shakespeare school essay competition 2023

REGULAMENT ESSAY COMPETITION - EDITIA A 16-A

Cap. 1 organizator.

Concursul national de creatie in limba engleza Shakespeare School Essay Competition, aflat la a 16-a editie, este organizat de  Asociatia Shakespeare School pentru Educatie  din Bucuresti.

Participantii la 2024 Shakespeare School Essay Competition se obliga sa se conformeze tuturor cerintelor si conditiilor impuse de Organizator prin prezentul Regulament Oficial. Prezentul Regulament este disponibil pe toata perioada concursului pe site-ul  Shakespeare School .

Organizatorul isi rezerva dreptul de a modifica prezentul Regulament Oficial, de a prelungi perioada de inscrieri sau de a modifica data/locatia a interviului sau festivitatii de premiere, cu anuntarea pe site-ul concursului despre aceste modificari.

Concurentii au obligatia sa consulte permanent  site-ul oficial al concursului  si  blogul Shakespeare School  pentru a se informa despre eventuale modificari.

Cap. 2 Scopul si durata concursului

Shakespeare School Essay Competition este primul concurs de creatie in limba engleza organizat la nivel national si international, care isi propune drept obiective: promovarea creativitatii ca parte a procesului de life-long learning, promovarea gandirii creative si a sensibilitatii emotionale si largirea accesului tinerilor la exprimare creativa.

Concursul de eseuri se desfasoara in perioada: 31 ianuarie 2024 – 19 iunie 2024.

Cap. 3 Conditii de participare

Participanti elevi si studenti:

• Sa se incadreze in una dintre cele doua categorii de varsta: 11-14 ani sau clasele V-VIII (elevi de gimnaziu), respectiv 15-19 ani sau clasele IX-XII (elevi de liceu).
• Sa fie de nationalitate romana si sa studieze in Romania sau in Republica Moldova sau in diaspora – pe teritoriul Uniunii Europene
• Sa fie clinic sanatosi
• Sa nu plagieze si sa isi foloseasca doar cunostintele proprii. Este interzisa folosirea ChatGPT sau a oricarui alt program de generare text. Toate eseurile vor fi verificate. Orice incercare de plagiat va conduce la descalificarea participantului.

N.B.: Tinerii care au implinit 15 ani, dar sunt inca elevi in clasa a opta, au dreptul sa participe la categoria de varsta corespunzatoare elevilor de gimnaziu.

Cap. 4 Etapele inscrierii in concurs

Pentru a putea intra in concurs, toti participantii trebuie:

• sa completeze toate campurile formularului si sa incarce eseul la rubrica  INSCRIE-TE  de pe site-ul Shakespeare School, Sectiunea Essay Competition  pana la data de 31 martie 2024, ora 23:59.  In urma expedierii eseului, vei primi un mesaj de confirmare a inregistrarii eseului in concurs.
• Inscrierea in concurs este GRATUITA
• Vor fi descalificati toti cei care nu respecta tema concursului, cei care folosesc un limbaj vulgar sau trivial si cei care plagiaza relatarile altor persoane.

Cap. 5 Calendarul concursului

• Perioada de inscriere a eseurilor: 31.01.2024 – 31.03.2024
• Evaluarea eseurilor: 01.04.2024 – 26.05.2024
• Anuntarea semifinalistilor: 31.05.2024
• Interviuri pe platforma Zoom cu semifinalistii: 15.06.2024 – 16.06 2024
• 19.06.2024: anuntarea finalistilor pe blogul Shakespeare School  www.shakespeare-school.ro/blog  si pe site-ul oficial al concursului  www.shakespeare-school.ro .

Cap. 6 Loc de desfasurare

Concursul se va desfasura online prin completarea formularului de inscriere disponibil pe site-ul  www.shakespeare-school.ro  si introducerea eseului la rubrica   https://www.shakespeare-school.ro/essay-competition/inscrie-te/

Cap. 7 Etapele evaluarii

Toate eseurile vor fi evaluate de o comisie de profesori de limba engleza de la Shakespeare School, conform criteriilor:

• Indeplinirea sarcinii
• Acuratetea limbajului
• Registru si vocabular
• Organizare si coeziune
• Originalitate si impresie generala

Finalistii vor fi anuntati pe blogul Shakespeare School  www.shakespeare-school.ro/blog  si pe site-ul oficial al concursului  www.shakespeare-school.ro  in data de 19 iunie 2024.

Cap. 8 PREMII - in curs de actualizare

Pentru categoriile 11-14 ani si 15-19 ani

• Tabere de limba engleza in Marea Britanie , la Oxford, in perioada 11-18 August 2024 oferite de Shakespeare School (categoria 11-14 ani) si  Mirunette Education  (categoria 15-19 ani)
• Curs de vara de limba engleza (1 modul) la Shakespeare School 
• Goody bag oferit de Shakespeare School 
• Taxa de inscriere la un examen Cambridge English oferita de British Council
• Manual pregatire Examen Cambridge English oferit de Cambridge University Press & Assessment
• Carte limba engleza oferita de Fischer International
• Reducere de 50% pentru un curs de vara de limba engleza (1 modul) la Shakespeare School
• Reducere de 25% pentru un curs de vara de limba engleza (1 modul) la Shakespeare School .
• Goody bag oferit de Shakespeare School
• Reducere de 10% pentru un curs de vara de limba engleza (1 modul) la Shakespeare School  

Premiile juriului si Premiile speciale

• Reducere de 10% pentru un curs de vara de limba engleza (1 modul) la Shakespeare School

Pentru Profesori si Inspectorate

• Curs dezvoltare profesionala oferit de Cambridge University Press & Assessment pentru primii 2 profesori cu cei mai multi elevi inscrisi si pentru judetul cu cei mai multi inscrisi
• Trofeul Excelentei  –  pentru judetul  cu cel mai mare numar de participanti la competitie ;
• Certificate of Excellence  –  acordat profesorului  cu cei mai multi elevi inscrisi  la concurs;
• Certificate of Merit  –  acordat profesorilor din partea carora  se vor inscrie minimum 10 participanti  la cea de-a 16-a editie Shakespeare School Essay Competition.

*Voucherele de reducere la cursurile de vara de la Shakespeare School nu se cumuleaza cu alte discounturi in vigoare la momentul inscrierii.

Cap. 9 Distinctii pentru profesori si inspectorate

• Certificatele vor fi transmise in format electronic, dupa anuntarea castigatorilor.

Cap. 10 Responsabilitate

Prin inscrierea la concurs, toti participantii si eventualii castigatori sunt de acord si se obliga sa respecte si sa se conformeze tuturor cerintelor si conditiilor impuse de Organizatori prin prezentul Regulament Oficial, nerespectarea acestora atragand raspunderea personala si exclusiva a participantilor si eventualilor castigatori.

Cap. 11 Protectia datelor personale

Organizatorul se obliga de asemenea sa respecte prevederile Legii nr. 677/2001, privind protectia datelor personale stocate pe durata concursului. Ca atare, Organizatorul se angajeaza sa pastreze confidentialitatea datelor personale ale participantilor/ castigatorilor la prezentul concurs si sa le utilizeze conform prezentului Regulament Oficial si legislatiei in vigoare.

Participantii la concurs, in calitate de persoane vizate, au, conform Legii 677/ 2001, urmatoarele drepturi: dreptul la informare (art.12), dreptul de acces la date (art.13), dreptul de interventie asupra datelor (art.14) si dreptul de opozitie (art. 15).

Organizatorul se obliga sa prelucreze datele cu caracter personal obtinute in procesul de inscrierere in concurs cu respectarea principiilor prevazute de legislatia aplicabila in materie de protectia datelor. Datele ce fac obiectul prelucrarii se pot referi la: date ale reprezentantilor/persoanelor de contact ale partilor – nume si prenume, domiciliu, varsta, scoala de provenienta, clasa, adresa de e-mail, numar de telefon. Prelucrarea nu poate fi extinsa la alte scopuri, cu exceptia cazului in care Partile convin in mod expres sau exista o obligatie legala care da dreptul oricarei parti sa prelucreze datele. Organizatorul se obliga sa preintampine incidente precum distrugerea, folosirea inadecvata, accesul neautorizat, dezvaluirea sau alterarea datelor cu caracter personal.

Prin simpla participare la concurs si trimiterea datelor personale la Organizator, sau prin comunicarea datelor personale pe site-ul oficial  www.shakespeare-school.ro , participantii sunt de acord ca datele lor sa intre in baza de date a Organizatorului.

Participarea la concurs constituie acordul participantilor ca numele si fotografii cu acestia sa poata fi facute publice si utilizate gratuit in materialele foto, video si audio de catre organizator si partenerii acestuia; de asemenea, participarea la concurs constituie acordul participantilor pentru primirea de newslettere din partea Organizatorului.

Cap. 12 Clauze speciale

Datorita numarului mare de participanti preconizat la nivel national, nu este posibila oferirea de feedback eseurilor necastigatoare si nu se admit contestatii.

Participarea la acest concurs implica acceptarea prezentului Regulament.

Asociatia Shakespeare School pentru Educatie Vicepresedinte Adriana Alionte

Termen limita: Toate eseurile trebuie sa fie trimise pana la data de 31 MARTIE 2024, ora 23:59 .

Termen limita: Toate eseurile trebuie sa fie trimise pana la data de  31 MARTIE 2024, 23:59 .

Box Office: 610.282.WILL

Shakespeare Competition

Empowering Participants and Cultivating Skill Development

Welcome to PSF’s Annual Shakespeare Competition

The PSF Shakespeare Competition empowers participants and cultivates skill development and artistry in language, Shakespeare, and the art and craft of acting.

