K.M.

F SET VERSES, COMPOSITIONS,

PRESENTATION
AND PUBLIC SPEAKING.

BY:
ASIGE BONNIE
©2024
Role of the adjudicator
Critically appreciating an artistic work on stage. He is a
privileged member of the audience.
Awarding marks and ranking performers.
Must be fully conversant and updated with, and strictly adhere
to the festival rules and regulations as set in the KMF festival
Guidelines
Give authority for the performance to start.
May stop performance for a re-start if there is sufficient cause
for it e.g. distracting noise from the audience.
Give comments on performance.
Announces results.
Transmit the official results to festival officials.
Write a report and submit to the festival Secretary.

THE END!!

Have a successful festival year - 2024

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GENDER INTRODUCTION
It has been noted that very few scripts are usually written by women. I warmly welcome all thespians, poets and trainers with a bias for
This leaves the men to propagate female ideas on behalf of the women English elocution to interact with this document as we aspire to enrich
folk. The problem here is that the female issues are then seen from a our artistic realm and prepare our students for the upcoming festivals.
male perspective. The females are therefore advised to write more so The aim of this document is to provide an insight into handling the
that female issues could be seen from their perspective. KMF verses at all levels in both interpretation, presentation and
adjudication as well as own and special compositions. The analysis is
ADJUDICATION GUIDELINES: done in line with the 2024Kenya Music festival guidelines. The
An adjudicator’s role is to make correct judgment on how effective following are captured in this document:
each performer communicates the contents of the items presented;
 All KMF English set verses 2024 analysis (Primary, J.S and
Qualities of a good adjudicator Secondary level)
1. Knowledgeable , experienced and competent  Own Original compositions (2016 and 2020) H, J.A & K
2. Objective and credible  Public speaking (2017/2018 H,J.A and K)
3. Must be well versed with the festival guidelines i.e. new classes,  Special compositions - 2024 Partners 2030-2044 (H/J/K)
rules, time, classifications etc.  Tips on Performance of the verses and training.
4. Must acquaint himself/herself with the set verses for the current  Adjudication guidelines with new Rubrics-2024
year.  Emerging issues in KMF.
5. Good and effective communicator; always giving encouraging and
educative comments/remarks. Must be confident
6. Uphold professionalism in dispensing the noble task.
7. Should be smart and confident, neat and presentable (well
groomed)
8. Time conscious
9. Uphold the ethics of KMF as well as TSC and MOE.
10. Must be sensitive o and appreciative of performers’ talents and
efforts.
11. Fair and just
12. Must be incorruptible and full of integrity.
13. Be open minded and ready to consult.
14. FOR THE YEAR 2024 He /She must be conversant with the NEW
adjudication RUBRICS / Sheets.

23 1
 What is elocution?
 Elocution is the skill of clear and expressive speech, especially
of distinct pronunciation and articulation. It involves delivery
of verse, the use of facial expressions and body movements to
enhance the performance as well as the use of
gestures( meaningful and motivated)
The major KMF objectives of elocution include;
 Develop performers’ communicative skills.
 Develop the performers’ confidence in the use of the language.
 To nurture poetic skills
 To enhance appreciation of poetry
 Develop appropriate delivery skills
 To develop logical thought processes
 Trainers are urged to consult the updated syllabus for each year
of performance.
Categories;
SOLO SET VERSES
 Interpretation; be keen on the stage presence and poise of the
performer.
 Controlled and appropriate use of gestures and facial
expressions.
 Ability of performer to identify and demonstrate the various
moods depending on the text.
 Delivery; fluency i.e. the ability to articulate words clearly and
correctly to bring out the meaning of the poem; enunciation,
pronunciation and eloquence.
 Emotion, tone and intonation.
 Voice projection
 Pitch; i.e. voice range.
 Phrasing, pauses and punctuation.
 Overall achievement; this is the impact; does the performer
effectively communicate the intended message?
