of this category is the creative input from the learners themselves
Small group: 6 - 10
participants
Each production consists of:

the spoken word


dance sequences

appropriate design elements (décor / props / costumes).
Medium sized
group: 11 - 20
participants
Large group: 21+
participants
o
o
o
o
Drama component: An original play script written by the learners
Music: Original lyrics and music for 2 arias, one duet, three choruses,
interludes, accompaniment and an overture. Learners need to have
their own orchestra and conductor for the performances.
Dance: Learners have to create a least three original movement pieces
(e.g. a chorus dance, interlude dance, scene changing dance)
Design: Original set, props and costumes to be designed and made by
learners. They also provide the backstage crew.
4022
4023
4024
DURATION: 20 – 30 minutes
item.
REVUE

Please note the differentiation between:
Revue productions with Backing track (pre-recorded voices) (which should be
entered under the Dance Section) and
 Revue productions with live singing and backing track / acoustical
accompaniment
The Program should not

exceed 12 minutes

contain less than 3 different songs.

Medium sized
group: 11 - 20
participants
Large group: 21+
participants
4025
4026
Revue items will be adjudication on the following:
Co-ordination - Song and movement
Appropriateness of movements
Choice of songs
Words and melody must be in line with age group
Variety and unity
Overall impression






HINT: It is not possible to include a revue item as originally presented for adjudication, in the Showcase programme. As a rule
only an extract from the presentation with a maximum duration of 5 minutes will be allowed. Groups are requested to take
this aspect into consideration when compiling and recording the music for this item.
Music Productions
◄ 99
FULL PRODUCTIONS

This category allows schools to enter full productions that involve large number
of participants for adjudication.

The adjudication will be scheduled during the actual performance of the show, if possible on a date as preferred by the
school.