This year’s competition provides students the opportunity to receive feedback on their work by actors and teaching artists from New York and Philadelphia. Participants will also have the opportunity to engage in workshops and panel discussions with professional artists. All high school-aged students in public, private, or home school are eligible to participate.

$15,000 in scholarships will be awarded!

The 2025 PSF Shakespeare Competition will be held on Saturday, March 8, 2025 on the campus of DeSales University. The event will include workshops, panel discussion with artists, performance showcase, and award ceremony. View “General Info” and “Guidelines” tab for more information on registration.

Please contact PSF Education Director, Anelise Rodriguez, with any questions: [email protected] 610-282-9455 ext. 1630

General Information:

Click Here to Download General Information Document

Questions? 610.282.WILL x 1630 [email protected]

Mission Statement

Description.

Grounded in direct engagement with Shakespeare’s text, the Competition provides multiple performance opportunities, direct evaluation of each performance by working theatre professionals and observation of peer performances. Any high school-aged student of a public, private school, or home school is eligible to participate in the competition, registering through their school. The registration fee covers participation in all rounds of the competition, workshops, and the panel discussions with professional artists. Panel topics may include: choosing your text, headshots, working in the theatre, and majoring in theatre.

Scholarships and Awards

Four or more partial DeSales University Performing & Fine Arts scholarships will be awarded to outstanding participants. These scholarships range from $1,000 to $5,000 and are renewable for each of the four years a student would attend the University as a Theatre student. First, second and third place awards will also be given in both Mono and Duo/Trio. Finally, a first, second, and third place Team Award will be given. Throughout the day, adjudicators will be nominating candidates to present their piece in the Showcase that are of distinctive value for all students present to observe. Participation in the Showcase does not affect final competition placement but will aid in identifying scholarship recipients.

NOTE: High schools seniors who will have applied to, been accepted by, and received a financial aid package from DeSales University by the time of the Competition may be limited to a maximum possible additional DeSales University scholarship from the Competition of $1,000 per year.

The cost for the competition is $25 per student participant. If you wish to bring non-competing students in your group to participate in the workshops, the cost is $10 per student.

Regulations

Material must be from William Shakespeare’s plays. Schools may enter three Monologues and three Duo/Trio scenes. The same student may not be entered in both Monologues and Duo/Trio scenes. It is the responsibility of the school to select which students will present their Monologues or Duo/Trio Scenes at the PSF Shakespeare Competition. Schools may wish to hold their own preliminary screening to select participants.

Entry forms must be processed in February 2025.

Each of the Monologues and Duo/Trio scenes will be presented three times, once in each of three rounds, evaluated by three separate adjudicators. Oral critiques will be given by the adjudicators in each round. (Ratings and rankings will not be disclosed but running time may be given on request.) Any contestant not participating in all three rounds will be disqualified and no Team Points will be awarded.

For more information on evaluation, please see our Guidelines for Students and Coaches .

Hosts and Sponsors

The Pennsylvania Shakespeare Festival hosts this event with the support of DeSales University as a part of PSF’s Linny Fowler WillPower Education Programs, made possible by a generous gift from Marlene “Linny” Fowler.

Click Here to Download Guidelines Document

• All selections must be from the plays of William Shakespeare. • Monologues must be 1.5 to 3 minutes.

• Duo/Trio Scenes must be 3 to 5 minutes.

• Timing begins after the introduction. Any participant going more than fifteen seconds under time or over time in two of the three rounds will be penalized in the final tabulation of their score.

• For monologues, feel free to combine two or more short speeches from the same scene or make an internal cut, as long as connections are smooth and logical. Internal cuts are allowed in scenes as well.

• Seek roles that you connect with and material you feel comfortable with. • Discover what your character wants and who he/she wants it from. In playing the scene, fight for it, using the words as one of the primary mechanisms for achieving that aim.

• Make sure you are familiar with the whole play and know it well.

• Memorize your piece and perform it multiple times for people prior to the competition. Prompting or starting over will not be permitted.

• For monologues: Do not direct your focus to the adjudicator. A downstage focus to the slight left or right over the adjudicator’s head is best. • Simple staging is best. A chair will be available for you to use.

• Props should not be used unless it is essential to the action and something you might normally wear or carry such as a handkerchief, a watch, a letter in your pocket, a scarf, a jacket, etc.

• Students should speak clearly but naturally. We want to hear your own voice rather than an affected British accent.

• You will perform three times at the competition – once in each of three rounds. • Each round is split into Panel A and Panel B. The first 30 minutes of the round, Panel A will present their pieces and then the adjudicator will give feedback. The second 30 minutes of the round are then for Panel B to present and receive their feedback.

• You will be assigned a Participant Number such as “B15” which should be used in your introduction rather than your name.

Sample Monologue Introduction: “Hello I am B15. My piece is from Hamlet, Act 1 Scene 2 and I will be playing Claudius.”

Sample Scene Introduction: “Hello we are B16. Our scene is from Measure for Measure, Act 3 Scene 1. I will be playing Isabella and I will be playing Claudio.”

• Please wait for the adjudicator to write this information down and invite you to begin.

• After you perform, transition out of character and say, “Thank you,” and return to your seat. • Coaches, parents, classmates and friends are welcome to observe in each round as long as they maintain a quiet respect for each of the participants. Clapping, cheering, and photography/video recording are not permitted.

• Each participant will receive written and oral feedback on their work.

• Adjudicators will be observing voice, movement, character, and text. • Each element will contribute to the overall effectiveness rating of Superior, Excellent, Good, or Fair.

• Participants will also receive a numerical ranking within their panel in order of excellence with 1 being the highest.

• These two scores from each of the three rounds will be tabulated to establish final competition placement.

• Throughout the day, adjudicators will be nominating candidates to present their piece in the Showcase.

• The Showcase is not necessarily an indicator of final competition placement. Adjudicators select pieces that are in some way unique and of distinctive value for all students present to observe.

• The Showcase will aid in determining scholarship recipients.

What to Wear and Bring

• Dress should be neat, comfortable, presentable, and relatively conservative. Do not try to costume yourself, yet be mindful of what your character would or would not wear.

• A dress shirt, blouse or sweater, slacks, or solid colored dress/skirt and flat shoes work well.

• Make sure your hair is off your face and you are not wearing any dangling or distracting jewelry.

• You will be traveling to different buildings on the DeSales University campus throughout the day. Bring comfortable shoes and appropriate seasonal outerwear.

• The cafeteria at the University Center will likely be CLOSED for DSU’s spring break. We recommend packing your lunch, but there are also several quick options in close proximity to campus.

Sample Monologue Adjudication Sheet

Sample Duo/Trio Adjudication Sheet

Registration & Payment Information

To register your team, please fill out the registration form and email to Education Director Anelise Rodriguez at [email protected] .

The registration form for the 2025 Competition will be made available in January 2025.

2024 Competition Agenda:

An agenda for the 2025 Shakespeare Competition will be posted in February 2025.

Summer 2024

2024 Subscriptions

Program Contact

Maryellen Liotta Shakespeare Programs Manager 212-818-1200 ext 246 [email protected]

Alice Uhl Education Programs Director

International Scholarship, Shakespeare  & Debate  212-818-1200 ext 212 [email protected]

SUPPORT YOUR CHAMPION AND ADVERTISE IN THE 2024 NATIONAL FINALS PROGRAM!

CLICK HERE!

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Education programs, national shakespeare competition.

The ESU is proud to announce that the 2024 National Shakespeare Competition Finals will be held in NYC on:

       Monday, April 15 at the Mitzi Newhouse Theater                at Lincoln Center!!

Our exciting weekend of events in New York City will begin  Saturday, April 13 and will include:

A welcome reception

Acting workshops for contestants

An NYC Bus Tour

A Broadway Show...

2024 Prizes  are expected to be as follows (prizes are subject to change):

1st place:  British American Drama Academy Mid-Summer Conservatory Program at Oxford

2nd place:  American Shakespeare Center Theatre Camp in Staunton, VA

3rd place:  $1000

 2024   NSC Important Dates/Deadlines: 

Deadline to hold participating school competitions and submit winner forms:  February 23, 2024

Deadline to hold branch competitions and submit Branch Winner Forms:  March 10, 2024

CLICK HERE FOR THE 2024 SCHOOL PARTICIPATION FORMS!

About the Competition

The ESU National Shakespeare Competition is  a performance-based educational program serving grades 9-12. Since 1983, the competition has engaged more than 400,000 young people. Approximately 2,500 teachers and 20,000 students in nearly 60 ESU Branch communities participate each year.

The ESU National Shakespeare Competition is aligned with modern educational practices. Participating students:

• practice essential skills such as critical thinking, close reading and public speaking
• work through all 6 levels of Bloom's taxonomy, from recall to creation, increasing self-confidence through reading, analysis and performance of Shakespeare
• have multiple points of entry to explore universal themes and are challenged to decode for themselves the complex  beauty of Shakespeare's language 
• work with teachers and peers in a student-centered program of experiential and cross-curriculum learning
• meet local, state and national standards in English Language Arts and Drama.

The ESU National Shakespeare Competition has been recognized by the Globe Center (USA), the Children's Theatre Foundation of America and the American Academy of Achievement. 

Please click on the appropriate link at left for our handbooks and learn more about the ESU National Shakespeare Competition. 

 ESU NATIONAL SHAKESPEARE COMPETITION: E-BRANCH (FORMERLY KNOWN AS ONLINE)

No branch? We can help!

The ESU is using technology to reach every high school, every teacher, and every student across the United States!

