As the Eisteddfod model has been mentioned both here and in the other EFDSS thread, I suppose I should comment. Although I am not a keen attendee of any of the Eisteddfodau (pl.) - from local through to International level - I do work on the trad music stand most years and I am also on the Standing Committee for folk music within the National Eisteddfod structure.

First - Eisteddfodau are traditional _structures_, not traditional arts. They are competitive arts festivals, not competitive traditional music festivals. Even when the National visits particularly 'folky' areas in Wales (it moves around), the content can still be less than 20% traditional arts, including literature, dance, music, visual art and craft. The International in Llangollen, which Bert mentions in the other thread and has mentioned in others as well, was set up primarily as a Peace initiative following WWII and uses competition as a framework for bringing the world's ethnic communities together. A couple of days are given over to National Music & Dance; it is _not_ a folk festival either, but there are people around the world who have very fond memories of it because of the friends they've made. "Result", as my godchildren would say.

So - back to the National Eisteddfod, and all the local Eisteddfodau and youth Eisteddfodau which are on the same pattern ...

Yes, there are a number of competitions which draw their material from the traditional repertoire. I've chosen my words there carefully. These days, the singing is definitely NOT judged using any 'traditonal music' criteria and it breaks my heart to hear the competitors who go through from the preliminary competitions. Many, many years ago, one of Wales' major poets (I think he may have been the Eist. Archdruid at the time) pointed out that a person shouldn't be _able_ (that is, physically _able_) to compete in both the Classical solo and Folk solo. He recognized that the techniques and deliveries should be poles apart. (Another aside: didn't Paul Robeson or someone once say his great regret was that his voice had been trained to the point where he could not sing spirituals as they should be sung? Anyhoooo ...) Today, the Eisteddfod seems to have forgotten that completely.

Instrumentally, the National Eisteddfod has picked up its socks a bit and has been running competitions for folk groups. It got off to a shakey start partly because of the choice of adjudicators, but it's picking up; competitors are coming for the general hwyl (like craic) of the Eisteddfod and giving the comp a try on the off chance they can pick up some booze money. Fair enough.

Also, the Eisteddfod (Nat.) is coming to realize that society is changing and there is a real market for non-comp activity as part of the festival so we're slowly getting more workshops fitted in to the schedule. The long-term aim is to have a 'shed' specifically for workshops.

It was recently pointed out to me, by someone who knows more about the history of collecting in Wales _as well as _ of the Eisteddfod, that collection and practice of folk music was "placed under the wing" of the Eisteddfod originally because it could offer a framework for encouraging collectors (originally). In fact, this proved to be quite successful: setting competions for people to present manuscripts of trad music. Unfortunately, the performance side was quickly taken over by those who believe(d) that the only real music was that sung in the Western Classical style ... so it's almost always left out the real 'tradition bearers' by design.

Another problem with the Eisteddfod is that it breeds 'competitors' rather than musicians. Once someone stops winning their category, they stop making the music. Honest. This happens. Hard to believe, I know. Into the bargain, it breeds musicians who latch onto the set piece, learn it, stand on their mark under the spotlight, deliver, and leave. This does nothing to develop good performance practice. I blame this on the fact that we have so few good young trad musicians compared to Ireland or Scotland.

However, someone has recently pointed out to me that there is another important difference between Wales and Ire/Scot. Wales has had many years of Welsh-language broadcasting and, if you talk to many young people today, they'll say they want to go into television. And they can! There's a fair bit of work for Welsh speakers - whether or not they actually have any depth of cultural knowledge. Indigenous language broadcasting in Ire/Scot is not so ... let's say "far advanced", tho the description is contentious ... and musicians have to find their own way more. Good thing. I'd say this makes them more innovative. And close to their roots.

O crap. I'm rambling, and I should be working. Personal opinion: I don't like competition and I don't like competing. Some people do, and 'good luck with that'. Whether it encourages or discourages traditional styles hinges on a lot of external factors apart from the mere availability of competitive events.

I probably won't be able to contribute much to this thread as I have to be at the Eisteddfod a fair bit over the next 10 days.

Let's keep it friendly ...

sian