The adjudicator will adjudicate the complete show at the venue. If requested in advance, it will be possible to divide
the show into a number of “sub categories”, e.g. per grade, per scene, etc.
Large group: 21+
participants
4027
DURATION: 90 – 120 minutes.
programme. As a rule only an extract from the presentation with a maximum duration of 5 minutes will be
allowed. Participants are requested to take this aspect into consideration when compiling and recording the music
for this item.
SUMMARY OF MUSIC CODES
TABLE C : GRADES
00
01
02
03
04
05
06
07
08
09
10
Grade R
Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8
Grade 9
Grade 10
2 minutes
3 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
5 minutes
5 minutes
5 minutes
11
12
13
14
15
16
17
18
19
20
Grade 11
Grade 12
Senior phase group*
FET Phase group
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
5 minutes
5 minutes
5 minutes
Music Productions
◄ 100
SUMMARY OF MUSIC CODES: CLASSICAL MUSIC
TABLE A
Live
(ACCOUSICAL)
BACKTRACK
VOICE
MIXED CHOIR
CHOIR:MALE VOICES
CHOIR: (Differently able
participants)
AMATEUR MUSIC
PRODUCTION
ACCORDION
DIGITAL PIANO /
KEYBOARD
PIANO
TWO PIANOS (use this
code for items that
require 2 pianos)
PIPE ORGAN
RECORDER
FLUTE
PICCOLO
CLARINETTE
OBOE
BASSOON
COR ANGLAIS
SAXOPHONE
TRUMPET
TUBA
TROMBONE
FRENCH HORN
VIOLIN
VIOLA
CELLO
DOUBLE BASS
ACOUSTICAL GUITAR
HARP
ELECTICAL GUITAR
PERCUSSION BANDS
(including the Orff
nsemble)
DRUM KIT
MARIMBA
DJEMBE DRUMS
TABLE B
A30
A31
A33
A34
A35
A36
B30
B31
B33
B34
B35
B36
A37
B37
A38
A39
B38
B39
A40
A41
B40
A42
A43
A44
A45
A46
A47
A48
A49
A50
A51
A52
A53
A54
A55
A56
A57
A58
A59
A60
A61
A62
A63
B42
B43
B44
B45
B46
B47
B48
B49
B50
B51
B52
B53
B54
B55
B56
B57
B58
B59
B60
B61
B62
B63
A64
A65
A66
B64
B65
B66
CLASSICAL: VOCAL/INSTRUMENTAL ITEM CODES
CHORAL MUSIC
CONCERT PROGRAMME
RELIGIOUS PROGRAMME
GOSPEL PROGRAMME
CHAMBER CHOIR
CHOIR
CHAMBER CHOIR
CHOIR
CHAMBER CHOIR
CHOIR
CHAMBER CHOIR
CHOIR
2000
2001
2002
2003
2004
2005
2006
2007
SOLO (PRIMARY SCHOOL
SOLO (SECONDARY SCHOOL)
PUPIL & TACHER DUO
DUET
TRIO
QUARTET
QUINTET
SMALL GROUP (5 – 10 participants)
MEDIUM SIZED GROUP (11 – 20 )
DUET
TRIO
QUARTET
QUINTET
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2022
AFRICAN CONCERT
SONGS
CLASSICAL : NOVICE INSTRUMENTAL ITEM CODES
NOVICE
NOVICE GROUP
NOVICE – DIGITAL
KEYBOARD ENSEMBLE
INSTRUMENTAL PERFORMANCE – ELEMENTARY LEVEL
NOVICE INSTR. RECITAL
SOLO
2023
INSTRUMENTAL
PERFORMANCE –
ELEMENTARY LEVEL
SOLO
DUET
TRIO
QUARTET
QUINTET
2024
2025
2026
2027
2028
2029
2030
CLASSICAL VOCA/ / INSTRUEMNTAL CATEGORIES AND ITEM CODES
MUSIC BY SOUTH
AFRICAN COMPOSER
MUSIC FROM THE
BAROQUE and earlier
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet (4)
ENSEMBLE: quintet (5)
SMALL GROUP: 6 - 10 participants
MEDIUM SIZED GROUP: 11 – 20
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
Music: Summary of Item Codes
2040
2041
2042
2043
2044
2045
2046
2047
2048
2049
2050
2051
2052
2053
2054
2055
◄ 101
BACKTRACK
MIXED INSTRUMENTAL
ENSEMBLES (2-10
players)
CHAMBER ORCHESTRA
(11 – 20 players)
ORCHESTRA
(more than 20 players)
CONTEMPORARY BAND
OTHER INSTRUMENT
NOT LISTED
Live
(ACCOUSICAL)
TABLE A
A67
B67
A68
MUSIC FROM THE
CLASSICAL PERIOD
(Desribes the style of music
composed in Europe in the 18th and
19th centuries.)
MUSIC FROM THE
ROMANTIC PERIOD
A69
A70
A71
B70
B71
MUSIC FROM THE
IMPRESSIONISM
20 TH CENTURY
COMPOSITION
EXTRACT FROM AN
ORATORIO / OPERA /
OPERETTE
OWN CHOICE
OWN COMPOSITION
(“Serious music”)
CONCERTO
MOVEMENT
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