The ESU National Shakespeare competition is now open to all students, nationwide, regardless of location. Using readily available technology like cell phone cameras, schools without a participating local branch of the ESU can join the fun and be eligible to compete in a live finals round via video streaming. Winners of the E-Branch Finals will  compete in the national competition against all our branch competition winners.

Click here to learn more !

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2024 Shakespeare Competition, October 3-5

2024 competition, intent to participate is now open.

The Intent to Participate is required in order to participate in the Shakespeare Competition

Important Dates (2024)

June 7: Intent to Participate closes (required to register)

August 19: Registration opens

September 6: Registration closes (No late registrants accepted)

September 20: Memorandum of Understanding due (For teachers)

September 27: Minor Release Form due (For students/parent)

October 3–October 5: Shakespeare Competition

Communication Updates

Please check back frequently for the most up-to-date information

Mar 27, 2024 - Updated dance rubric can be found HERE

Mar 7, 2024 - 2024 Competition welcome email can be found HERE

Mar 7, 2024 - ShakesComp Code of Conduct can be viewed HERE

Mar 7, 2024 - Updated acting rubric can be viewed HERE

Feb 29, 2024 - Please join the “Competition Remind” to receive notifications about competition updates. You can join HERE

Jan 9, 2024 - Intent to Participate is open. You can fill it out HERE

Oct 11, 2023 - 2023 Awards can be seen HERE

Oct 10, 2023 - Thanks to all for an amazing 2023 competition - Please mark your calendars for the competition in 2024. It will be held October 3-5.

2024 Shakespeare Competition Master Schedule

SCHEDULE IS TENTATIVE AND IS SUBJECT TO CHANGE

Master Schedule Google Sheet

What You Will 2023 Winners!

“sound trumpets” (henry vi).

Our Winners

World book day competition from coram beanstalk, the costume designer: an expert in style, introducing... shakespeare schools film festival.

Our flagship project is the Festival - the world’s largest youth drama festival.

Every pound helps to give a young person crucial life skills, confidence, self-esteem and collaboration which last long after the curtain falls.

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How Coram Shakespeare Schools Foundation helped Ben overcome his stammer

Coram SSF is a cultural education charity that exists to instil curiosity and empathy, aspiration and self-esteem, literacy and teamwork - giving young people the confidence to see that all the world is their stage.

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SGCNZ Regional UOSWSF 2024

IMPORTANT NOTICE FOR ALL PARTICIPANTS: Please make sure you fill in the MYD survey https://www.surveymonkey.com/r/ShakespeareGCNZ_PF . It takes a couple of minutes and it helps our organisation continue to put on our festivals. For more details regarding this, please see further down the page. Thank you!

The Regional University of Otago Sheilah Winn Shakespeare Festivals are coming up!

Get ready to view 5 – 15 minute scenes from Shakespeare’s timeless plays performed by Shakespeare- and Drama-loving students from your Area.

The Festivals will take place from late March to 12 April 2024. The list is subject to change, but will be updated regularly.

Find out how to get in contact with your local Regional Representative and Information about Dates, Tickets and Criteria in the list below.

2024 Criteria and Guidelines SGCNZ UOSWSF

Information and general details about the festivals

How to register for the festivals

Regional registration helpful screenshot

Regional Assessment Criteria

Scene Suggestions Want to be one of the Performers bringing Shakespeare to life in front of an audience of Shakespeare lovers and have the chance to eventually be selected to perform at the Globe in London?

Have a look at the SGCNZ University of Otago Sheilah Winn Shakespeare Festivals 5 & 15 minute Scene Suggestions and be inspired by recorded previous productions via Glass Gecko Films  ‘Shakespeare on Demand’, & our alumni Libby Frazer’s short video https://www.youtube.com/watch?v=HTw5zjsmV4w – get your classmates involved and enter at otago.ac.nz/shakespeare

SGCNZ University of Otago Sheilah Winn National Shakespeare Festival 2024

Time to get excited to see the 48 finest performances of scenes from all of Shakespeare’s plays!

We are excited to announce that the SGCNZ University of Otago Sheilah Winn National Shakespeare  Festival will take place between Thursday 30 May 2024 at 4.00 pm and Monday 3 June at 12 noon.

It will be held on 30 May 2024 at Te Whaea, in the AM on 31 May 2024 at Wellington East Girls’ College, on June 1 & 2 June 2024 at St James Theatre and on 3 June at the Banquet Hall, Parliament (tbc).

Tickets will be available on Ticketmaster.

National Festival Schedule 2024 (PDF)

SGCNZ University of Otago Sheilah Winn Shakespeare Festival NON PERFORMER SHAREPOINT LINK 2024 Find the Schedule, Information Pack and Forms here: SGCNZ National UOSWSF 2024 Non Perf Info Pack

PUBLIC PERFORMANCES SCHEDULE (PDF)

Please note: Every effort has been made to ensure that the following documents are up to date, but things change fast and may well be out of date/closed/unavailable by the time you need them. Please double check with the venue/place/hotel. Thank you.

Accommodation options (PDF)

Theatre Events and Attractions

Dining Options

MINISTRY OF YOUTH DEVELOPMENT SURVEY

IMPORTANT NOTICE FOR ALL PARTICIPANTS: Participant Feedback link for Jan 1st – June 30th 2024

https://www.surveymonkey.com/r/ShakespeareGCNZ_PF

We are asking all participants in SGCNZ’s activities – SGCNZ UOSWSF, SGCNZ NSSP, SGCNZ YSC, SGCNZ Dance Nimble Soles, SGCNZ PPWS and Competitions between 12 and 24 years old to complete this survey from the Ministry of Youth Development.

Funding from this source is contingent on us having at least 3500 people respond  about their experience of being involved in any of these activities in whatever capacities – acting, directing, mentoring, crew, front of house, MCs, volunteering…. gaining new skills, friends, cultural and inclusivity awareness, and much more. Positivity will ensure our continuation! As the MYD age range is from 12 – 24, it is not just for those still at school or university.

Any queries about this, please contact Dawn Sanders, [email protected]

M: 027 283 6016 P: 04 384 1300

SGCNZ University of Otago Sheilah Winn National Shakespeare Festival 2023 Award Results

SGCNZ are delighted to announce the award recipients of our National UOSWSF 2023! You can find the full list HERE

Congratulations to all award recipients and to everyone else as well! What a weekend of talented performers, supportive audiences, helpful volunteers, and more! Thank you to one and all!

SGCNZ UOSWSF 2017 – 2022  National Festival now available on Vimeo! 

The Vimeo from the SGCNZ e-National UOSWSF is now available to view! 46 outstanding selected scenes by secondary students from throughout NZ & our allied Competition Winners Plus hours more viewing including:

• SGCNZ e-Regional UOSWSF 2020
• Award winning scenes from the entire span of Shakespeare’s work
• Performances from the SGCNZ Young Shakespeare Company
• Three plays from the 2017 & 2019 SGCNZ National Shakespeare Schools Production

Subscription Costs To Binge (US$10 a Month*) Or Not To Binge (US$40 a Year)

That is the Question! (* Monthly Subscriptions are recurring until terminated, so choose the Annual option for better value) An excellent resource for Schools participating in SGCNZ events or as exemplars and aids for Drama and English Departments internationally.

Great viewing for any Bardolator.

Click the “SGCNZ Shakespeare On-Demand” link to watch!

Buy Videos on the  Glass Gecko Films Home Page.

If you want to know more about the SGCNZ UOSWSF and its impact on the student, watch the following documentary called Shakespeare in Motion . Project-managed by SGCNZ PPWS Alumna Maddie Brooks Gillespie, this video is a great testament to how performing Shakespeare impacts the students participating in the SGCNZ Shakespeare Festivals.

What are SGCNZ’s UOSWSF?

Each year, SGCNZ holds 24 Festivals nationwide, in which  secondary-age students, from 11 to 19 years old, perform 5- and 15-minute scenes from Shakespeare’s plays, set in any time, place, dress – though definitely in Shakespeare’s words. The Regional Festivals are scheduled between mid-March and mid-April.

An outstanding 5- and 15-minute scene from each region are then chosen to perform at the National Festival, held over King’s Birthday weekend in Wellington at the Michael Fowler Centre and Opera House. There are awards of certificates, books and even some money. Leading theatre practitioners present 22 workshops, give talks, advice, and view emerging talent. Groups of students may pay to participate in the workshops and attend the public performances on the Friday and Saturday if not chosen to perform.  Contact us  for further information.

SGCNZ believe in making the festival affordable for all participants, so individual entry fees do not apply. Schools/ Home School Cluster Groups, however, must be financial members at the time of participation in their Regional Festival and the National Festival. Subscriptions are per calendar year, and cost $200 (gst inclusive) for Schools, or $110 (gst inclusive) for Home School Cluster Groups.

SGCNZ’s allied competitions offer students the option to explore design, music, and essay-writing. For more more information about the competitions please see here .

The competition finalists are invited to attend the UOSWSF workshops and can attend the festival performances and the Award Ceremony free of charge. They will receive their monetary prizes at the Award Ceremony on the Sunday evening of the National Festival.

SGCNZ NSSP & YSC

Then there are further opportunities!

The Supreme Winner of the SGCNZ/Tony Catford Shakespeare Costume Competition and SGCNZ/Morrison Music Trust Competition and 46 students selected from the Regional and National Festivals attend the SGCNZ National Shakespeare Schools Production (NSSP), a week-long intensive course with workshops, rehearsals and culminating performances.

SGCNZ NSSP is held in the September/October holiday each year. During this week, 24 students are chosen to form SGCNZ Young Shakespeare Company (SGCNZ YSC) and travel to the Globe in London and Stratford Upon Avon for two and a half weeks in July the following year (fees apply).