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SUMMARY (2016/2020)(H/J.A & K)
This must be an original composition that hasn’t been performed in the
festival before.
It should not be an adaptation of an existing work.
It must not be a published piece.
Plagiarism will not be tolerated.
The text must be poetic; avoid prose. Rhyme is an aspect of poetry;
however, trainers should note that poetry is not fully limited to rhyme.
They are therefore devised to employ a variety in choice of poetic
style/language.
The piece shall be judged on performers’ interpretation, delivery and
overall achievement based on the elocution guidelines already outlined
above.
For the choral verse, the emphasis is on choral blending/harmony.
SCRIPTING
The choice of words used when scripting an own composed verse
should consider the age of the participants. Every style used should not
be above the comprehension of the participants. The imagery and
symbolism used should be at the level of performers. All aspects of
scripting must consider the age and class of the performer. Avoid
scripting lines that are too long which make the performers basically
run through them. The script writers should consider the sizes of lines,
given that these poems were meant to be recited, and in not more than
4 minutes. Avoid plagiarism and recycling of other people’s work
without their permission or consent. You can decide to script metered
poems or free verse. However, when writing metered poems, do not
concentrate so much on rhythm and rhyme at the expense of the
message. It also could have been suggesting fear of their poems being
said to be prosaic if they ventured into free verse. This may stifle other
aspects of poetry.
22
How is the arrangement? Can all the participants be seen? Are they too
close together or so far apart that we can hear solo voices? Let them
adopt good stage arrangement; avoid masking.
How does the verse start? Are there false starts that need to be further
rehearsed? Is there an offshoot of a voice that is not in conformity to
the rest?
Are there voice variations that define the subject matter of the verse or
the voice variations are enforced with no bearing to the verse?
How are the gestures and facial expressions? Are they employed to
give the deeper meaning of the verse or they are used without purpose?
Are they credible or leaning towards dramatization? Unnecessary
movement should be avoided.
Why eye contact? Is the performer just gazing at the audience or there
is a reason to look at the audience? Does the performer see the
audience or throws glances at the audience? Why do the performers
loo above the heads of the audience? Is there a reason in the verse that
calls for such looking?
Is there dynamism and variety that makes the verse stand out above the
rest? This can happen if the poem is well composed, there is proper
interpretation of the verse, the pronunciation and articulation of words,
the phrasing, use of gestures, voice variation and synchronization etc.
Is the rendition static and staccato? Is the message developing or
getting in circles? The message needs to develop from the beginning to
the end. During the performance, can we feel the poetry rendition or
the performance degenerate into a public speech?
What is the tempo? Is it a fast moving verse that calls for action words
or a slow meditating verse with a number of flashbacks? How are the
different voices rendered? The personae/character, the narrator; is it a
dialogue or a monologue?
Synchronize the voice, the harmony, the facial expression
(mood/feeling), eye contact, the bodily gestures etc.
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CHORAL SET VERSES.
Interpretation; be keen on the stage arrangement, presence and poise
of the performers.
Controlled and appropriate use of gestures and facial expressions.
Ability of performer to identify and demonstrate the various moods
depending on the text.
Delivery; choral fluency; the ability to articulate words clearly and
correctly to bring out the meaning of the poem; enunciation,
pronunciation and eloquence.
Emotion, tone and intonation.
Voice projection
Pitch; i.e. voice range.
Phrasing, pauses and punctuation.
Synchronized/ harmonized/blended use of voices, tempo/pace.
Overall achievement; this is the impact to the audience; do the
performers effectively communicate the intended message as a team?
Trainers should note that there is a difference between solo voices and
a well synchronized choral rendition. The latter is what is encouraged
in the music festival.
MAJOR CHANGES IN THE 2024 KMF GUIDELINES
(ENG ELOCUTION)
There are three major changes this year in the guidelines affecting
English Elocution i.e.