2056
2057
2058
2059
2060
2061
2062
2063
2064
2065
2066
2067
2068
2069
2070
2071
2072
2073
2074
2075
2076
2077
2078
2079
2080
2081
2082
2083
2084
2085
2086
2087
2088
2089
2090
2091
2092
2093
2094
2095
2096
2097
2098
2099
2100
2101
2102
2103
2104
2105
2106
2107
2108
2109
2110
2111
2122
◄ 102
CONCERT
PROGRAMME /
RECITALS
PUPIL & TEACHER
ENSEMBLE (duo, trio,
etc.)
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
2113
2114
2115
2116
2117
2118
2119
2120
2121
2122
2123
2124
2125
2126
2127
TABLE C : GRADES
00
01
02
Grade R
Grade 1
Grade 2
2 minutes
3 minutes
4 minutes
11
12
13
03
Grade 3
4 minutes
14
04
Grade 4
4 minutes
15
05
06
Grade 5
Grade 6
4 minutes
4 minutes
16
17
07
Grade 7
4 minutes
18
08
09
10
Grade 8
Grade 9
Grade 10
5 minutes
5 minutes
5 minutes
19
20
Grade 11
Grade 12
Foundation
phase group*
Intermediate
phase group*
Senior phase
group*
FET Phase
Primary school
group*
Secondary
school group*
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
5 minutes
5 minutes
5 minutes
◄ 103
SUMMARY OF MUSIC CODES: CROSSOVER MUSIC
TABLE A
CROSSOVER: ITEM CODES
BACKTRACK
Live (ACCOUSICAL)
TABLE B
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
CLASSICAL CROSSOVER
VOICE
MIXED CHOIR
CHOIR:MALE VOICES
CHOIR: SENIOR
CITIZENS
CHOIR: (Differently
abled participants)
AMATEUR MUSIC
PRODUCTION
ACCORDION
DIGITAL PIANO /
KEYBOARD
PIANO
code for items that
require 2 pianos)
PIPE ORGAN
RECORDER
FLUTE
PICCOLO
CLARINETTE
OBOE
BASSOON
COR ANGLAIS
SAXOPHONE
TRUMPET
TUBA
TROMBONE
FRENCH HORN
VIOLIN
VIOLA
CELLO
DOUBLE BASS
ACOUSTICAL GUITAR
A30
A31
A33
A34
A35
B30
B31
B33
B34
B35
A36
B36
A37
B37
A38
A39
B38
B39
A40
A41
B40
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
CONTEMPORARY
CLASSICAL
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
A42
A43
A44
A45
A46
A47
A48
A49
A50
A51
A52
A53
A54
A55
A56
A57
A58
A59
B42
B43
B44
B45
B46
B47
B48
B49
B50
B51
B52
B53
B54
B55
B56
B57
B58
B59
GOLDEN OLDIES
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
WORLD MUSIC
ENSEMBLE: quintet
participants
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
BROADWAY MUSICALS,
Songs from
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
2128
2129
2130
2131
2132
2133
2134
2135
2136
2137
2138
2139
2140
2141
2142
2143
2144
2145
2146
2147
2148
2149
2150
2151
2152
2153
2154
2155
2156
2157
2158
2159
2160
2061
2062
2063
2064
2065
2066
2067
◄ 104
SUMMARY OF MUSIC CODES: CONTEMPORARY MUSIC
PERCUSSION BANDS
(including the Orff
nsemble)
DRUM KIT
MARIMBA
DJEMBE DRUMS
BACKTRACK
VOICE
MIXED CHOIR
CHOIR:MALE VOICES
CHOIR: (Differently able
participants)
AMATEUR MUSIC
PRODUCTION
ACCORDION
DIGITAL PIANO /
KEYBOARD
PIANO
code for items that
require 2 pianos)
PIPE ORGAN
RECORDER
FLUTE
PICCOLO
CLARINETTE
OBOE
BASSOON
COR ANGLAIS
SAXOPHONE
TRUMPET
TUBA
TROMBONE
FRENCH HORN
VIOLIN
VIOLA
CELLO
DOUBLE BASS
ACOUSTICAL GUITAR
HARP
ELECTICAL GUITAR
Live
(ACCOUSICAL)
TABLE A
A30
A31
A33
A34
A35
A36
B30
B31
B33
B34
B35
B36
A37
B37
A38
A39
B38
B39
A40
A41
B40
TABLE B-8
CONTEMPORARY MUSIC : ITEM CODES
BLUES
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
COUNTRY &
WESTERN
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
INSPIRATIONAL
MUSIC
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
A42
A43
A44
A45
A46
A47
A48
A49
A50
A51
A52
A53
A54
A55
A56
A57
A58
A59
A60
A61
A62
A63
A64
A65
A66
B42
B43
B44
B45
B46
B47
B48
B49
B50
B51
B52
B53
B54
B55
B56
B57
B58
B59
B60
B61
B62
B
63
B64
B65
B66
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
GOSPEL MUSIC,
PRAISE & WORSHIP