History of SGCNZ’s Festivals

Just nine months after the founding of Shakespeare Globe Centre New Zealand in June 1991, SGCNZ held its first Regional Shakespeare Festival in Schools. The Sheilah Maureen Winn Charitable Trust came to the party to assist with funding from the first National Festival soon after. In 2006 the University of Otago entered the scene with a significant contribution, which resulted in the rebranding to the SGCNZ University of Otago Sheilah Winn Shakespeare Festivals. This much appreciated partnership has continued, along with valued contributions from other sponsors.

From the initial seven regions, the Festivals have grown to 24 regions. Over 5500 students each year from over half the schools with secondary students perform the 5-minute student-directed and 15 minute adult or student-directed scenes. One of each is chosen to be performed at the National Festival at King’s Birthday weekend each year, where participants attend talks, workshops and other performances. Specific criteria have been introduced to include an additional scene in Regions with very large participation. These are outlined in the Board Policy document.

With more than 131,500 students nationwide having participated in the first 31 years of the Festivals, the impact can now be seen on stages throughout the country, big and small screens, backstage, front of house, in various arts administrative roles, and in a vast array of non-theatre based positions. Check out what some of our alumni are up to here .

“ The SGCNZ University of Otago Sheilah Winn Shakespeare Festival is EPIC…thank you to all who make it happen…”

“The UOSWSF has been an amazing opportunity that I have benefited from every year for the past five years…”

PAST FESTIVALS

Sgcnz university of otago sheilah winn national shakespeare festival 2022.

The Performance schedule for the 2022 SGCNZ University of Otago Sheilah Winn National Shakespeare Festival has been finalized.

What a wonderful weekend with wonderful interpretations of Shakespeare’s work.   Link to Performance Schedule.

SGCNZ REGIONAL UOSWSF 2022

We are thrilled to announce the dates for the Regional and National University of Otago Sheilah Winn Shakespeare Festival! This list is subject to change in the current uncertain climate, but we will be updating the information regularly. Regional festivals will take place between Sunday 3 April and Wednesday 13 April. The National Festival will take place between Thursday 2 June and Monday 6 June. You can also find contact information for your local festival via the link below:

Click here for Regional and National Shakespeare Festivals 2022 Dates and Information

Click here for Regional Festivals 2022 modus operandi

SGCNZ UOSWSF ZOOM Q&A Tuesday 29 March 4.30pm-5.30pm

‘In the Wings’ Covid 2022 SGCNZ e-UOSWSF Plan of Action

Covid 2022 SGCNZ e-UOSWSF Plan of Action

In the highly probable situation of Covid affecting one or more regions or schools again this year, SGCNZ has in place an emergency digital plan – ‘In the Wings’.

A list of all the Regions and their current methodology on the presentation of their Festivals will be posted here soon.

Here is the slightly tweaked final version of the SGCNZ University of Otago Sheilah Winn Shakespeare Festival Filming Guidelines  of 2020 for use this year for groups to follow with regard filming rules.

All groups should film their scenes as soon as they are able or feel ready to, remembering simplicity and largely use of the camera as audience are what is required, rather than creating an elaborate short film.

It will be also be useful to preview these to self-evaluate your scene, even if it is performed live, which we certainly hope they can be, especially at the National Festival.

If a whole Region needs or wants to ‘go digital’, the films can be submitted and will be assessed in the same way as in 2020 year, through the process outlined in the Guidelines. If just a few schools are closed, they can submit their scenes on film, via Glass Gecko Films, to be assessed by their Region’s assigned Assessors and selections made under the same policies, and the others remain live.

There are various options of ‘live’ Festivals, depending on the Region. In some, the plan is to proceed as though the Festival will proceed as normal, though with mask wearing and My Vaccine Passes. Viewing these will be requested at non-school venues. Numbers of audience members and social distancing will be updated as ‘Traffic Lights flicker and change’!

Some Festivals will be held in one school, with groups coming in one or two schools at a time, to perform and be assessed, maybe with a small audience. In others, Assessors will go from school to school. Some may be able to have them almost normally, though with masks and seating as defined.

Please adhere to your Region’s methodology – unless you decide to move all your entries to join a different Region. Ask your Regional Representative if you are unsure of any details – or Dawn Sanders if these are unable to be answered by them.

However, if ‘Traffic Light’ restrictions preclude all live components, rest assured, we are ready to respond immediately and again create e-Festivals as necessary and Glass Gecko Films receive your films you have ‘waiting in the wings’! These worked in 2020!!

Please contact Dawn Sanders, SGCNZ CEO if you have any queries M: 027 283 6016 P: 04 384 1300 (W) E: [email protected]

Updated 10/02/22

FESTIVAL ON – SGCNZ UOSWSF 2022

The thrill of being back on stage live again for SGCNZ’s University of Otago Sheilah Winn Shakespeare Festivals in our 30 th  anniversary year, is still resonating, with the beautifully filmed version  and fantastic photos  now available. For prospective and experienced directors alike, it is worth paying a $15 Membership for a month’s subscription to ‘Shakespeare on Demand’ via Glass Gecko Films to watch and share ideas and techniques in inspire your ‘imaginary forces’.

All being well, next year’s Festivals will take a similar format, with the Regional Festivals taking place at some stage in the last 3 weeks of Term I and the National Festival over Queen’s Birthday Weekend 2-6 June 2022 . If the renovations are not too Covid-constrained, we will be back in the St James for the National Festival! However, the Michael Fowler Centre is also booked, just in case.

For 2022 intendent directors, a great thing to do during Lockdown, between studying/teaching, is having a look at the SGCNZ University of Otago Sheilah Winn Shakespeare Festivals Scene Suggestions and recorded previous productions as mentioned above. So start thinking about yours!

STOP PRESS!  We are now officially welcoming Community Groups to participate in our Festivals – Year 7-13 aged 11-19, and in  Primarily Playing with Shakespeare  Year 1-8 ages 5-12. Contact us for more information.

Thank you again to all those who made this year’s happen, the sponsors, mentioned in detail in our last issue, the award donors (see list in this issue), the Regional Representatives, Assessors, Selectors, teachers/directors,  crews – backstage and front of house, volunteers, parents, audiences …and of course, all the enthusiastic participants nationwide.

Here’s to an exciting, and let’s hope, uncompromised, 2022!

SGCNZ NATIONAL UOSWSF 2021

What a fantastic feast of Shakespeare all the current Shakey Sponges delivered in SGCNZ’s Regional, and National University of Otago Sheilah Winn Shakespeare Festival over Queen’s Birthday Weekend! Warmest congratulations to all – so much innovation, imaginative concepts and commitment. Wonderful to see The Bard live again on stage by hundreds of courageous and enterprising young people from throughout the country!!

Festival Dates

Regional and National UOSWSF 2021 festival dates: Click here

Awards There is no ‘winner’ – awards are made to celebrate specific areas of ability, skills and excellence. To download the Awards List please click here.

Photos Photos of your performances and the Awards Ceremony can be ordered from Brian Scurfield of Memory of Light Photography.

Film Kelsey of Glass Gecko Films filmed all of the SGCNZ National UOSWSF performances so you can relive your time on stage or share your performance with loved ones who were unable to attend. These can be purchased individually from Glass Gecko Films or a subscribe to the SGCNZ Streaming Channel on Vimeo for access to the whole Festival Weekend along with performances from other years! Click here for more information .

Merchandise  Looking for something to commemorate your Festival experience? From apparel and jewellery to books, mementos and activities we have something for everyone! Download the order form here  or contact the office to find out more.

‘The apparel oft proclaims the man’  – Hamlet

Feedback Send us an email or letter and message us on social media. All of  your messages and thoughts are collected to endorse the benefit of our funding, improve our programmes and ensure SGCNZ is able to keep going for another 30 years!

University of Otago A message from SGCNZ Alumni studying at Otago in 2021.

Thursday 3- Monday 7 June 2021 | Wellington

We are planning for this to be an exceptional Festival in every facet, celebrating our 30 years of them!! We can’t wait to see you in Wellington for SGCNZ National UOSWSF 2021!

Click here for the exciting schedule full of stimulating learning and enjoyable experiences alongside the magnificent performances of the National Festival Participants.

For those travelling to Wellington we have created a list of some of the accommodation providers, including some discounts – all subject to availability. Click here for the accommodation list.

Performance Schedule

The Festival Weekend is split into three sessions at the Michael Fowler Centre and followed by a closing session at Parliament. For the full performance schedule click here.

Saturday 5 June Session One ~ Student Performances. Sunday 6 June Session Two ~ Student Performances and Inspiring Alumni Performances & Presentations. Session Three ~ SGCNZ YSC Performances, Competition Prize Giving & Scene Award Ceremony. Monday 7 June Closing Session ~ Assessors and Selectors Feedback Session & Inspiring Arts Careers Forum.

Ticket sales are now open via TicketMaster  ~ Buy Tickets . You can purchase tickets to each individual session or a discounted pass to all three sessions at the Michael Fowler Centre. Please note booking fees will apply.

To purchase tickets to the closing session at Parliament please contact the SGCNZ office 

National Festival Information Packs and Forms

For digital copies of the performer and non performer information packs please contact us directly.

Download the Performer Information Pack  Forms here

Download the Non Performer Information Pack Forms here

Dinner Options In between the Sunday performances and the evening YSC Performance & Awards & Prizegiving Ceremony there is break to purchase dinner outside the Michael Fowler Centre. We recommend booking in advance and letting the restaurant know that you will need quick service as you have to get back before 6.45pm to be seated.