1) The code for English is now (2) and the alphabet letter is (K)
e.g. 2011K this is a drastic change from the traditional (1) and
(J) this has been occasioned by the incorporation of junior
school as an independent level in the festival.
2) The special composition classes have a total overhaul from last
year 2023 for instance the following partners have withdrawn
from the festival: NSSF, NHIF, KERRA, NPC, KENYA
RAILWAYS Etc. for a complete update check page 10-11 of
our guidelines, there’s a full table of the sponsored classes this
3
 year. N.B: In addition there are three corrigenda annexed for
example ALUPE CLASS 2043K, POPULATION CLASS
2044 H/J.A& K and MOH /AMREF (TB) CLASS 2039 H/K
3) For the 2020K CLASS Formerly 1020H/J only position one
will proceed from regionals to nationals. For the junior school
participants in all their classes’ only position one will qualify to
the nationals from the regionals.
N.B:
 For those handling JS learners, in the special compositions they are not
competing independently and upper primary on their own.
 You can either enter upper primary learners or JS leaners separately in a
special composition choral to represent the comprehensive school or you
can combine upper primary and JS In one choral.
 However there is only one special class that JS will compete
independently i.e. National population class 2044 JA (corrigenda)
SPECIAL COMPOSITIONS:
These are classes from partners of the KMF whose messages will be
guided by the thematic concerns of the various partners. They were
initially referred to as sponsored classes.
The special compositions for 2024 are contained in the 2024 festival
guidelines and the annexed Corrigenda from the ministry of education,
Kenya music festival Executive secretary.
The corrigenda are for AMREF, NSSF, KWS and SEPU
In the special composition classes, there is need to capture the specific
message of the partner.
Do not concentrate so much on the poetic structure/ poetic devices at
the expense of the sponsor’s message then end up preaching in the last
stanzas in order to prove a point, trying to qualify their message.
Again, let poetry be poetry and remain distinct from other forms of
advertisements that preach and mention the sponsor and their products
rather too directly.
Most of the trainers and performers who take time to watch and
appreciate others during the performances in the festivals usually grow
as opposed to the perennial complainants.
4 20
Discuss the various moods and mood shifts depicted, and how they
may be portrayed using the relevant, natural facial expressions.
STEP THREE; read with the performers line by line until the best
way of articulation has been mastered. Repeat severally to get the best
modulation and synchronization of the voices inconformity to the
facial expressions and the subject matter. Once a stanza has been
internalized as the best form of rendition, consider the length of the
pause or phrases of the interlude to the next stanza. Run-on lines
should be discussed as well as the effect they give. This should go on
and on up to the last stanza where the trainer needs to explain the
catharsis or conclusion, whether it is a rising action or/etc.
STEP FOUR; practice line by line, then stanza to stanza and then the
final poem. Listen to the rhythm of the verse and get its tempo.
Interpret the various moods and the tonal effect. How is the rendition
affected by the delivery of words? Is the deeper meaning of the verse
attained and articulated? Listen to the general shape of the verse by
closing the eyes. Let the performers listen to their partners next to
them as they close their eyes.
STEP FIVE; before any rehearsals, there should be some warming up
in relation to the breathing practice and audibility. Practice on the best
formation or arrangement that is artistic on stage. Try out the various
arrangements to get the most appealing to the eye and the subject
matter of the verse. Ensure that all participants are clearly seen by the
audience from all angles.
PERFORMANCE.
After observing all the steps discussed above, the performers will be
ready to perform on stage. The trainer can request a colleague or
colleagues to listen to the verse then and do amendments. The
requirements of good performance are;
How the performers stand on stage, see if they are relaxed, confident
and ready to go.
performer in memorizing and relating with the subject matter. The
language should be poetic with poetic devices employed. The title
needs to be short and captivating. If one has to use a symbol, then it
needs to conform to the message in the verse.