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
CONTEMPORARY
MUSIC
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
JAZZ / BIG BAND
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
3000
3001
3002
3003
3004
3005
3006
3007
3008
3009
3010
3011
3012
3013
3014
3015
3016
3017
3018
3019
3020
3021
3022
3023
3024
3025
3026
3027
3028
3029
3030
3031
3032
3033
3034
3035
3036
3037
3038
3039
3040
3041
3042
3043
3044
3045
3046
3047
◄ 105
ROCK
TABLE A
BACKTRACK
ENSEMBLE : Duo
Live
(ACCOUSICAL)
MIXED INSTRUMENTAL
ENSEMBLES (2-10
players)
CHAMBER ORCHESTRA
(11 – 20 players)
ORCHESTRA
(more than 20 players)
CONTEMPORARY BAND
OTHER INSTRUMENT
NOT LISTED
SOLO
A67
B67
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
REGGAE
SOLO
A68
ENSEMBLE : Duo
A69
ENSEMBLE: quartet
ENSEMBLE : Trio
ENSEMBLE: quintet
A70
A71
B70
B71
participants
LATIN AMERICAN
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
ROCK ‘N ROLL
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
DISCO
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
DANCE MUSIC
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
3048
3049
3050
3051
3052
3053
3054
3055
3056
3057
3058
3059
3060
3061
3062
3063
3064
3065
3066
3067
3068
3069
3070
3071
3072
3073
3074
3075
3076
3077
3078
3079
3080
3081
3082
3083
3084
3085
3086
3087
3088
3089
3090
3091
3092
3093
3094
3095
◄ 106
URBAN MUSIC (R &
B / HIP-HOP/ SOUL
/ RAP)
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
POP MUSIC
(including local Afr.
Pop)
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
MOTION PICTURE
THEMES
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
OWN CHOICE
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
OWN COMPITITION
– CONTEMPORARY
STYLE
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
CONTEMPORARY
POP CONCERT
PRESENTATION
SOLO
ENSEMBLE : Duo
ENSEMBLE : Trio
ENSEMBLE: quartet
ENSEMBLE: quintet
participants
3096
3097
3098
3099
3100
3101
3102
3103
3104
3105
3106
3107
3108
3109
3110
3111
3112
3113
3114
3115
3116
3117
3118
3119
3120
3121
3122
3123
3124
3125
3126
3127
3128
3129
3130
3131
3132
3133
3134
3135
3136
3137
3138
3139
3140
3141
◄ 107
SUMMARY OF MUSIC CODES: MUSIC PRODUCTIONS
AMATEUR MUSIC
PRODUCTION
A37
TABLE B
B37
CABARET
A CAPELLA VOCAL
PRODUCTIONS
BROADWAY MUSICALS
(extract)
MUSICAL THEATRE
PRODUCTIONS
MUSICAL THEATRE:
Experimental musical
plays
REVUE
FULL PRODUCTIONS
SOLO
members)
members)
GROUP (16 and more
members)
SOLO
members)
GROUP (16 and more
members)
members)
GROUP (16 and more
members)
members)
GROUP (16 and more
members)
members)
GROUP (16 and more
members)
GROUP (16 and more
members)
401
402
403
404
405
406
407
408
409
410
411
412
413
414
TABLE C:
00
01
02
03
04
05
06
07
08
09
10
Grade R
Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8
Grade 9
Grade 10
2 minutes
3 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
4 minutes
5 minutes
5 minutes
5 minutes
11
12
13
14
15
16
17
18
19
20
Grade 11
Grade 12
Senior phase group*
FET Phase
Open section
Senior citizens
5 minutes
5 minutes
5 minutes
5 minutes
5 minutes
6 minutes
5 minutes
5 minutes
5 minutes
5 minutes
*NOTE: REVUE with recorded voices and backing track should be treated as a
dance item and should be entered under the dance section.
14 -2015
◄ 108
PROSPECTUS
2014 -2015
PART 9:
Registration and Entry Forms
(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.)
Registration and Entry Forms 2016
◄ 109
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.
Dance Section
◄ 110