Wellington has a plethora of fabulous restaurants to choose from! Here is a compilation of many in the area surround the Michael Fowler Centre. Please note all this information was correct when the document was compiled but may change, these restaurants are not endorsed by SGCNZ. For the Restaurant List click here. 1

This page will be updated as information is finalised.

If you have any questions please don’t hesitate to contact us 

SGCNZ REGIONAL UOSWSF 2021

Friends, teachers, students, lend us your ears….

Congratulations to all the participants of our SGCNZ Regional University of Otago Sheilah Winn Shakespeare Festivals!  Over the last month stages across the country have come alive with your amazing, creative and innovative interpretations of the Bard and we applaud your hard work and verve!

We look forward to seeing many of you at our National Festival – remember entry is open to non-performers too.

Be inspired by the wonderful Workshop Tutors, words of wisdom from the Assessors and each other!!

Regional Festival Results | Coming Soon

g Wellington 13-15 April – Wellington East Girls’ College

An exciting panoply of plays wowed the audience every evening- from crowd favourites including Twelfth Night and A Midsummer Night’s Dream to seldom performed gems such as Cymbeline and The Two Noble Kinsmen . Congratulations to all those involved on and off the stage!

For Results and Awards click here

The Wellington Regional Festival was covered by Photographer Brian Scurfield and Videographer Sally Bollinger – order your digital memories today!

Photos- click here ——– Video- click here

Regional and National Festival Dates

Click here for the Regional and National Festival dates and contact information

Please bear in mind this document is continuously updated as more information is confirmed and will also remain flexible should there be any more COVID-19 constraints. Contact us for more information if required.

Last updated: 22 March 2021

Registrations are open now! Fill out the SGCNZ UOSWSF online registration form on the University of Otago website and start rehearsing today.  UOSWSF Registration Form

For instructions on how to to fill in the SGCNZ UOSWSF registration form at the University of Otago website  click here.

Please contact us if you have any problems or queries about registering.

Inspiration

If you need some help deciding where to begin with choosing your 5 or 15 minute pieces, here are a few  Scene Suggestions. 

Glass Gecko Films is providing a new service: SGCNZ Shakespeare-On-Demand (SOD) Video Subscription Service . An excellent resource for schools participating in SGCNZ events or as exemplars and aids for Drama and English Departments. Go to Glass Gecko’s website for more information.

‘Name what part I am for, and proceed’- Bottom, A Midsummer Night’s Dream

‘In the Wings’ Covid 2021 SGCNZ e-UOSWSF Plan of Action

In the possible situation of Covid affecting one or more regions again this year, SGCNZ has in place an emergency digital plan – ‘In the Wings’.

Here is the slightly tweaked final version of the SGCNZ University of Otago Sheilah Winn Shakespeare Festival Filming Guidelines  of 2020 for use this year if necessary. This information is also available on the University of Otago registration website .

If a whole Region needs to ‘go digital’, it can be submitted and will be assessed in the same way as last year, through the process outlined in the Guidelines. If just a few schools are closed, they can submit their scenes on film to be assessed in a collective Virtual Region, which will be viewed by assigned Assessors and selections made under the same policies.

It is recommended that all groups film their scenes as soon as they are able or feel ready to, remembering simplicity and use of the camera as audience is what is required, rather than creating an elaborate short film. It will be useful to preview these to self-evaluate your scene, even if it is performed live, which we certainly hope all can be.

However, if a Lockdown call is made which precludes this, rest assured, we are ready to respond immediately and again create e-Festivals as necessary and receive your films you have ‘waiting in the wings’! These worked last year!!

Please contact Dawn Sanders, SGCNZ CEO if you have any queries M: 027 283 6016 LL: 04 384 1300 E: [email protected]

Last updated: 4 March 2021

SGCNZ UOSWSF 2020

SGCNZ COVID-19 e-National UOSWSF Scene Award Recipients!

What a fantastic weekend having the pleasure of seeing all of your ingenious, innovative and brave approaches to Shakespeare which were selected for the SGCNZ e-National UOSWSF – mostly rehearsed and some even filmed mid-COVID-19 lockdown levels!

Incredibly hard decisions were made by those of us in the same room in Wellington – Scene Assessors Ryan Hartigan (University of Otago) and Salesi Le’ota and SGCNZ CEO Dawn Sanders – plus Scene Assessor John Gardyne (Trinity College, London) who joined us via Zoom at 5am UK-time!

We’re super excited to announce the Scene Award recipients…

Click here to download the list

A huge congratulations again to everyone who confronted COVID by entering the Festival in spite of all the challenges presented.

Watch this space in about a week’s time for the SGCNZ NSSP List!

SGCNZ e-National UOSWSF scenes announced! 

Congratulations to all who entered this year’s SGCNZ COVID-19 e-Regional University of Otago Sheilah Winn Shakespeare Festivals! We were overwhelmed by your fantastic creativity and how you embraced the constraints of rehearsing and filming scenes over lockdown.

We are delighted to announce the groups from the 24 e-Regional Festivals who have been selected for the e-National Festival, which will be assessed on 25 & 26 July.

The films from each Regional Festival and the National Festival will be made available on Vimeo – watch this space for details on how and when to access them.

SGCNZ COVID-19 University of Otago Sheilah Winn Shakespeare Festivals

So exciting – at last!! With the announcement of the move to Level 2 confirmed to take effect from Monday 18 May, we will do as promised and give you an extra week to get the films in to GlassGeckoFilms.

Glass Gecko Films have devised a method of capturing all the work so many have done to creating entries for the SGCNZ Regional University of Otago Sheilah Winn Shakespeare Festivals, here are the specifications of what is required and how to submit your filmed scene.   Please adhere to all the instructions and timings.

The Guidelines for Filming and Assessment  have been re-worked to suit the new digital format of the 2020 UOSWSF’s.

We would like everyone to try to get their films in by Friday 12 June – or earlier, so that GlassGecko does not get swamped with them on the closing date of 5pm on Monday 15 June.

Final Registration will be due on Tuesday 2 June. That will give you Queen’s Birthday Weekend (usually the National Festival!) for the final entering and checking of information on the University of Otago Registration page. 

Be sure you have the name of the play correctly spelt and in the right line, and the act and scene written as eg Act IV scene iii. Note the upper case A for Act and upper case Roman numerals for the number/s of that and lower case scene and Roman numerals for them. All this accuracy is vital for uniformity and to create a fully professional visual image in every way. Only you can update, or enter new, information on the Registration Page, as neither SGCNZ, nor GlassGecko has access to your password. What you write, is what will appear on the screen.

We also have a new opportunity for student photographers to submit production photographs of your filmed pieces. There will be an award for best photography of a performance. For more information see the Photography guidelines .

We look forward to seeing it, as will all those around NZ and, potentially, the world!

Contact Dawn Sanders E: [email protected] or M: 027 283 6016 with any queries.

2020 Regional Festival Dates & Closing Dates

Instructions on how to to fill in the  SGCNZ UOSWSF registration form  at the University of Otago website

SGCNZ UOSWSF 2019

SGCNZ UOSWSF results are out now.  Congratulations to everyone involved in the National Festival for 2019. Thank you to all participants for a fantastic weekend!

To order a DVD or MP4 of the performances, go to Glass Gecko Films

To  purchase photos of the performances, go to Memory of Light Photography

SGCNZ UOSWSF 2019 Performance Schedule

SGCNZ National UOSWSF  Schedule

Results are available for the SGCNZ Wellington Regional UOSWSF

SGCNZ National UOSWSF 2018

All students who performed in the National Festival can be extremely proud of themselves. Thank you to all participants for a fantastic and magical weekend!  Click here to find out who excelled in which category.

Click here to view the performance schedule

SGCNZ National UOSWSF 2017

Over 400 years after the Bard’s death, his words are more alive than ever, and the creativity, enthusiasm and talent of New Zealand’s youth shows that Shakespeare’s plays have lost none of their relevance.. Due to popular demand Shakespeare Globe Centre NZ added another region, which means that Shakespeare’s words and works were celebrated in 24 Regional Festivals.

Click here to find out who excelled in which category

Order a DVD or MP4 of the performances from  Glass Gecko Films

Order official photos from Memory of Light photography

  Click here to see the performance schedule

SGCNZ National UOSWSF 2016

Watch the sgcnz uoswsf 2016 music montage by glass gecko here.

What a Festival it was! We were excited to present the SGCNZ National University of Otago Sheilah Winn Shakespeare Festival 2016 at the Michael Fowler Centre, St James Theatre and Parliament.

Have a look at the Festival schedule

Click here to see the performance schedule

Not only did we have Diana Devlin assess at the 2016 Festival, but she also gave a talk at Parliament on Monday after the Assessors’ feedback session.

SGCNZ Regional UOSWSF 2016

2016 was  an exciting year for Shakespeare Globe Centre NZ. Not only was it the Quattro Centennial of Shakespeare’s death, but it was also the 25th anniversary of SGCNZ and the University of Otago Sheilah Winn Shakespeare Festival, making the 23 Regional Festivals throughout the country and the palpable excitement from the numerous participants all the more special.

The dates for the SGCNZ Regional and National University of Otago Sheilah Winn Shakespeare Festivals 2016 were:

Dates for SGCNZ UOSWSF 2016

 SGCNZ Wellington Regional UOSWSF 2016

Students in the Wellington region were zealously learning their lines, rehearsing their scenes and preparing themselves for the 25th SGCNZ Wellington Regional University of Otago Sheilah Winn Shakespeare Festival from 12-14 April 2016 at Wellington East Girls’ College.