The length; a good verse as stipulated by the KMF should not go
beyond 4mins. However, a 2mins verse may be good but lacks the
depth required to sustain the message through.
TRAINING
Once the trainer has set upon the verse to be trained, the next step is to
train performers on the same verse; the following are the steps;
STEP ONE; since this is a choral class, uniformity and synchrony is
very vital. The trainer should therefore consider trying out an audition
to select the 14 to 16 participants who will be involved in the
presentation. During the auditions, the writer appoints performers with
a wide voice range, audibility, pitch and breath. This will eventually
assist in articulation and enunciation. Other factors to consider are; the
pronunciation or English words and idioms, colour range and
complexion of performers; this helps in austerity and aesthetic choice,
body mass- the well-built bodies should be close to each other just like
the taller performers. This helps in pitch and voice frequency ranges
that are not so distant apart. A close check should be on boys with a
baritone sound as a result of adolescence. A lot of training should be
emphasized especially and girls are selected to perform the same verse
in order to avoid the discordant voices.
STEP TWO; read to the participants the verse then give an
interpretation. Explain a simple rationale or reason as to why the verse
was written, the moral and why it is important for the students to
perform the verse. Show why the verse is interesting and how it
appeals to the current society. Explain the not-so-common words or
vocabulary that may be a hindrance to their comprehension. Discuss
the use of punctuations and why the poet has chosen it. Discuss the
pauses and the length of the words and lines from stanza to stanza
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2011K: SECONDARY FORM 1 ENGLISH SOLO SET VERSE
BIRD ON MY WINDOW……………….. By: Marren Akong’o
Message;
Nature at daybreak excites the bird at the persona's tint
window
pecking at its reflection on the glass animated in the
alliteration:
'perches and pecks'and idiophone
'Tk tk tk. This 'auditory disruption' in 'scatters scenes of .…sweet
dream'creates a'mental distraction',.
but awakens a new 'visual experience',the flight of the bird
up a 'tall tree'then pursuit of a'dragon fly….back.
Not far/It flies to a tall tree but does not perch'
·The simile in stanza 2 line 9-10'…bleeds/like my heart…'clothed
in metaphor'heart bleeds for the morning sleep' arouses empathy on
the bird and yearning of the persona for '….the morning
sleep'in falling intensity.
·Theapostrophe in stanza 3 symbolically advising the 'bird'and
proposing'nutrition'sounds a voice of reason on choices and
purpose. This is firmly rendered.Consider rising intonation
at'…yourself?'and falling intonation at '…nutrition?'
Presentation:
Punctuation; The apostrophe in stanza 3 symbolically advising
the 'bird'and proposing' nutrition'sounds a voice of reason on
choices and purpose. This is firmly rendered. Consider rising
intonation at'…yourself?' and falling intonation at '…nutrition?'
Pace: The pace of delivery is moderate to depict the mood and
communicate the intended message
Challenges:
The pronounciation of the following words might be a challenge to
presenters:
Pecks,Tk tk tk, perches.
9

The verse is heavily punctuated so the presenter must endeavor to
observe them as they affect intonation and pronunciation e.g. The
question marks in stanza 3
Must be rendered with rising intonation.
2012K: SECONDARY FORM 2 ENGLISH SOLO SET
VERSE
PAIN ENDS ………………..BY Katy A. Brown
Interpretation: The verse is about a straight forward counsel
given to encourage someone who is discouraged and at his/her
lowest to overcome challenges and turn over a new leaf.Focus
and tenacity is called for and a reassurance,all these
summed up in the last stanza.'Focus…/Never lose.…/lt's
time…/Everything will be …
In Stanza 5 and 6 ,there is a deliberate determination to shed-
off sadness and value self-worth and self-love
Presentation;
Tone: The verse to be rendered firm advisory tone
Pace: The pace of delivery of the verse is moderate to bring out
the advisory tone and to depict the desired mood.
Challenges:The length of theverse might be a challenge to the
presenters.