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 register@eisteddfod.co.za) 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
E-mail ADDRESS (school)
PHYSICAL ADDRESS:
STREET & NUMBER
GPS Co-ordinates
RESIDENTIAL AREA /TOWN
TEL. NO.
CODE:
FAX NO.
TELEFAX NO.
B. DETAILS OF CONTACT PERSON / REPRESENTATIVE:
NAME OF REPRESENTATIVE
TELEPHONE NUMBER (Work)
CONTACT NUMBER (After hours)
FAX NO. (Work)
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
Dance Section
◄ 111
PART 2: Detail of available VENUES
Acoustic Drumkit available
in venue
Select A, B or C depending on the size of each of the venues you
will be able to provide and prodive the NAME of this venue:
Eg. : A – Music room; A – Classroom; C – School hall;
D - Auditorium
Suitable for dramatic arts
Small venue: Seat less than 30 people
Medium venue: Seat 30 – 100 people
Large venue: Seat 100 – 500 people
Very large venue: Seat 500+
Sound equipment (mics, CD
player, etc.) for backing
track items
A.
B.
C.
D.
Suitable floor and sound
equipment for Dancing
DESCRIPTION OF VENUES:
Good quality, tuned piano
available in venue (PLEASE
indicate when the venue has
TWO PIANOS – necessary for
Concerto items!)
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:
Available Dates:
Kindly provide exact detail of available dates for EACH venue within the
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
last page to indicate ALL AVAILABLE DATES.
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:
Bank:
Account type:
Branch code:
Advertising
Cheque
Savings
Credit card
option preferred
Yes
No
SIGNATURE (HEAD MASTER):………………………………………………………………..SIGNATURE (CONTACT PERSON): …………………………………………………………………………………..
◄ 112 Registration and Entry Forms 2016
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)
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
International
Kwazulu Natal
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Limpopo
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Mpumalanga
Northern
Gauteng
SHOWCASE REGION
Southern
Gauteng
PROVINCE
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Western Gauteng
 to select
International
Kwazulu Natal
Limpopo
LOCAL AREA
Benoni
Boksburg
Etwatwa
Kathlorus
Kemptonpark
Springs
Tembisa
?
Alexandra
Auckland Park
Bedfordview
Benmore
Glenvista
Greenside
Houghton
Hyde Park
Lenasia
Melville
Norwood
Parktown
Sandown
Soweto
?
Blairgowrie
Bryanston
Dainfern
Fairland
Ferndale
Fontainebleau
Fourways
Kayalami
Linden
Lonehill
Midrand
Northcliff
Sharonlee
?
Mpumalanga
Joburg
North
Joburg Central/South
Eastern Gauteng
SHOWCASE REGION
Joburg North
PROVINCE
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
Gauteng
LOCAL AREA
Centurion
Pretoria
Soshanguve
Tshwane
?
Heidelberg
Vanderbijlpark
Vereeniging
?
Fochville
Little Falls
Merafong City
Mogale City
Muldersdrift
Randfontein
Roodepoort
Ruimsig
Weltevredenpark
Westonaria
?
Maputo
?
Bela-Bela
Makhado
Modimolle
Musina
Polokwane
Vaalwater
?
Mbombela
Emhalhleni
Komatipoort
Lydenburg
Malelane
Middelburg
Steelpoort
?
 to select
 to select
LOCAL AREA
Delareyville
Klerksdorp
Madibeng
Potchefstroom
Rustenburg
?
PROVINCE
Northern Cape
Northern Cape
Northern Cape
Northern Cape
Northern Cape
Western Cape
SHOWCASE REGION
Northern
Cape
SHOWCASE REGION
North West
PROVINCE
North West
North West
North West
North West
North West
North West
Western Cape
LOCAL AREA
Kathu
Kuruman
Postmasburg
Upington
?
?
 to select
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
Example:
Sept. 2015
Mon 17
Tue 18
Wed 19
Thu 20
Fri 21
Sat 22
Mon 24
Tue 25
Wed 26
Thu 27
Fri 28
Sat 29
Thu 3
Fri 4
Sat 5
Fri 11
Sat 12



