Organising a Recitation Competition with Set and Free Choice Pieces

A recitation competition gives performers the chance to develop clear speech, interpretation, memory and stage confidence. A format that combines a prescribed piece with a free choice selection creates a useful balance: every entrant works from a shared artistic starting point, while still having room to show personality, cultural background and individual taste.

For a local eisteddfod in Australia, careful preparation is essential. Committees may be working with schools, community halls, Welsh societies, speech and drama teachers, families and volunteers spread across a large area. A well-designed competition should be welcoming, easy to understand and practical to deliver, whether it takes place in Sydney, Melbourne, Brisbane, Adelaide, Perth or a regional town.

Set the purpose and competition framework

Begin by deciding what the competition is intended to achieve. A junior class might focus on confidence, vocal clarity and enjoyment, while a senior class may place greater emphasis on interpretation, rhythm, characterisation and technical control. Writing this purpose down will help the committee choose suitable texts, appoint the right adjudicator and explain the event to families.

Decide whether the set and free choice pieces will be performed in the same session or in separate rounds. For younger entrants, two short performances in one session may be less stressful than asking children to return later in the day. Older performers may benefit from a formal first round followed by a final recital. The schedule should state whether both pieces are compulsory, how marks are combined and whether an entrant must perform both pieces to be eligible for a prize.

Create classes that reflect age and ability rather than making the programme unnecessarily complex. Common divisions include early primary, upper primary, secondary and open sections, with separate categories where a Welsh-language or bilingual class is appropriate. If the competition is linked to a school or community festival, check school-year groupings carefully so that families in different states understand the eligibility requirements.

Set a maximum duration for each item. A practical guide might be one to two minutes for young children, two to three minutes for primary students and up to five minutes for senior or open performers. Short limits keep the programme moving and reduce pressure on adjudicators. They also make it easier to accommodate the everyday Australian timetable, where families may be balancing Saturday sport, part-time work and long travel times.

Select texts and publish clear rules

The prescribed piece should be engaging, performable and suitable for the age group. Choose writing with strong rhythm, vivid imagery or a clear emotional journey rather than text that depends on obscure vocabulary. A poem, dramatic monologue, humorous verse, prose extract or traditional Welsh piece can work well when its length and language are appropriate.

Consider including Welsh material alongside English-language choices. A short Welsh poem can introduce Australian participants to the sound and heritage of the language, while a bilingual class may invite performers to present a Welsh text with an English explanation or translation. Provide accurate text copies and pronunciation guidance well in advance. If the society is promoting Welsh culture, the set piece should feel like an invitation into that tradition rather than a test designed to exclude newcomers.

The free choice selection should allow performers to choose a work that suits their voice, maturity and interests. State whether poetry, prose, monologue, storytelling and traditional verse are accepted. Explain whether costumes, props, music, movement or character voices are permitted. Simple rules prevent disputes on the day and keep the focus on vocal and interpretive skill.

Publish the syllabus several months before entries close. Include the class name, age eligibility, prescribed text, performance time, entry fee, closing date, venue, adjudication criteria and contact details. If the event charges in Australian dollars, make the amount and payment method clear, including any online booking or card processing fee. Families should also know whether an accompanist, cue sheet or printed copy is required.

Copyright needs attention when reproducing contemporary poems, song lyrics or prose. A committee may be able to direct entrants to an authorised source rather than printing the whole work in the programme. Ask the adjudicator or an arts administration adviser to check permission requirements, especially if performances will be livestreamed, recorded or uploaded to social media.

Build fair judging and performer support

A transparent marking scheme helps entrants prepare and helps families understand the result. Criteria might include accuracy and memory, articulation, vocal variety, pace and rhythm, interpretation, expression, posture and audience connection. The weighting can change by age. For early primary classes, communication and confidence may deserve more emphasis than sophisticated dramatic technique.

Give the adjudicator the rules, class list, set texts and marking sheet well before the event. An experienced speech and drama adjudicator should understand that recitation is more than loud reading. The strongest performance communicates meaning through controlled breath, thoughtful pauses, emphasis and a natural relationship with the audience. For Welsh-language classes, use an adjudicator who can assess pronunciation and language accurately, or arrange a specialist adviser.

Explain whether the adjudicator will provide a written critique, verbal comments, or both. Constructive feedback should identify a genuine strength and one or two practical areas for development. Young performers benefit from specific guidance such as slowing the final lines, lifting the voice at the back of the room or allowing a pause before a change in mood. Avoid comments that compare children publicly in a way that may embarrass them.

Offer a short workshop before the competition if resources allow. A session on breathing, articulation, memorisation and stage entry can help entrants from schools or communities with limited access to speech training. The Welsh society’s wider cultural programme could also connect recitation with folk singing, storytelling, cerdd dant or traditional performance, showing participants that spoken verse belongs within a larger living culture.

Make the experience accessible to different performers. Allow reasonable adjustments for disability, anxiety, hearing loss or communication needs, provided the essential purpose of the class remains intact. A quiet waiting space, a clearly marked stage entrance and the option to perform early in the session can make a substantial difference. Tell families how to request adjustments privately before the event.

