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CATEGORY VI: FOLK THEATRE/ FOLK PRESENTATIONS 1. This category of the competition will be organized in two (2) groups. A village/group has a choice of any one of the following groupings:
Group I ‐Folk Theatre Productions (A dramatized story of the folk traditions from a creative and theatrical level with the folk element as its base as outlined in the guidelines)
Group II ‐ Folk Presentations (Music, Dance and Dramatized Literature with the
use of authentic music, dance and dramatized literature of our folk culture in its richest form).
2. Villages/ Groups participating in Group I will have limited options to participate in areas of Music and Dance. Options: Music: a) Folk Medley b) Folk Song (Chorale) c) Folk Song (Solo) d) Chutney Song e) Parang f) Tassa g) Drumology/ Tambrin h) Instrumental Ensemble i) Pan Soloist Dance: Any two (2) categories. (e.g. Bele, Pique, Spanish, etc.) 3. The guidelines for folk materials which can be used in the above groupings are as follows:
i) Introduction ‐ All materials must be carefully researched. Approval must be requested from the original playwright to secure copyright where necessary. ii) Folk Music ‐ The Folk Music content must be varied, coming out of the experience of the Caribbean. Repetition is discouraged. The words of all original compositions must be submitted with a lead sheet which includes all instrumental performances.
African‐Influenced Songs and Melodies ‐ shango, bongo, cherupp, limbo,
baby‐minding songs, story songs, negro spirituals, work songs, etc.
Spanish‐Influenced Songs and Melodies ‐ galeron, pastillo (Paseo), decimas, joropo, castillian, warrap, merengue, work songs, etc.
French‐Influenced Songs and Melodies ‐ bele, guardrille, pique, cantique, baby‐minding songs, patios, work songs, etc.
British‐Influenced Songs and Melodies ‐ reel, jig, mother‐goose nursery
rhymes, cradle songs, sea shanties, river boat songs, work songs, etc.
Asian Influence Songs and Melodies: East Indian ‐ gatka, chutney songs, lullabies, rice‐planting, phagwa, divali,
gazal, etc.
Chinese – lion dance songs, pink tea, work songs, etc. Folk Music originating from descendants of Eastern Mediterranean people
in Trinidad and Tobago.
Folk Music originating from the Caribbean e.g. Banana Boat Song, etc.
Contemporary Music such as Yellow Bird, Calypsoes after 1931 and Compositions in the folk genre.
Old Time Calypsoes (1931 – 1979)
Drumming and Rhythm – Fowl Coupe (cutter, fuller and roller), Tamboo
Bamboo, Tobago Tambourine, Shango, Marman, Kalinda, Congo Drum, Tabla, Dholak, Khangaree, Tassa, Maracas etc.
A drummer is allowed to perform with only one (1) village/group/organization. If a drummer is found performing with any two (2) groups, then the two (2) groups will be disqualified.
The National and Patriotic Songs that can be included in programmes are as
follows: i) God Bless Our Nation ii) Land of Sun and Seas iii) Boca Chimes iv) Our Nation’s Dawning v) We sing to our Country
iii) Dramatized Literature ‐ The story can be based on any aspect of Trinidad and
Tobago’s past and present lifestyles and customs. The following can be incorporated with appropriate research, respect and permission from the relevant copyright holder, when necessary.
Customs and Ceemonies:
Wake – decimas, toasts, story‐telling, riddles, proverbs, etc. Folk Characters – soucouyant, douen, la diabalesse, papa bois, lagahoo,
phantom, obeah man, mama d’leau, maleng (charm), contempory folk characters such as ghosts.
Carnival Characters – bats, devils, midnight robbers and peirrot grenades.
Anancy, Brer Chat, etc.
Policarp, folk tales such as woodmen stories, sea stories, tall tales, hunter’s tales, etc.
Ceremonies ‐ christening, funerals, church services, weddings, First
Communion, God Parents’ Speech, congratulatory toasts, admonitions, behar (Indian), banter talk, toasts, joking sessions, etc.
Initiation Rites, Sea and River Baptism, Shouter Baptists (tract), installation
of officers e.g. Friendly Societies, Lodges and Debutant Ball. Cockfighting (stimulated), card games (all‐fours matches, sebi lebi {7‐11}),
beat the bobolee and bols (Bwa Bwa).