For those participants in the Wellington Regional Festival who would like to view the photos taken at that time, please go to www.brianbarrett.co.nz or email [email protected]

SGCNZ National UOSWSF 2015

View the results of SGCNZ National UOSWSF 2015

View the Competition Winners

Order the official Festival photographs by Mel Waite Photography ,  [email protected]

Regional Festivals 2015

For those participants in the Wellington Regional Festival who would like to view the photos taken at that time, please go to www.brianbarrett.co.nz or email [email protected] ~~~

Each year, SGCNZ holds 23 Festivals nationwide, in which high school students perform five and 15 minute scenes from Shakespeare’s plays, set in any time, place, dress – though definitely in Shakespeare’s words. The Regional Festivals 2015 were scheduled between late March and the end of April. View the 2015 Regional Festival dates

SGCNZ UOSWSF 2014 & 2013

Download the results of the 2014 SGCNZ UOSWSF here.

Click here for Amy Schulz’s photographs of SGCNZ National UOSWSF 2014 performances.  Photographs can be ordered from her website.

Download the 2014 SGCNZ National UOSWSF DVD Order Form

Download the full list of award winners from the 2013 SGCNZ National UOSWSF

Shakespeare Globe Centre New Zealand most gratefully acknowledges the support for the SGCNZ University of Otago Sheilah Winn Shakespeare Festival from the following:

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Home > Competitions > Performing Shakespeare

‘To perform at Shakespeare’s Globe is a fantastic opportunity’

Watch the webinar

Performing Shakespeare

• What : Inclusive, accessible competition allowing students to perform Shakespeare and practise their oracy and drama skills
• Age: Ages 11 – 14 (Years 7 – 9)
• Price: £55 per school; subsidies and fee waivers available for schools with high FSMs and EAL
• When: Heats begin in November, with the grand final in June
• Watch :  Our introductory webinar to find out more
• How: Registration runs June-September each year

Our Performing Shakespeare Competition inspires students to express their passion, ideas and imagination through the medium of performance, while simultaneously developing fundamental oracy skills.

From ‘bedazzled’ to ‘scuffles’, Shakespeare was one of the greatest inventors of new words the English language has ever seen. The English-Speaking Union’s Performing Shakespeare Competition encourages Key Stage 3 and home-schooled pupils in England and Wales to discover and share his love of language, inviting them to perform a monologue or duologue from any of Shakespeare’s plays, in whichever way they choose.

Crucially, students must also introduce their performance, thereby enhancing their public speaking and engagement skills.

The competition not only brings to life the Shakespeare study requirement in the curriculum in an innovative and exciting way, but it also enables students to develop their creativity, their confidence and their ability to express themselves – crucial skills for the classroom as well as the wider world.

Schools host the first round internally from November to December – and don’t worry, we’ll provide you with everything you need to help the process run smoothly. Teachers then select their best entries to go through to Round 2 which take place from February to March. Regional finals are held in May. The Grand Final takes place in June, and is held in a professional theatrical venue.

Watch our introductory webinar to find out more.

One performance from each regional final progresses to the grand final in June, which will be held at Shakespeare’s Globe in London, and which includes a professionally-led workshop for all competitors. All teachers of students who reach this stage also receive a free, one-hour CPD session delivered by Shakespeare’s Globe. At the grand final there are prizes for the winner and runner-up, as well as the Don Miller Audience Choice Award.

‘The students enjoy the Performing Shakespeare Competition because it's fun but it's also a challenge, it stretches them. And it appeals to all abilities including SEN students. ’

Jenny Wafer

Head of Drama, Lincoln Minster School

• Brings Key Stage 3 national curriculum Shakespeare content to life, helping students to engage more fully with the texts they are studying.
• Focuses on oracy and public speaking skills via the introductory oracy component.
• Supportive, friendly format that builds confidence, oracy and presentation skills.
• Our most accessible competition, boosting social mobility and broadening students’ horizons and opportunities.
• Easy-to-follow judging guidelines for the school rounds.
• Experienced ESU and professional judges at the branch, regional and grand final rounds.
• Regular hints, tips and resources to prepare your students for the competition.
• Builds links and camaraderie with other schools both locally and nationally.
• A prestigious competition across England and Wales, highly motivating for students and the school as a whole.
• A chance to see your students perform on stage.

‘The Performing Shakespeare competition is a wonderful way to get Key Stage 3 students involved in expressing themselves through performance. I’ve been able to use it as a foundation for an inter-house competition, which students throughout the school have engaged with keenly.’

Victoria Ward, Teacher at Dame Allan’s School, Newcastle

Sign up here to receive our schools’ newsletter filled with free resources

Keep in touch.

See the competition in action and watch Toby’s joint-winning performance of a speech from Henry V , Act III, scene i.

April and Luke, left, from Brynteg Comprehensive School in Bridgend won the Don Miller audience choice award for their performance as Katherine and Petruchio (Act II, scene i) in The Taming of the Shrew .

You can watch all the other performances from the final on our YouTube channel .

Hear from Carol Rutter, Professor of Shakespeare and Performance Studies at the University of Warwick, about why the introductory speech is so important, and how to prepare for it.

Anais Osmënaj , Albania IPSC Participant, 2023

The best experience I have ever had.

You should really try this experience, because you won’t ever forget it.

I'm so excited to be an ambassador for my country. I want to motivate every single person to take part in this competition - for the new experience, for the new people, and for the feedback you get. The judges and the coaches were super friendly - I had an amazing time.

Louise Robson , (English teacher) from St. Catherine’s School, Guildford, 2023

The ESU's free resources have enabled me to diversify my classroom a little bit. I often will bring in a debating measure, or public speaking measure, that maybe I wouldn’t have bothered with if the resources weren’t there, but the children really, really enjoy it’.

Alex, Yr 13, Mayfield Grammar School ,2023

I started debate because I don’t like talking, I'm quite socially anxious,   but I quickly realised it was something I was actually good at despite that. I’m quite a rational person, and so much of debating is fact-finding and coming up with good arguments. I just find it so interesting - you get so much knowledge about things you’d never think you’d care about, but you do

Catherine West , Labour MP and Shadow Foreign Minister and one of panel of judges for IPSC 2023

The participants broached some difficult subjects around how freedom of expression isn't available to all young people. They showed intense sensitivity, but also, they're smart and I think that combination is very encouraging for the future.

A big thank you to everyone who’s put the programme together.

Brendan Borer , Leader of the Debate Club at Mayfield Grammar School , 2023

Debate is a good way of improving the students’ cultural capital - giving them the skills they need to go into higher education, building up their confidence, and helping them to develop arguments, which translates to their written skills.

Vivienne Smith , Oracy Leader experience of delivering DYV workshops.

I now deliver ESU speaking or debating workshops every month in a satisfyingly diverse range of schools.

This is all the joy of teaching young people, minus the marking, planning and petty bureaucracy that most teachers suffer the burden of. I love the challenge of enthusing a group of (often shy and tongue-tied) teenagers.

By the end, everyone has had a chance to speak. Quiet pupils learn that they have a lot to offer, whilst confident children learn the value of listening and respecting other points of view.

Annabel Thomas MacGregor , Annabel Thomas MacGregor

‘Being able to think on your feet and respond to what other people say, using evidence and reasoning to back up your arguments – these are life skills that everybody needs,’

Jason Vit , from The National Literacy Trust and guest judge,2023

Debating is such a great skill for young people to learn. It teaches you to think critically, to research and, most importantly, it teaches you not to be taken in by the easy or the obvious argument. When we’re faced with fake news, we need citizens of the world who are intelligent, who are critical, who are questioning the information they are presented with.

Heather James , (Associate Assistant Headteacher - Teaching, Learning and PDW) , Grey Court School (Richmond, LDN)

The impact of the day extended far beyond the immediate experience, as evidenced by the numerous emails from parents expressing their delight. Parents reported that their children returned home enthusiastic and animated about the day's activities. In the post-COVID era, there has been a heightened emphasis on oracy and communication in UK schools, making this workshop timely and invaluable for providing students with the opportunity to shine.

Maryam Pasha , Director of TedxLondon and one of the panel of judges for IPSC 2023 , London

Learning these skills at this age puts you in such a good position for the rest of your life. To have confidence in how to construct an argument, how to tell stories, how to interact with an audience, and how to feel grounded in your delivery, is always going to be an asset going forward.

More than that though, this competition allows participants to realise that there are people from halfway around the world who they may have more in common with than someone who’s in the same class as them at home. You start to see all the richness of difference and diversity, and how valuable that is.

Merchant Of Venice Monologue Act 3 Scene 1 Ben Spiller

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The Two Gentlemen Of Verona Monologue Act 4 Scene 3 Karen Whyte

PDF (351.4KB)

Richard II Monologue Act 3 Scene 2 Pete Creates

PDF (306.0KB)

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Register your school today.

If you have any questions or queries about the Performing Shakespeare competition please email [email protected] or call 020 7529 1565

Additional Shakespeare resources

The Royal Shakespeare Company (RSC) has many excellent, free resources for students and teachers who want to access and unlock Shakespeare.

Visit the RSC education website  or  Visit the Globe’s learning webpage to find out more.

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Shakespeare Week 2023 Competition Winners Announced

For shakespeare week 2023 we invited children to make a creative shakespeare-inspired book of their own in celebration of the 400th anniversary of the publication of shakespeare's first folio..

Young book makers are being celebrated this summer as the Shakespeare Birthplace Trust (SBT) the organisers of Shakespeare Week announce their competition winners for 2023 and look forward to plans for the 10th anniversary of Shakespeare Week in 2024.

Run by independent charity, the Shakespeare Birthplace Trust (SBT), Shakespeare Week has grown into an influential, annual event in schools and families across the UK, bringing the iconic playwright to life and creating a positive first experience with Shakespeare for all children across the UK.