Mon 31
Tue 1
Wed 2
Aug 7
Mon
Tue 8
Wed 9


Thu 10

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) /
info@eisteddfod.co.za.
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
Public School Holiday
Mon 15
Tue 16
Wed 17
Thu 18
Fri 19
Sat 20
Mon 22
Tue 23
Wed 24
Thu 25
Fri 26
Sat 27
Mon 29
Tue 30
Wed 31
Thu 1 Sept
Fri 2 Sept
Sat 3 Sept
Mon 5
Tue 6
Wed 7
Thu 8
Fri 9
Sat 10
Mon 12
Tue 13
Wed 14
Thu 15
Fri 16
Sat 17
Mon 19
Tue 20
Wed 21
Thu 22
Fri 23
Sat 24
Sept. 2016
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
Use for
Individual
entries
ONLY
ENTRY FORM FOR INDIVIDUAL ENTRIES
A.
A.1 Who is responsible for submitting this entry?
(Select one of the 3 options in the columns on the right).
A.2. Provide the NAME of the option selected in A.1
SCHOOL
STUDIO
PARENT
SCHOOL
STUDIO
PARENT
the certificate as Trained by [Name of Trainer] if registered on the NEA database) .
ID number or
Date of birth
E
N
G
N
G
0
6
1
2
0
9
Name of “Trained by” institution / When in
doubt, provide brief detail of item for
reference purpose.
“The Drama Studio – Narrative poem”
/
/
3.
/
4.
/
5.
/
6.
/
7
/
8
/
9
/
10
/
11
/
12
/
Language of
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
__ __ __ -__ __ __-__ __ __ __
*
Cell of parent (2)
or participant:
ENTRY FEE:
__ __ __-__ __ __-__ __ __ __
C Intellectually
challenged
D Learning disabled
NB!! If you wish the NEA to consider any particular request when scheduling your
items, please complete the Special 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.
____________________________
Signature
X
Entry fee
R185
TOTAL AMOUNT
DUE
R
Not Applicable
New to the NEA?
YES
NO
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
Number of
entries
Until 31 May : R165
Until 15 June: R185
After 15 June: R285
__________
Date
DETAILS OF PAYMENT: Please indicate with √ in appropriate blocks where applicable
CHEQUE
( when applicable)
CASH
School Grade
*Kindly provide the
applicable
Example
GRADE
CODE
SURNAME
YEAR
MONTH
DAY
Female
Male
NAME OF SCHOOL
SECTION
NUMBER
CATEGORY
2.
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
NAME
DETAILS OF ENTRY / ENTRIES
1.
NOTE: You will participate in the region as selected by the registered school/studio/parent in A2.
(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.
C.
E
F
T
DATE OF ELECTRONIC COMPULSORY:
Reference Number for Institution
TRANSFER
Provide Reference Number for
Institution on the deposit slip.
____/____/2016 Fax proof of transfer to [011]
787 3534
Account Name:
Account Number: 404 747 8448
Type: Current Account
PO BOX 1288, RANDBURG, 2125
Entry fee due: R_________
Branch: Northcliff
Code: 33 47 05
POSTAL ADDRES:
Bank: ABSA
CLOSING DATE FOR HARD COPY ENTRIES 31 MAY 2016
SPECIAL REQUEST 2016 FOR INDIVIDUALS
INDIVIDUAL ENTRY
For attention: Manager: Administration
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.)
ACTIVITY
DATE(S)
NATURE OF ACTIVITY
(Provide a brief description of the activities and/or motivate your request)
(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
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
Mon 15
Tue 16
Wed 17
Thu 18
Fri 19
Sat 20
Mon 22
Tue 23
Wed 24
Thu 25
Fri 26
Sat 27
Mon 29
Tue 30
Wed 31
Thu 1 Sept
Fri 2 Sept
Sat 3 Sept
Mon 5
Tue 6
Wed 7
Thu 8
Fri 9
Sat 10
Mon 12
Tue 13
Wed 14
Thu 15
Fri 16
Sat 17
Mon 19
Tue 20
Wed 21
Thu 22
Fri 23
Sat 24
Mon 26
Tue 27
Wed 28
Thu 29
Fri 30
Sat 1 Oct
Mon 3
Tue 4
Wed 5
Thu 6
Fri 7
Sat 8
Independent School
Holiday
Independent School
Holiday
Independent School
Holiday
Sept.
2016
Oct.
2016
Independent School
Holiday
Independent School
Holiday
Independent School
Holiday
Independent School
Holiday
Independent
School Holiday
Independent
School Holiday
Independent
School Holiday
Public School
Holiday
Independent
School Holiday
Independent
School Holiday
Independent
School Holiday
Public School
Holiday
Independent
School Holiday
Independent
School Holiday
Independent
School Holiday
Public Shools
close
Public School
Holiday
Independent
School Holiday
Independent
School Holiday
Independent
School Holiday
Heritage Day
Public School
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.
NEA
Confidence
Builder
NEA CONFIDENCE BUILDER - ENTRY FORM
A.
A.1 Who is responsible for submitting this entry? Please provide the Registration Number as provided
when registering online
A.2. Provide the NAME of school / parent in A.1
SCHOOL
STUDIO
Reg. No.
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.
NAME
SURNAME
YEAR
MONTH
DAY
Female
Male
ID number or
Date of birth
NAME OF SCHOOL
School Grade
Language of
communication
( when applicable)
E-mail of parent /
participant
__ __ __ -__ __ __-__ __ __ __
*Kindly provide the
applicable
CATEGORY
Vocal Solo
Instrumental solo
Afrikaans
English
IsiNdebele
IsiXhosa
IsiZulu
Sepedi
Sesotho
Setswana
SiSwati
TshiVenda
XiTsonga
*
Cell of parent (2)
or participant:
Select

__ __ __-__ __ __-__ __ __ __
C Intellectually
challenged
D Learning disabled
Not Applicable
Confidence Builder:
Speech and Drama items
Item Code:

Solo verse speaking (poetry)
Prose
Poetry ensemble
Prepared reading
9000
9001
9002
9003
9000
9001
9002
9003
Confidence Builder: Music items
Vocal Solo with piano accompaniment
Instrumental solo (acoustical instruments only
9004
9005
9004
9005
TOTAL:
Entry fee
Instrument: (e.g piano, recorder,) when applicable:
Grade:
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
SINGLE
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
(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
/ timeframe as selected by this school/studio. Communication about these entries will go to this school/studio. This name will be printed on the
certificates. If “YES”, provide the name of the school/studio in column on the right (If NO, use entry form for individual entries).
B.
PARTICIPANTS
IF “YES”, name of school/studio:
YES NO
DETAILS OF ITEM NUMBER FOR THIS ENTRY:
CATEGORY
SECTION NUMBER
GRADE CODE
Disability
Code*
Names of Participants
Brief description of item: …………………………………………………………………………………………
Entry fee
Grade
Cell. No. (Parent)
COMPULSORY INFORMATION:
ID Number** or Date of Birth
Year
Month
Date
Male / Female
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Important: Provide the
appropriate code next to
the name of any participant
with a different ability
DISABILITY CODE*
Blind/Partially Sighted
A
Deaf/Hard of Hearing
B
Intellectually challenged
C
Learning disabled
D
Physically challenged
E
ID NUMBER**
First 6 numbers = Date of
birth as YMD
Numbers 7 – 10 = Gender
Female 4999 or less
5000 or greater
Male
CASH
CHEQUE
C.
E
F
T
DATE OF ELECTRONIC
TRANSFER
____/____/2016
COMPULSORY:
Provide Reference Number for Institution on the
deposit slip.
Fax proof of transfer to [011] 787 3534
Reference Number for
Institution
Entry fee due:
R_________
Cheques should be made payable to National Eisteddfod Academy
Bank: ABSA
Branch: Northcliff
Code: 33 47 05
POSTAL ADDRES:
Account Name: National Eisteddfod
Academy
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
B.
Small Group
entries only
2-10
participants
Contact details for trainer / institution / studio / parent responsible of this entry
School/studio/parent
Area code & fax no.:
Cell. No.
SMALL GROUP ENTRY FORM FOR 2016
Complete all Sections – use ONE form per group
C.
Area code & tel. No:
E-mail address:
DETAILS OF ENTRY:
CATEGORY
SECTION NUMBER
Closing date for HARD COPY entries: 31 May 2016
A.
A.1 Who is responsible for submitting this entry?
(Select one of the 3 options in the columns on the right.
SCHOOL
SCHOOL
GRADE CODE
/
STUDIO
ENTRY FEE
R
PARENT
Number of participants:
STUDIO
Means of payment
PARENT
C A S H CHEQUE E F T
Date of payment
NOTE: You will participate in the region / local as selected by the registered school / studio / parent in A2.
(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.)
______/_______/ 2016
NB!! Complete a Special Request form and attach to this entry if you wish the NEA to consider a particular
request when scheduling your items. Do NOT make any notes in this regard on this entry form as it will
not be considered.
A.3. 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. YES NO
(This entry will be printed on the certificate as “trained by [Name of Trainer]”).
ID NUMBER
Code*
Disability
D.
DETAILS OF PARTICIPANTS FOR THIS ITEM: (Please complete in clear print!)
Names of participants
Grade Cell. No. of Parent
Name of School
birth as YMD
COMPULSORY INFORMATION: ID Number or Date of Birth
Year
1
2
Month
Date
3
5
4
Male / Female
6
7
8
9
10
Female 4999 or less
5000 or greater
Male
1.
2.
3.
4
5
6
7
8
9
10
DISABILITY CODE*
A
B
C
Learning disabled
D
E
*Important: Provide the appropriate
code next to the name of any participant
___________________________________
Name in Print
____________________________
Signature
______
Date
Bank: ABSA
Branch Code:
33 47 05
Account Name: National
Eisteddfod Academy
Account Number:
404 747 8448
Branch: Northcliff
Type: Current
MEDIUM &
LARGE
GROUP
ENTRY
LARGE GROUP ENTRY FORM FOR 2016
(Use one form per group)
More than 10
participants
A.
A.1 Who is responsible for submitting this entry? (Select one of the 3 options in the
columns on the right.
SCHOOL
STUDIO
PARENT
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
AREA FOR PARTICIPATION
Will be determined by the information as submitted on the Registration form of the relevant
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.)
AREA CODE & FAX NO.:
CELL. No.
C.
AREA CODE & TEL. NUMBER:
E-MAIL ADDRESS:
DETAILS OF GROUP ITEM: (Please complete in print!)
NAME OF GROUP & GRADE (as
it should appear on the certificate)
LANGUAGE OF
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
D.
21 – 30
31 – 40
41 – 50
51 – 60
61 – 80
81 – 100
101 – 200
Full shows
DETAILS OF ENTRY:
CATEGORY
SECTION NUMBER
GRADE CODE
/
*Does this group / any member of this group have a A
different ability? (please tick appropriate box)
B
Brief description of item: ________________________________
Blind / Partially sighted
C
D
E
Not Applicable
Learning disabled
NB!! If you wish the NEA to consider any particular request when scheduling your items, please complete the Special
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.
New to the NEA?
YES
NO
E.
CHEQUE
CASH
How did you pay the entry fee?
*DATE OF PAYMENT
E
F
____/____/2016
T
*
COMPULSORY:
Reference Number for
Institution
Provide the name of the group and/or the Ref.
No. on the deposit slip. Fax proof of transfer to
[011] 787 3534
ENTRY FEE DUE
R_________
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
Bank: ABSA
Branch Code: 33 47 05
POSTAL ADDRESS:
FAX. NO. : 011 – 787-3534
Account Name: National Eisteddfod
Academy
Branch: Northcliff
Type: Current
Cheques should be made payable to National Eisteddfod Academy
NATIONAL EISTEDDFOD ACADEMY
PLEASE NOTE:
INCOMPLETE FORMS
CANNOT BE PROCESSED
SPECIAL REQUESTS FOR INSTITUTIONS 2016
For attention: Manager: Administration
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)
E-mail ADDRESS
CELL.