National Festivals and customs ‐ Divali, Santa Rosa Festival, Velorio de la Cruz (Vieux Crois or cross wake), Siparia Fete (Suparie Mai), Phagwa, Ramleela, Lewa or Lewah (Les Rois), the Kings or Three Wise Men, Lawa, Tobago Wedding, Caroni Cropover, Stories of historical significance.
iv) Dance:
As far as possible, dances must be accompanied by appropriate music. In presentation of dances, consideration must be given to technique, form,
transitions, flow of movements, choreographic style, use of space, phrasing and dynamics.
Closer attention must be paid to facial expressions, appropriate and secured
costumes, make‐up and other technical elements in presenting any dance
material.
The choreographer must pay more attention to his/her working instrument (the dancer’s body), how it is used, how it is costumed, its form and execution. The dancer represents a form and as such depicts a picture.
Dance material must be as authentic as possible and carefully researched.
Some dances which could be used are as follows: ‐
i. African‐Influenced Dances ‐ Bongo, Limbo, Kalinda, Reel, Jig, Mazurke, Quadrille,Lancers and Congo Bele.
ii. Nation Dances ‐ Manding, Ibo, Halicord, Coromante, Congo Chiffoned
Quelbe, Spirit, Banda, Pencow and Cherrujj.
iii. Spanish/ Latin Influenced Dances ‐ Spanish: Joropo, Castillian, Galleron, Maypole and Vieux Crois.
iv. Latin: Merengue, Samba, Cha Cha, Bote, Tango, Rhumba and Salsa. v. French Influenced Dances ‐ Bele, Gran Bele and Pique.
vi. Indigenous Dances ‐ Blow Torch, Maquarris (dance of whips), Owiarris (dance of rods) and Warraus (dance of shields).
vii. Local Interpretative Dances:
1. Work Dances: Cocoa dance, sugar‐cane dance (harvesting),
fisher folk and rice planting. 2. Festivals ‐ Carnival, La Divina Pastora, Santa Rosa and Holi
(Phagwa).
3. National Dances ‐ Dances based on national birds, flower and the use of the colours of the National Flag.
4. Folklore Characters ‐ Papa Bois, Lagahoo, Douens, La Diablesse
and Soucouyant. National history/sites/heritage – Pitch Lake, Bird Sanctuary, Gasparee Caves, Landing of Columbus and Tobago Wedding.
viii. Spiritual/Devotional ‐ Shango, Rada, Voodoo (Yanvalu) and Shouter
Baptist. Dances based on Negro Spirituals, Divali, Bhajan and Invocation.
ix. East Indian Influenced Dances ‐ Folk Dances ‐ Ghatka (long stick dance), Jharoo (broom dance), Dandiya/ Kholatum (short stick dance), Bhangra, Nagara, Ghumar (Spin) and Harrischand. Classical Dances ‐ Kathak, Bharat Natyam, Kathakali, Orissi and Manipuri.
x. Interpretative Dances ‐ Chutney, Ramleela, Krishnaleela, Film Dance,
Harvest Dance (sugar‐cane, rice and fish), Wedding scene, Tassa and dances based on East Indian Influenced songs.
xi. Calypso Dance
4. Criteria for Judging:
i) Folk Theatre Productions:
Each production must be presented for a minimum of seventy‐five (75) minutes and a maximum of ninety (90) minutes. Productions running over or under the stipulated time will be penalized. One (1) point will be deducted for every minute over or under the stipulated time.
Adjudication begins after the rendition of the National Anthem.
In any production, the limited number of performers are minimum ‐ thirty (30), maximum – seventy‐five (75).
Directors must be aware that placement of properties (props) on the stage is
very important.
Points will be awarded as follows:
Plot ‐ Clarity of Plot (movements within the production must 15 points justify the end.
Direction ‐ Appropriate use of the space and choices of rhythm, 15 points
timing, picturization and casting.
Acting ‐ Diction, articulation, body language, projection, portrayal 15 points
and clarity of character.
Content ‐ Relevance and quality of music, dance and literature. 30 points Technical Aspect ‐ Costume, set, lighting design and stage 15 points management. Creative Use of Folk Material ‐ The new and creative ways in 5 points which folk material are used to fuse movement, music, speech, body language, scene and costume design, into an effective presentation. Overall Impact ‐ Effective communication with the theme of the 5 points production and grasping of the viewers’ interest by the viewers.
The groups must ensure that:
i) Scene changes do not last longer than forty‐five (45) seconds. ii) Unnecessary blackouts as well as the use of special effects such as ultra violet (UV) or black lighting do not distract performances. iii) Village/group must score sixty‐five percent (65%) and over to qualify for the Semi‐ Finals. iv) The top twelve (12) groups in the Semifinals will be selected to
compete in the Finals and the group making the highest points will be adjudged winner of the Folk Theatre category.
v) Best Written Script – Groups must submit to the Best Village Office all scripts for productions, one (1) week after the conclusion of the Semi‐Finals in order to qualify for the Best Written Script. Adaptations will not qualify for the prize.