Themed around Creativity , Shakespeare Week 2023 focused on Shakespeare’s innovative use of language and involved a children’s book making competition titled ‘ Write till your ink be dry ’ to coincide with the 400th anniversary of the publication of The First Folio , (the book that brought all of Shakespeare’s works into a single volume for the first time).

"Shakespeare Week 2023 has been a great success, we engaged with over 11,500 schools across the country, with over 200 schools participating in Shakespeare Week for the first time’’.

Said Sally Gray, Shakespeare Week Project Manager at the Shakespeare Birthplace Trust, the organiser of Shakespeare Week.

The competition, which was supported by beloved children's authors including Michael Rosen and Marcia Williams and endorsed by Waterstones Children's Laureate Joseph Coelho, received over 1,000 entries from school children aged between 4 and 11 years. After careful consideration, 18 winners and two overall school winners were chosen, and their work is now exhibited in a free online exhibition accessible to all.

One of the school winners of the competition is Claverdon Primary School near Warwick.

"We are incredibly delighted to have been awarded joint first place in this year’s Shakespeare Week Competition. We are beyond proud of the work each and every child in our school completed.

"We are very lucky to live and teach so close to Stratford-Upon-Avon and have the opportunity to embed Shakespeare's plays into our curriculum. Each year group focused on a different play and were given the opportunity to decide how to present their writing, artwork etc. in their own version of The First Folio! We were blown away by the children's creativity and are very grateful to have this acknowledged by the Shakespeare Birthplace Trust."

Commented Head Teacher, Dan Powell

As part of the competition, 95 librarians received online training in creative Shakespeare-inspired bookmaking for children so that they could run sessions in their libraries and train other librarians in their authorities.

‘’From short stories to a collection of sonnets, we are happy to share the entries in our ‘Write till your ink be dry’ online exhibition. We hope they inspire more people of all ages and backgrounds around the nation to creatively engage with Shakespeare.’’

Continued Sally

Shakespeare Week 2023 also featured online broadcasts with children's celebrities including Michael Rosen, Ben Cajee, and Martin Brown from Horrible Histories, the publication and distribution of Volume II of Will's Word Warriors to 10,000 children and special learning and performance events in Nottingham, Oxford and Newcastle, including the Shakespeare Week launch at Nottingham University’s Lakeside Arts venue. The showcase events were supported by eight Shakespeare Hub schools, involving a total of 300 children.

Building on the successes of 2023, the SBT is already planning Shakespeare Week 2024, marking the 10th anniversary of the national celebration. From 18 - 24 March, Shakespeare Week 2024 promises to both celebrate the success of the past decade and set an ambitious direction for the programme into the next.

Visit Shakespeare Week to download resources and stay updated.

To view the winners'; responses, as well as the runners-up and a selection of highly commended entries, visit our online exhibition .

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The competition has ended. See you in 2027

Pyotr Ilyich Tchaikovsky

1840 — 1893

«Our love of Tchaikovsky from one century to the next and one generation to the next is what makes his superb music eternal.» Dmitri Shostakovich

The artistic legacy of Pyotr Ilyich Tchaikovsky has become an undeniable fixture of modern life. His music, intimately connected with folk melodies and with all the genres and the lifestyle of his era, is truly international and undiminished by time. It is recognized throughout the world both as a symbol of Russia's national music and also as an example of the universality of what is most important in mankind's thoughts and feelings, which are embodied in the music in a way that is striking and accessible to everyone.

Tchaikovsky's works cover practically all the musical forms, with an emphasis on the largest and most telling-operas and symphonies. These contain the fullest and clearest depiction of the artist's inner world as they concentrate on the intricate stirrings of the soul revealed in stark dramatic confrontations. And at the same time one of his main distinctions is a lyricism expressed through melodic beauty that draws an immediate response from the listener.

«With all my heart I would hope that my music may spread far so that there are more who love it and find consolation and encouragement in it.»

It is impossible to improve upon these words of Pyotr Ilyich Tchaikovsky to explain the meaning of his art which involves speaking «truly, honestly, and simply» about those things that are the essence of life for anyone.

Tchaikovsky's dream came true-more and more we are finding «consolation and encouragement» in his music. The composer's hundredth birthday in 1940 was celebrated as a national holiday. That was when the Moscow Conservatory and the Concert Hall of the Moscow Philharmonic were named after him. After another 18 years the first International Tchaikovsky Competition took place in the capital, and it came as one more vivid indication of the world's high regard for this great Russian composer.

It should come as no surprise that there is a meaningful coincidence right now: the milestone XV Competition falls on the 175th year after Tchaikovsky's birth. During the spring festivities in Moscow, Saint Petersburg, Klin, Votkinsk and other cities, the Competition will carry out its mission-to be both the culmination of a jubilee birthday and also to go down in history as an extraordinary artistic event that reveals to the world the new stars of classical performing mastery.

«Everything I hold dear is in Petersburg...»

It was Saint Petersburg that formed Tchaikovsky as a person and as a musician. Toward the end of his life, the city humbled its imperial pride before this man of genius. This can be explained by the patronage of Alexander III, which influenced what happened on the stage of the Imperial Mariinsky Theatre.

That was where «Sleeping Beauty» and «The Queen of Spades», had their premieres, as well as the opera-ballet double bill of «Iolanta» — «The Nutcracker», that was staged in honour of the Crown Prince.

However, there were many less glamourous but no less meaningful events-right up to the premiere of the Sixth Symphony that was understood by so few.

Tchaikovsky's parents brought him in 1850 from distant Votkinsk to St. Petersburg when he was eight years old, and the boy's childhood would have been quite ordinary had it not been for the loneliness suffered when he was separated from his parents to spend his first two years at the Imperial School of Jurisprudence. In her book «Tchaikovsky. A Lonely Life» Nina Berberova gives a speculative account of the boy's heartrending farewell to his mother, which has been employed in so many biographies and films about Tchaikovsky that it has overshadowed another fact: the happy reunion that came later,. His parents did, in fact, come and settle in St. Petersburg in 1852. On Kosoi Pereulok (Crooked Lane) at the corner of the Fontanka River opposite the school, stood the apartment of Tchaikovsky's aunt on his mother's side, Yekaterina Alexeeva. Tchaikovsky remembered how his mother would often come there and wait at the window overlooking Kosoi Pereulok and while he would sneak into his bedroom at the school to watch her from his window. Two years later in June 1854 Tchaikovsky's mother died of cholera.

From the School of Jurisprudence, from which Tchaikovsky graduated in 1859, his path would take him through the streets crisscrossing Vasilievsky Island, to the homes of his relatives, and to Nevsky Prospect and the Alexandrinsky Theater. Later on, when he studied at the free music school and conservatory located in a wing of the Demidov mansion on the corner of Demidov Pereulok and the Moika River, his evening path would lead to Leshtukov Pereulok, where his father and brothers lived, or perhaps to the loge at the opera, where he saw the premiere of Serov's «Judith», or to Mikhailovsky Hall for a concert by the Russian Musical Society. In these years the future composer was absorbing the moods and forms that would later appear in both his most lyrical pieces (the «Romeo and Juliet Fantasy Overture» and «Eugene Onegin») and in his most tragic («The Queen of Spades» and the «Pathétique.» Symphony No. 6).

In the autumn of 1861 following his first journey abroad, Tchaikovsky wrote to his sister:

«You will not believe how deeply happy I was on returning to St. Petersburg! I admit I've got a very weak spot in my heart for the Russian capital. What can I do? It's too much a part of me. Everything I hold dear is in St. Petersburg, and for me there is positively no life outside of it.»

These words are often taken at face value. The renowned choreographer George Balanchine said,

«The essence of his music shows that Tchaikovsky was a Petersburger, in the way that Pushkin and Stravinsky were Petersburgers.».

Yet Tchaikovsky's devotion to Petersburg was only part of the story. For «authentic» Petersburgers, like the so-called «Mighty Handful» of Russian composers, Tchaikovsky was always a Muscovite. In the late 1850s to early1860s, the military engineer Cui, the provincial wunderkind Balakirev, chemist and physician Borodin, the civil servant Mussorgsky, and the future naval officer Rimsky-Korsakov had all come together accidentally but almost inevitably under the rubric of the «New Russian School» as it was dubbed by Stasov, the capital's intellectual doyen. They never connected with Tchaikovsky, who fell into the orbit of Anton Rubinstein, a star of musical life in St. Petersburg and founder of the first conservatory in Russia. Tchaikovsky with his reticence and preoccupation with music was attracted by Rubinstein's passion for community service and missionary ambition.

Moscow - city of Tchaikovsky

The encyclopedic knowledge of Rubinstein the musician went hand in hand with the limitations of Rubinstein the pedagogue. His ruminations on Mozart («Yes! Divine creativity, pierced through with light!») alternated with didactic lectures on Haydn («I hear him talking in Hungarian slang.»). The overture «The Storm» of 1864, in which Tchaikovsky used instruments banned in student compositions-the harp, English horn, tuba, and cymbals-left Rubinstein in a state of indignation. And when the overanxious student did not appear for his graduation concert, Rubinstein nearly withheld his diploma. But there were also moments of true admiration, as, for instance, in the case of the 200 counterpoint variations that Tchaikovsky brought one day as his homework. And most importantly, there was the recommendation to his brother, Nikolai Rubinstein, thanks to which Tchaikovsky received the post of professor at the newly opened Moscow Conservatory.

Coming after St. Petersburg's European architecture, mathematically aligned streets, decorative excess, and precise rules for both the «frozen» and «unfrozen» kinds of music, Moscow entered Tchaikovsky's life as a city that deviated from the rules.