Rendition of the following words ; Toxic, fade ,a jar and Self-
hatred
2013K: SECONDARY FORM 3 ENGLISH SOLO SET VERSE
WHAT DO YO STAND FOR?.........................BY: Steven Teng’o
Message: The persona in the poem is an observer who engages the
audience in the poem's title and refrain on their putpose for the
things they do or things that happen to rhem in life. In other words Why
do you live? What drives you in life He also reflets on moments of
favour or disfavour.
10
challenges met by trainers and performers of a verse. This document will
discuss the tips on interpretation, rationale, difficulty and performance of a
verse
Presentation:
Pace: The advisable pace of delivery for the verse is moderate in order to
communicate the intended message effectively.
Tone: At the refrain the presenter must capture the falling intonation typical
of WH Questions as well as vary the tone at GOOD MORNING in stanza 1
line 3.
The refrain should be varied creatively to avoid monotony in presentation. In
addition to the repeated phrases at the beginning of each stanza e.g. WHEN
YOU…
Expected Challenges:
The first challenge is the numerous run-on lines in the poem for example
stanza 1 lines 2-3, stanza 2 lines 2-3, stanza 4 lines 1-2 and The last stanza
lines 1-2
The second challenge is that the poem is heavily punctuated especially the
question marks at the end of every stanza and the quotation marks in stanza
one. The presenter should capture the correct tone.
OWN ORIGINALCOMPOSITIONS;
 Theme
 Language
 The plot
 The mood
 The length
 The presence
 The persona.
CLASS 2020 (H/JA/K)
This is a large class of 14- 16 participants. The minimum number of
participants is 14 while the maximum is 16, and therefore the trainers and the
participants are advised from the onset, they should try to train more than 16
participants just in case any of the participants indisposed or absent from
school. This is an own composition class where the trainer or poet composes
an original verse (composed for the first time I the festival) on the relevant
topic or one on emerging issues.
18
Points to consider;
Composition; the verse should be poetic in terms of structure (the
stanzas, the lines, the title etc.), the form, the theme, characterization,
the mood, the plot and so on, and finally the use of poetic language or
style through the use of elements such as rhyme, rhythm, repetition,
similes, metaphors etc.
Entertainment; the entertainment level and value should be
considered. The verse should be entertaining and not only to the
performers but also to the audience.
The structure; consider the plot of the verse; how the verse begins, its
middle and conclusion. Lines should be short enough for the
performers to easily master and manage it.
The language; the language should be simple to the level of the
participants so that they can enjoy. Avoid heavy level of vocabulary
that does not assist the performer to unravel the deeper insight of the
verse. Avoid huge words (bombastic words) that do not add to the
content much to the content. Diction or well-chosen words assist the
Remember to choose your topic very carefully with the target learner
in mind. Preferably choose current issues top of the agenda and issues
affecting the learners directly. For solos preferably use the first person
narration.
Considerations include among others;
 Scripting,
 Length of the verse,
 Appropriateness of the theme or the message captured,
 Level of vocabulary
 Choice of words
 The poetic value in the verse
 Edutainment value of the verse
 Performability of the verse.
It has however been noted that understanding of a verse, its
interpretation and eventual performance has been one of the greatest.
17
Challenges:
 Heavy punctuation in the poem should be observed for better
delivery.
 There are run on lines in the poem e.g. Where we have BUT
the next line is a run on i.e. stanza 1 lines 3-4, 7-8 and second
last and last lines.
2014K: SECONDARY FORM 4 ENGLISH SOLO SET VERSE
Magic in Me………….Anonymous
The poem is majorly about resilience in life and self belief, hence
believing in oneselff despite what others think. Identifying the potential
and ability in oneself and keeping the eye on the ball.
