FREMANTLE’S Eisteddfod committee had to face the music this week after a group of teachers and parents criticised this year’s event. 

The Chook received a letter from a 43-strong group writing “with growing concern and disappointment’ about the “organisational issues and inconsistencies” with the Eisteddfod, addressed to the event’s committee. 

“While we have continued to participate in and support this event over the years, unresolved problems are gradually undermining our confidence in the event’s fairness, professionalism, and integrity,” the letter read. 

Examples of organisational hiccups, inconsistent rule enforcement, adherence to time limits, and the integrity of the adjudication process were listed in the letter as having struck a sour chord with parents and teachers concerned with the “wellbeing” of their budding musos. 

In a “global email” to all participants, Fremantle Eisteddfod president Lawrence Ng apologised to the signatories of the letter, saying the Eisteddfod Committee had “voted to address” the issues outlined. 

“I have personally called upon the committee for a full transparency disclosure and to answer every concern raised in the letter as clearly as possible, as it is our duty to serve our community and ensure all groups feel represented and heard,” Mr Ng said.

Concessions

The Eisteddfod Committee’s 10-page response detailed each complaint, providing lengthy explanations and concessions to quell the teachers’ and parents’ concerns. 

One student complained about false advertising about the prize after winning the 2023 concerto category, only to find out the prize wasn’t available and “was not fulfilled for some years”. 

“I was deeply disappointed after winning the Fremantle Eisteddfod Concerto category, as I had anticipate performing with the Fremantle Symphony Orchestra as advertised,” the student wrote. 

“I later discovered the collaboration had been discontinued, which left me disheartened.” 

The Eisteddfod’s response highlighted “some miscommunications” with the Fremantle Symphony Orchestra resulting in the mistake and says a “new collaboration” with the Allegri Chamber Orchestra replaced the Concerto prize this year. 

“We were only made aware of the situation in April of this year that our past two years’ Concerto winners were not given a collaborative opportunity… at the same time, the committee’s plan was to resolve possible communication difficulties with the FSO,” the response read. 

“The two winners can still be assured that the committee is seeking to honour the collaboration with the FSO and will advise these participants directly with the resulting outcome.” 

Another complaint reported a participant who exceeded their performance time limit “later had their first place ranking reinstated” which “confused students and parents”. 

The Eisteddfod response says they could “not find evidence” of the participant’s first place being reinstated but that the complainants were welcome to offer evidence if required. 

Over time

“The only similar scenario we could find is that there was a contestant who was disqualified after going over time… in this section, no first place was awarded,” the Committee response read. 

One claim suggested that at a previous Eisteddfod, “adjudicators arrived 30 minutes late”, which meant the first three participants had to perform in front of an incomplete panel raising “concerns about fairness” of the event. 

The Committee was “not familiar or aware” of the incident but say they will “investigate the matter” and “provide a clear and concise rule” for adjudication requirements. 

The complainants stressed they “fully acknowledge the immense effort” required to organise the Eisteddfod, which has long been much-loved music to the ears of Fremantle’s classical community. 

In a concluding note, Mr Ng thanked the concerned writers saying there were “good intentions” around raising their issues with the event. 

“I understand that Fremantle Eisteddfod is a very important event for so many participants, given its size and prestige,” Mr Ng said. 

“After further assessment, it is clear that the major issue lies not with how our Eisteddfod’s committee members put the event together; but rather the need for all communities to feel transparency in rules, contestant ordering, and the need for a more positive customer interaction when being in contact with an Eisteddfod representative or volunteer. 

“Our committee will work hard to ensure we can provide our music community an even more positive Eisteddfod experience in 2026…we will implement strategies to upgrade our volunteer training, communication skills, rule enforcement, and prize selection procedures.” 

by KATHERINE KRAAYVANGER