In the maelstrom of Moscow life he experienced brilliant revelations, made deep attachments, and developed a loyal following.

There were also dangerous missteps arising from the illusions of art, such as his ill-advised marriage to Antonina Milyukova. Nevertheless, Moscow became the city where Tchaikovsky came into his own.

His work at the Moscow Conservatory was soothing and fostered the artist and critic in him given to passionate expression and trust in himself. Take for example his stubborn retort to Nikolai Rubinstein, who had pronounced his First Piano Concerto too complicated and awkward for the pianist. «The concerto is being printed," said Tchaikovsky, «in its present form.» It was Rubinstein who had to change his mind. Four years later he performed the concerto with great success. The St. Petersburg premiere of the work took place on November 1, 1875, at a symphony performance of the Russian Musical Society. Professor Gustav Kross was soloist and Eduard Nápravník conducted.

The most farsighted listener in the audience turned out to be an eighteen-year-old Muscovite named Sergei Taneyev, who announced in a letter to his friends: «I greet you all on the appearance of the first Russian piano concerto; it was written by Pyotr Ilyich.»

Tchaikovsky had been unable to compose in St. Petersburg, but in his twelve years of «artistic asylum» in Moscow he created numerous scores. In 1872-1873, in a house on Kudrinskaya Square (now the Tchaikovsky Cultural Center), he worked on his Second Symphony, the symphonic fantasy «The Storm», music for Alexander Ostrovsky's play «The Snow Maiden», and a series of other compositions.

The First Symphony, the operas «Voyevoda», «Vakula the Smith», and «Eugene Onegin», as well as sketches for the Fourth Symphony, were also written in Moscow.

Tchaikovsky's close circle included Nikolai Rubinstein, critic Nikolai Kashkin, cellist and conservatory official Konstantin Albrecht, music publisher Peter Yurgenson, and the young pianist and composer Sergei Taneyev. Beyond these, his larger circle included Alexander Ostrovsky, Lev Tolstoy, and performers at the Maly and Bolshoi theaters. To one of these, who was first to play the role of Eugene Onegin, Tchaikovsky gave a photograph of himself with the touching inscription, «To Pavel Akinfievich Khokhlov from the admiring subject of this portrait.» On March 18, 1958, on the day that the First International Tchaikovsky Competition opened, that portrait was printed in the newspapaer «Sovietskaya Kultura».

Musical ideas came to Tchaikovsky in Moscow with «the fresh force of a spiritual revelation». His music would now acquire multifaceted, vibrant, and bewitching forms under the influence of momentary impressions. The St. Petersburg publisher Bernard ordered a «four seasons» cycle for piano to be published in monthly installments in the magazine «Writer of Tales». This was a classic advertising ploy at the time and demanded punctuality rather than inspiration, but the composer did not limit himself to mere punctuality. Around the same time, Tchaikovsky began work on «Eugene Onegin», starting with Tatyana's «Letter Scene» (which he called «Tatyana and her nanny») although Tchaikovsky himself doubted the success of the «lyrical scenes," as he called Eugene Onegin. However, his doubts bore an odd mix of modesty and self-confidence:

«Whether I write well or poorly,» he said, «one thing is certain - that what I write comes from undeniable internal conviction.»

The candid feeling that Tchaikovsky put into his music is startling. People today take this as a challenge to esthetic standards. However, it was that very candour that drew Nadezhda von Meck, the widow of a railroad magnate, and Tchaikovsky together. Their exchange of letters went on for fourteen years, and von Meck's role in Tchaikovsky's life as his patron is well-known. Nadezhda von Meck's intercessions on the composer's behalf were beneficial for the composer's life and work, but they ultimately severed Tchaikovsky's ties with Moscow.

An artist on his own

In the last years of his life the composer was attached neither to Petersburg nor to Moscow. A «change of scene» became one of the important conditions for his work. From the mountains of Switzerland, Tchaikovsky was drawn to the plains of Italy, then back to Russia, and again abroad. His guiding principle became constant invigoration from new landscapes and emotions. But almost without knowing it, Tchaikovsky was also becoming attached to the hamlets of Maidanovo and Frolovskoe outside of Moscow. Yet in 1891 after a short trip to St. Petersburg, the composer admitted to his cousin Anna Merkling that

«It was such a pleasure to be in a city where you didn't have to visit or be visited by a soul and could be a tourist, a foreigner, freely sauntering along the ways and byways of the 'Palmyra of the North' [as St. Petersburg was called], which, incidentally, is surprisingly nice in the summertime.»

By this time, Tchaikovsky was already world-famous. He headed the Moscow branch of the Russian Musical Society, and Sergei Taneyev (dubbed «the musical conscience of Russia») had been appointed director of the Moscow Conservatory on his recommendation. Tchaikovsky's standing in St. Petersburg manifested itself in an imperial stipend, lobbied for by the director of the imperial theaters, Ivan Vsevolozhsky, and in regular opera and ballet premieres at the Mariinsky Theatre.

«It used to be that I was forced to plead, beg, and make intolerable visits to theatrical blabbermouths to see whether or not an opera would be accepted and performed. Now without anything in advance from me, both directorships, St. Petersburg's and Moscow's, are clamoring for my operas with a baffling urgency.»

Tchaikovsky's visits to the city on the Neva became shorter and more private. At the beginning of 1892, he settled eighty kilometers northwest of Moscow on the outskirts of Klin, where he rented a house from a local attorney. The composer's plan to purchase the dwelling was carried out after his death by his brother Modest. It now houses the State Museum of the Tchaikovsky Home in Klin.

«If God will prolong my life, I dream of living for four months a year in a furnished apartment in St. Petersburg and the rest of the time in my little home in Klin,» Tchaikovsky wrote to a close relative.

He lived just seventeen months after writing those lines. Tchaikovsky died on October 25, 1893, in his brother Modest's apartment in St. Petersburg at the corner of Malaya Morskaya and Gorokhovaya streets opposite the former mansion of Natalia Golitsyna, who had been the real-life prototype of the Countess in Pushkin's «The Queen of Spades». Several days earlier, on October 16, he had conducted the first performance of the Sixth Symphony about which critic Vladimir Stasov wrote: «It is nothing less than a terrifying cry of desperation and hopelessness, as if the melodies were saying, «Why did I live this life?».

The preoccupation with the abyss was woven deeply into Tchaikovsky's output, but that does not tell the whole story. In the beauty of former times, Tchaikovsky discerned the despair of emerging modernism. In the Russian idiom, he discerned the outlines of the pagan that would later be underscored in the music of Stravinsky and Prokofiev. Iolanta's blindness and vision are praised as the Light of Divine Creation, and the madness of Herman before his death in «The Queen of Spades» («What is our life, but a game!») was a new account of what Shakespeare formulated as: «All the world's a stage, and all the men and women merely players.» Essentially, all of world culture, not only Russian, came under scrutiny in Tchaikovsky's art. Its inexhaustibility draws us to it as before, still speaking to our hearts and souls in the twenty-first century.

Latah County Human Rights Task Force

Strengthening the bonds of community to embrace diversity and reject bigotry..

Welcome to the Latah County Human Rights Task Force webpage!

Congratulations to the 2023-2024 MLK Art and Essay Contest winners!

This year’s theme was FREEDOM OF EXPRESSION AND OUR LIBRARIES

The winners for the Art Contest were Cece Rose Ristene (St. Mary’s), Eduarda Gurge (Moscow Charter), Quinten Rowley (Moscow Charter), Hayley Cohee (Moscow Charter),

The winners for the Essay Contest included Cordelia Haley (Lena Whitmore), Leo Johnson (St. Mary’s), Fern Newlan (St. Mary’s), Catherine Apt (McDonald), Amy Zhou (Moscow Charter School), Naya Lee (Lena Whitmore), Emily Scout Heward (Lena Whitmore), Nora Algarni (Moscow Middle School), Lillian Camin, (Moscow Middle School), and Morgan Apt (Moscow High School).

A little about us and ways to become involved!

Our 2023 Martin Luther King, Jr. Breakfast on January 21st was a great success with an excellent presentation by Dr. Scott Finnie. A video of the Breakfast, including the Rosa Parks Awards and Dr. Finnie’s speech is now available here: 2023 Breakfast and Friends of Human Rights .

The Rosa Parks Award winners are available here: 2023 Rosa Parks Award Winners | Latah County Human Rights Task Force (humanrightslatah.org)

The Art and Essay Contest winners are available here: 2023 Art and Essay Contest Winners | Latah County Human Rights Task Force (humanrightslatah.org)

Dr. Scott Finnie’s Keynote address at the 2023 MLK Jr. Breakfast:

AREA RESPONSE TO ANTISEMITISM

Check out the recent Palouse Pride Day under Recent Events here: Palouse Pride Day 2021

Our mission:  To work for social justice for all people by supporting diversity, respect, and inclusiveness, while opposing bigotry, harassment, and discrimination.

Please click our Announcements tab for current or upcoming events. (For upcoming events visit: Upcoming Events )

These are annual events that the Task Force currently sponsors:

• Martin Luther King Art and Essay Contest – January
• Presentation of Rosa Parks Human Rights Achievement Awards – January
• Human Rights Day at the Moscow Farmer’s Market – September (Visit: HR Day )
• Great Moscow Food Drive – August
• Human Rights Education Programs for Area Schools – throughout the school year

and we encourage you to attend or support us in these events.

Meetings of the Latah County Human Rights Task Force are generally held the second Thursday of each month, and you are welcome to attend.

Please visit our Facebook page: Facebook

If you are interested in joining, volunteering, or attending a meeting, please see our Contact Us page: Contact Us