Its extremely suitable for the class goven that the seniors (form fours)
need this encouragement the most as they endeavour to exell despute
enormous obstacles and challenges on the way. The poem should be
read along Maya Angelou's poem 'And Still I Rise'.The message is
related
The last stanza is so inspirational ans encouraging i.e even if
you fall in whatever you do in life pick up the pieces and start
over again and you will make it .
.
Presentation:
Pace: the pace is considerately moderate but it shifts depending on the
message for instance at stanza 2 it can shift to a bit fast then back to
moderate in the last stanza
11
2019K: SECONDARY ENGLISH CHORAL SET VERSE
TO THE TEACHER……………… By John Wangwe
Message:
In this verse the teacher is called upon to see and tap unique
potentials in learners despite their strengths and weaknesses
The last stanza rouses empathy for the down trodden learners who
equally deserve the loving kindness of a teacher, this emphasizes the
fact that all learners should be treated specially and equally by a
teacher for the teacher has a long lasting impact in the learners lives
Presentation;
Pace:. The pace of the verse is moderate to bring out the intended
message
Tone:
content words to ne stressed:
For instance
.' …gem,special,different ways,unseen
potential/influence,words,love,'my
child/build,hope,guide,
qoodness…last,through generations/land
the last stanza as a whole)'
There is heavy repetion of AND in the poem hence the tone to be
varied to break monotony in theenunciation.
Challenges:
In stanza 1 line 2...He is special, Stanza 5 line 5(the second KNOW)
and stanza 2 line 1 Lasts Long to be carefully rendered to avoid
Joining them erroneously in the pronunciation
The bright mood in the last stanza lines 5-6 to be captured for
Emphasis of the intended message.
Run on lines in stanza 1 lines 5-6, stanza 3 lines 5-6 and stanza 4
Lines 1-3 up to the semi colon
Words such as ARE, SPECIAL, KNOW And NOR are likely to be
Challenging to most presenters.
12
message in the speech? Was the audience entertained? Was the
audience persuaded?
PUBLIC SPEAKING
CLASS 2017 and 2018- SOLO PUBLIC SPEAKING:
These classes involve performers delivering a direct speech to a live
audience.
It is an extrapolation of the learning process since it assesses the
oratory skills of the learners and their grasp of knowledge in the
prescribed subject matter.
Interest and respect; as stated above, the performer must be able to
inform, to persuade and entertain the audience in an interesting way.
While doing this, the performer must not embarrass some members of
the audience. That can be done through application of a gender
sensitive language, euphemism and generally being friendly.
Performers must stick to the KMF objectives. Sideshows must also be
avoided.
Manage; the performer must be able to manage the audience through
reading it. For example, a tired audience should be entertained while a
rowdy audience can be managed through being friendly.
Quality of Execution;
Confidence; a good performer should be confident while speaking.
Fidgeting and nervousness should be eliminated. This can be practiced
at school through giving performers different audiences to speak to
and just being relaxed during actual performances.
Authority; a performer must command authority. This is in terms of
having content, exhibiting a command in the language, managing the
audience and executing the subject matter with ease.
Impact; at the end of the performance, the speech should leave an
impact in the audience. can the audience resonate or relate to the
16
OWN ORIGINAL COMPOSITIONS – SOLO OR CHORAL
CLASSES (Primary and secondary)
This includes Choral CLASSES 2020G/HA/HB/JA/K
Solos CLASSES 2016HB/JA/K
What is an original composition?
This is an original composition being presented in the festival for the
very first time. It is a verse that is not yet published anywhere, neither
has it been performed anywhere. Originality is key in this class.
Good delivery and the message will sink in the audience. Remember
that bit is public speaking and not recitation. The performers must
therefore be as natural as possible in articulation.
Vocal projection/tone and pitch- performers must be audible enough
by projecting their voices appropriately as determined by the size of
the auditorium and audience. Caution must be taken to avoid shouting.
Pace; in order to have a good performance, performers should not
rush. The pace adopted in delivery should be one that ensures the
message reaches the audience adequately. Very slow performance is
rather boring when elongated.