Plan the venue, timetable and safeguarding

Choose a venue with good acoustics, reliable heating or cooling, accessible toilets and enough waiting space. A community hall may be affordable and familiar, but test how speech carries from the stage to the back row. In a large Australian city, public transport access can matter as much as parking. In regional areas, allow for longer journeys and publish realistic arrival times so families are not forced to rush.

Prepare a running order that alternates age groups or class types where possible. Young children may become restless after a long wait, while older performers may need time to warm up and concentrate. Schedule registration, sound checks, adjudication, breaks and prize presentations visibly. A printed programme and a digital version can both be useful, particularly when mobile reception at a country venue is unreliable.

Use a simple stage setup. A lectern, microphone, drinking water and a clearly defined performance area are usually enough. Test the microphone with a normal speaking voice rather than music, and brief the compère on how to introduce each entrant without giving away the result. Have a timekeeper discreetly signal when a performer is approaching the limit.

Child safety must be built into the event plan. Australian requirements vary between states and territories, so check the relevant working-with-children screening rules, child safe standards and obligations for volunteers. In New South Wales, Victoria and Queensland, for example, organisations may need different types of screening or compliance processes. Keep a current register of adults working directly with children, establish sign-in procedures and avoid one-to-one unsupervised situations in changing or waiting areas.

Obtain appropriate permission for photographs, video and publication of names. A registration form should explain how images may be used, who can access them and how families can decline publicity. Confirm public liability insurance, first-aid arrangements, emergency exits and incident reporting procedures. These details may seem administrative, yet they protect performers and give parents confidence in the event.

Promote the competition and manage entries

Promotion should begin with the communities most likely to participate. Contact Welsh societies, primary and secondary schools, speech and drama studios, libraries, multicultural organisations and local arts networks. In Melbourne or Sydney, a targeted email campaign and school newsletter notice may reach hundreds of families. In a smaller town, personal contact with teachers, choir leaders and community organisers can be more effective than paid advertising.

Use plain language to explain the special feature of the competition. Say that each entrant will prepare one prescribed item and one personally selected item, and give examples of suitable free choice material. Short videos or audio samples from a teacher can demonstrate pace and expression without creating pressure for children to imitate a particular style. Promotion should celebrate participation, Welsh culture and spoken performance rather than suggesting that only future professionals belong on stage.

Set an entry process that works on a phone as well as a computer. Collect the entrant’s name, age group, school or community affiliation, selected free choice title, pronunciation notes and emergency contact details. If the event uses an online form, provide an email or telephone alternative for families who are less comfortable with digital systems. Keep personal information secure and limit access to committee members who need it.

Budget realistically for the Australian market. Costs may include venue hire, adjudicator travel, accommodation for a regional event, insurance, printing, trophies, accessibility support, payment fees and refreshments. An entry fee should cover essential expenses without excluding families. Consider supported places, a family cap or sponsorship from a local business, Welsh organisation or community grant. Avoid assuming that every volunteer can absorb travel and childcare costs.

Give entrants a preparation timeline after registration closes. Send the final timetable, venue map, parking information, performance rules and contact details at least a week before the event. Remind performers to bring the set text and free choice text, even if both have been memorised. A clearly organised information pack reduces last-minute emails and helps volunteers answer questions consistently.

Deliver the day and strengthen the tradition

Hold a briefing before the first performer arrives. Volunteers should know where to direct entrants, how to pronounce names, who can access the adjudicator and what to do if a child becomes distressed or forgets a line. One person should manage the running order, while another handles results and certificates. Separating these duties reduces confusion during a busy session.

Welcome every performer with the same care. The set piece may reveal how well an entrant follows direction, while the free choice piece often shows the performer’s personality and connection with the material. The adjudicator should mark both performances fairly, without allowing a confident theatrical style to overshadow careful diction, thoughtful interpretation or genuine communication.

When a performer forgets a line, allow the agreed support procedure rather than improvising in front of the audience. A discreet prompt from the teacher or compère may be appropriate if the rules permit it. The aim is to preserve the integrity of the competition while protecting a child’s dignity. Volunteers should never criticise a performance in public or discuss marks before the official announcement.

Present certificates or prizes in a way that recognises the whole field. Awards might include first, second and third place, highly commended, best interpretation or a special Welsh language award, provided the categories are explained in advance. A short winners’ recital can be a memorable feature, but obtain consent before recording or publishing it.

After the event, gather feedback from the adjudicator, volunteers, teachers and families. Record which classes filled quickly, where delays occurred, whether the venue worked acoustically and whether the entry fee covered costs. Keep copies of rules, scripts, risk assessments and contact lists in a shared committee file. This makes the next competition easier to organise and supports continuity when volunteers change.

A recitation competition becomes part of cultural life when it offers a pathway beyond one afternoon. Invite successful performers to a Welsh concert, folk event, community celebration or development workshop. Encourage them to explore Welsh poetry, storytelling, folk singing and cerdd dant alongside English-language performance. In this way, a set-and-choice format develops individual confidence while helping sustain the wider eisteddfod tradition in Australia.

Start planning early, appoint clear responsibilities and give every performer a fair, supportive framework. Cymdeithas Eisteddfodau Cymru can help local committees connect recitation with the broader work of Welsh cultural development, so use the society’s guidance, share your event details with local communities and build a competition that welcomes new voices year after year.