Special Awards: i. Best Director ii. Best Directed Production iii. Best Musical Accompaniment/Arranger
iv. Best Choreographer v. Best Costume Designer/Most appropriate costumed show vi. Best Actor vii. Best Actress viii. Best All‐Round Performer – Male ix. Best All‐Round Performer – Female x. Best Set xi. Best Representation of a Nation Building Theme xii. Most Creative Production xiii. Most Integrated Show xiv. Best Choreographed Dance
ii) Folk Presentations (Folk Music, Dance, Dramatized Literature and Folk Show):
Entries in this category will present items of Folk Music, Dance, Dramatized
Literature and Folk Shows, with emphasis on authenticity and tradition. All materials must be carefully researched. In order to avoid copyright infringement, appropriate permission must be sought.
Folk Music:
i. Folk Medley – Consisting of at least three (3) different melodies of Folk
Songs performed by a choir consisting of at least fifteen (15) singers.
ii. Folk Song (Chorale) – Must be any song with a traditional authentic Folk Melody, excluding Negro Spirituals and performed by a choir consisting of at least fifteen (15) singers. N.B. Medleys are not allowed.
iii. Folk Song (Solo) – A solo presentation of any local Folk Song.
iv. Chutney Song – A composition in the Bhojpuri Dialect utilizing traditional instruments – harmonium, dholak and dhantal.
v. National Song (Choirs) ‐ God Bless Our Nation; Land of Sun and Seas;
Boca Chimes; Our Nation’s Dawning; We Sing To Thee Our Country – Must be performed by a choir of at least fifteen (15) persons.
vi. Calypsoes ‐ Original Compositions on a Best Village Theme
vii. Calypso Medleys (1981 to present).
viii. Spiritual Baptist – doption, songs, gospels, Negro Spirituals, Praise and Spiritual
ix. East Indian Devotional e.g. Bhagan, Chowtal, Toomree, Ghazals and
Caseedas.
x. Parang – Music of Spanish influenced using guitar, mandolin, banjo, box bass and marac for the authentic flavour.
xi. Drumology – Afro Caribbean in nature, using traditional African drums.
xii. Tassa – Utilizing bass, cutter, fuller and ghige to play various hands of rhythms for such occasions as Hosay, weddings, Ramleela, etc.
xiii. Tambrin Band – Authentic music for speech‐band, jig, reel, etc.
xiv. Instrumental Ensemble – featuring five (5) to seven (7) players utilising one (1) of each of the following instruments: pan guitar, cuatro, bass. Congo drum, flute, mandolin, violin, dloolak, dhantal, harmonium, harmonica, tambourine.
xv. Pan Soloist – playing a melody unaccompanied.
xvi. Points will be awarded as follows:
Drumology, Tassa, Tambrin, Instrumental Ensemble and Pan Soloist: Tone 15 points Arrangement 20 points Rhythm 15 points Originality 10 points Balance 20 points Presentation 15 points Impact 5 points Folk Medley, Folk Song, Chutney Song, Folk Soloist, Parang, Calypso and Calypso Medley: Tone 15 points Intonation 15 points Arrangement 15 points Diction 20 points Blend and Balance 15 points Presentation 15 points Impact 5 points
Items must not exceed four (4) minutes. One (1) point per minute will be
deducted for overtime.
Dance: All dance presentations must consist of a minimum of six (6) dancers.
See 3: iv under Folk Theatre/Folk Presentations guidelines Categories for Judging:
i) African Influenced Dances
ii) Social Competitive e.g. Bongo, Ibo, Temme, Shavalong, Shango, Manding, Juba, Kalinda, Congo, Halicord, Coromanti and Arada.
iii) Derivative e.g. Reel, Jig, Polka Mazuka, Quadrille, Lancers
and Congo, Bele.
iv) Nation Dances e.g. Manding, Ibo, Pique, Halicord, Coromantie, Congo, Chiffone, Quelbe, Spirit, Banda, Pencow and Cherrujj.
v) Spanish/Latin Influenced Dances: Joropo, Castillian,
Galleron, Maypole and Vieux Crois, Merengue, Samba, Cha Cha, Bote, Tango, Rhumba and Salsa.
vi) French Influenced Dances e.g. Bele and Grand Bele.
vii) Indigenous Dances e.g. Blow Torch, Maquarris (dance of
whips), Owiarris (dance of rods), Warraus (dance of shields).
viii) Local Interpretative Dances: Work Dances e.g. Cocoa dance, sugar‐cane dance
(harvesting), rice‐ planting dance and fisher dance.