Stance; this is the posture or standing position of the performer. The
performer must adopt a stance that is comfortable to maintain and
exude confidence. A straight standing position is advisable.
Gesticulation; the performer should use meaningful and purposeful
gestures during the performance. It is advisable that gestures should be
used for purposes of emphasizing and dot demonstrating.
Eye contact; the performer must maintain eye contact with the
audience for maximum concentration.
Movement; if any movements are to be made, they must be minimal
and aid the performance rather than being artificial
13
Audience engagement.
Secure and maintain attention; a performer should be able to capture
the attention of the audience through good use of paralinguistic
features discussed above. The performer should read the audience and
employ tactics in speech delivery that will attract the audience.
Connect and interact; this can be done through creating a rapport
with the audience. The most common way of achieving this is through
the use rhetoric questions
Therefore, public speaking is structured and deliberate with three
cardinal objectives;
To inform
To persuade
To entertain
The classes are divided as follows:
2017 HA/K –Lower Pri and Secondary (F 1-2)
2018 HB/JA/K – Upper Pri,JS and Secondary (F 3-4)
Trainers are therefore advised to strictly present only legitimate
performers in the aforementioned classes. Cheating in these classes
may lead to automatic disqualification.
A topic is given to the performer 30 mins before the performance.
The speech should be delivered in not more than 4 mins.
TOPIC OF SELECTION
Sources of topics.
There is no prescribed source of topics. However, most topics are
sourced from the following;
a. Personal experiences or observations and recommendations
from friends, enemies, relatives and others.
b. Classwork
c. Current happenings e.g. music festivals, church festivals etc
d. Current affairs and other emerging issues e.g politics and sports
e. Imagination
f. Public outcry
g. Media outcry
14
Performers therefore must be well versed with knowledge from all
scopes of life. Use of non-English words is highly discouraged, not
unless the words are globally recognized e.g ugali, chama, harambee
etc.
Similarly, adjudicators must be versatile with a wide scope and
understanding of different subject matters and consider the level of
performers.
ANGLING A WINNING PERFORMANCE IN PUBLIC
SPEAKING;
Content and structure;

Preparation; once a performer is given the topic, he/she must analyze

the topic and develop a strategy of executing it.
Organization; the performer should organize the topic in point form
on how the topic will be executed by considering the
definition/introduction of the topic, the body/gist/explanation and
lastly the conclusion/closing remarks/recommendations.
P.T.O
Narrative; if the topic is a narrative, then the unfolding of events must
flow logically and chronologically where deemed fit.
Framing; the lead ideas should be framed down for purposes of
referring whenever needed.
Language; performers must stick to the English language. Simple
language should be used for better understanding by the audience. This
should be spiced up with various forms of language like figurative
expressions. Caution must be taken by performers not to overuse one
style since it creates monotony. Obscene and inflammatory language
must be avoided at all cost. In the same wave length, personal vendetta
should not be employed.

Performance/ voice and body language;

Articulation; this is the action of putting into words, an idea or feeling
of a specified type. Performers must pronounce words properly with
appropriate stress and intonations. This will enhance

15
2001JA: JUNIOR SCHOOL ENGLISH SOLO SET VERSE
COUTESY COSTS NOTHING……By: Paul Mutuku
Interpretation:
The persona invites you to appreciate using polite words of courtesy.
E.g. …Hello…sorry…thank you…goodbye'as espoused in the poem.
We are invited to avoid hate/anger/arrogance and employ coutesy as it costs
nothing.
Tone: The verse requires an advisory and polite tone to articulate the
Intended message on polite language/coutesy words.
Challenges:
moments of contrast are evident in the verse hence
this might be a challenge as tone has to be varied to capture it.