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
APPLICABLE GRADES
ACTIVITY
DATE(S)
NATURE OF ACTIVITY
(Provide a brief description of the activities)
(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
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
Indep./Public School
Holiday
Indep. /Public School
Holiday
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Mon 15
Tue 16
Wed 17
Thu 18
Fri 19
Sat 20
Mon 22
Tue 23
Wed 24
Thu 25
Fri 26
Sat 27
Mon 29
Tue 30
Wed 31
Thu 1 Sept
Fri 2 Sept
Thu 3 Sept
Mon 5
Tue 6
Wed 7
Thu 8
Fri 9
Sat 10
Mon 12
Tue 13
Wed 14
Thu 15
Fri 16
Sat 17
Mon 19
Tue 20
Wed 21
Thu 22
Fri 23
Sat 24
Mon 26
Tue 27
Wed 28
Thu 29
Fri 30
Sat 1 Oct
Mon 3
Tue 4
Wed 5
Thu 6
Fri 7
Sat 8
Public School H/d
Public School H/d
Public School H/d
Public School H/d
Indep. School Holiday
Sept.
2016
Oct.
2016
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Indep. School H/d
Public Shools H/d
Heritage Day
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.
SPONSORED
ENTRIES
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.
A.1. The following entries of OUR INSTITUTION need to be sponsored as outlined in the NEA Prospectus 2016.
A.2. The entry from below is offered to the nominated institution to enter 10 individual participants free of charge.
NO
IF “YES”, provide name of school/studio:
YES
NO
Nominated Institution:
DETAILS OF SPONSORED ENTRIES:
Disability
Code*
B.
YES
Names of
Participant
Surname of
Participant
COMPULSORY INFORMATION: ID Number** or Date of Birth
ITEM NUMBER
Grade
CATEGORY
SECTION
NUMBER
SECTION
NUMBER
Year
Month
Date
Male / Female
1
2
3
4
5
6
7
8
9
10
Important: Provide the
appropriate code next to
the name of any participant
DISABILITY CODE*
A
B
C
Learning disabled
D
E
ID NUMBER**
TOTAL VALUE OF SPONSORSHIP:
C.
birth as YMD
R1 650 (10 entries) / R 825 (5 entries)
FOR RECORD PURPOSES THE FOLLOWING INFORMATION IS REQUIRED:
DETAILS OF INSTITUTION THAT IS PROVIDING THE 50/100 ENTRIES REQUIRED FOR THE SPONSORSHIP OF THE ENTRIES ABOVE.
PAYMENT: Please indicate with √ in appropriate blocks how the entry fees required for these 50 entries were paid.
D.
Reference Number
for Institution
CHEQUE
CASH
Name of institution:
E
F
T
DATE OF ELECTRONIC
TRANSFER
____/____/2016
Entry fee paid:
Provide Reference Number for Institution on the
deposit slip.
Fax proof of transfer to [011] 787 3534
R_________
Female 4999 or less
5000 or greater
Male
Bank: ABSA
Account Name:
Branch: Northcliff
Bracnh Code: 33 47 05
________________________________
NAME IN PRINT
______________________________________
SIGNATURE
__________________
DATE
NEA ARTS DEVELOPMENT PROGRAMME
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
PROVINCE
WESTERN
CAPE
FREE
STATE
KWAZULU
NATAL
EASTERN
CAPE
LIMPOPO
MPUMALANGA
NORTHERN
CAPE
NORTH WEST
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
AREA CODE & FAX NO.
CONTACT NUMBER (AFTER HOURS)
E-mail ADDRESS
PUBLIC INSTITUTION
PRIVATE INSTITUTION
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 /
categories as selected below. (Please tick () the appropriate box(es)).
Public
speaking
No
No
CELL.
IS FINANCIAL SUPPORT REQUIRED?
Choral
singing
Yes
Yes
Dancing
(traditional &
modern)
Visual
arts
Name and contact details of responsible
person (if different from the details as
provided in Section C):
Choral
verse
speaking
Solo verse
speaking
Name
Solo
Singing
YES
NO
Classical
Music
(instrumental)
Tel.:
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Music - National Eisteddfod

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