Festivals e.g. Carnival, La Divina Pastora, Santa Rosa, Holi (Phagwa).
National Dances e.g. Dances based on national birds, flowers and the use of colours of the National Flag.
Dances based on Folklore Characters e.g. Papa Bois,
Lagahoo, Douens, La Diablesse and Soucouyant.
Dances on National history/sites/heritage e.g. Pitch Lake,
Bird Sanctuary, Gasparee Caves, landing of Columbus and Tobago Weddings.
Dances based on Traditional Folk Songs.
ix) Spiritual/Devotional Dance ‐ Shango, Rada, Voodoo (Yanvalu) and Shouter Baptist.
Dances based on Negro Spirituals. Divali, Bhajan and Invocational.
x) East Indian Influenced Dances:
Folk Dances e.g. Ghatka (long stick dance), Jharoo (broom dance), Dandiya/Kholatum (short stick dance), Bhangra, Nagara, Ghumar (Spin) and Harrischand.
Classical Dances e.g. Kathak, Bharat Natyam, Kathakali,
Orissi and Manipuri.
Other Dances e.g. Chutney, Ramleela, Krishnaleela, Film Dance, Harvest Dance (sugar‐cane, rice and fish), Wedding Scene, Tassa and dances based on East Indian Influenced Songs.
xi) Calypso Dance xii) Limbo Dance
xiii) Other dances e.g. Jig, Reel, Chinese, British, Quadrille, Lancers
Points will be awarded as follows: Choreography – Use of space, phrasing, execution, style and technique 25 points Content – Dance vocabulary, communication, depth and interpretation 25 points Authenticity – Movement, music and costume 15 points Presentation – Precision, clarity and group co‐ordination 15 points Costume – Relevance, design and properly fitted attire 15 points Impact 5 points
Dramatized Literature (Skit):
The plot/storyline can be based on any aspect of Trinidad and Tobago’s life styles, customs and history – past and present. The following can be
incorporated.
a. Folk Characters ‐ Soucouyant, Douen, La Diablesse, Papa Bois, Lagahoo, Obeah and Maleng (charm).
b. Anancy Characters ‐ Brer Chat, Policarp, Folk Tales such as
woodmen stories, sea stories, tall tales, etc.
c. Ceremonies or Customs – Weddings ‐ beha (Indian), banter talk, toasts, joking sessions, Initiation Rites, Christening, First Communion (God Parents’ speech), lodgers, congratulatory toasts, admonition, Shouter Baptists (tract), installation of officers e.g. friendly societies. Divali, Santa Rosa Festival, Velorio De La Cruz (vieux crois men), Lawa, Tobago Wedding, Caroni Cropover and stories of historical significance.
d. Carnival Characters e.g. bats, devils, robbers, baby dolls and other
similar portraits.
All skits must be a minimum of six (6) and a maximum of eight (8) minutes. One (1) average point per minute will be deducted for overtime.
Points will be awarded as follows: ‐ Content 30 points Direction 25 points Acting 20 points Technical Aspect 20 points Impact 5 points
Special Awards ‐ Best Skit Groups/Villages must score sixty‐five (65) percent and over to qualify for the Semi‐Finals. The top five (5) Groups/Villages in the Semi‐Finals of each section will qualify for the Finals. All Groups/Villages must appear at the Semi‐Finals in order to qualify for the Finals. The judges reserve the right to select less than five (5) Groups/Villages if the quality of the performances is below standard. Folk Show: a. Only Groups/Villages/Councils/Cultural organisations that have not placed in
the first five (5) in the Folk Theatre Competition from the year 2002 to present are
eligible to participate in this category. b. A Show based on a theme utilizing either Folk Music/Dance with a raconteur,
MC or story teller. Guidelines in rule (3) will apply. The Show must be presented for a minimum of forty‐five (45) minutes and a maximum of sixty (60) minutes.
c. Points will be awarded as follows:
Contents 25 Performance 30 Presentation 20 Costuming 15 Impact 10 TOTAL 100
d. One (1) average point per minute will be deducted for every minute or fraction
of a minute over or under the stipulated time.
e. Groups/Villages must score sixty‐five (65) percent and over in the Preliminaries to qualify for the Semi‐Finals.
f. The top eight (8) Groups/Villages will qualify for the Finals. The judges reserve
the right to select less than eight (8) Groups/Villages if the quality of the performances is below standard.