Carefully study the phrasing,lineation,rhythm and punctuation
to avoid traps
2001JA: JUNIOR SCHOOL ENGLISH CHORAL SET VERSE
LISTEN TO THAT VOICE………By: Gladys Njai
Interpretation: The point of view in the verse calls introspection at
values in our societye.g. ' …what is right,…what is spite….something you
should never hear again (caution)
Tone: A steady advisory tone will suffice.Intensity can build with a firm
Rhythm rather than shout eg in stanza 3 .
Challenges: Theres a consistent refrain at the beginning of every stanza e.g
listen to the voce…..that requres tonal variation to thwart monotony in the
delivery
The poem is heavily punctuated so take note and render the verse
appropriately paying attendtion to punctuation
8 5
2001G: PRE-PRIMARY ENGLISH SOLO SET VERSE
SWEET MANGO……………….. By: Anastasia Kigondu
Interpretation: The poem is about a fruit ‘mango’ which the persona a
child, Loves so much. The child is excited after mum arrives homewith her
basket that contais his/her favourite fruit she is so excited when mum tells
him/her to take one although mum reminds the child to ensure the mango is
washed before eating it.
Presentation:
Mood The underlying mood is bright ,the child is elated and very happy
because the mother has brought his favourite fruit (mango) and has allowed
him/her to take one and eat it. The highlight of this mood is the last three
lines of the poem.
Pace: The tempo of delivery is moderate to bring out the child’s excitement
and happy mood.
Challenges: The pronunciation of the following words Basket, Favorite
Fruit, Said and Juice.
The tonal variation of the ‘I’ in the poem is necessarily, it’s heavily used in
the verse.
2019G: PRE-PRIMARY ENGLISH CHORAL SET VERSE
MY BOTTLE TOPS ………………By: George Mulama
Interpretation: The poem is about a kid (pupil) at school who is Worried
because he has lost his bottle tops. He’s however Relieved when he finds
them in his pocket and the dust bin. The child continues to draw excitedly
using the bottle tops.
Presentation;
Mood: The poem has two varying moods e.g. at the beginning it’s Sad when
the child has lost the bottle tops but it shifts to happy/jovial at stanza 2 line 1
and the last stanza after The child finds the bottle tops and continues to draw.
Pace: The tempo is moderate
Challenges: The intonation of WH questions eg ‘where are
My bottle tops’which should be rendered with a falling intonation.
The punctuation eg ‘?’ will be a challenge.
2001HA: LOWER PRIMARY ENGLISH SOLO SET VERSE
IF TEACHER WAS A SMALL GIRL …ByGeorginaWere
Interpretation: The poem is about a kid (pupil) at school Who admires how
her teacher is teaching She is imagining a situation where He/she could be the
teacher and his/her the imagination of reversed roles in role play depicts the
teacher in stanza 1line 12 and 3 an instructor, and line 4 to 6 a little child as a
disciplinarian.
In addition thr refrain …But,I would not know what to teach her!’ emphasises
the fact that the persona apppreciates the teachers critical role in his/her
learning experience at school.
Presentation;
Mood: The mood in the verse is exciting for instance the child’s imagining of
him/her as a teacher and how the teacher will be doing the things that the
child does now.
Pace: The tempo is moderate to bring out the role playing imagined by the
child
Challenges: The verse is heavily punctuated e.g. commas, fullstops and
exclamation marks. The performer who will observe the Will rank highly.
2019HA: LOWER PRIMARY ENGLISH CHORAL SET VERSE
WHAT YOU CAN DO ….By: Shannen Wright
Interpretation: Environmenta conservation is appraised calling on..you
…to conserve solid waste,air,water,forests and blue spaces.Recycle
waste,learn and share interventions summed up in apostrophe in the
penultimate and ultimate lines of the poem 'So take time…To show the Earth
you care’
Presentation:
Pace: the pace is moderate to aid in passing the message thus advising the
public on the need for enviromr tal conservation.
Tone: Pursuasive tone with convition needed to deliver the intended message.
It can as wel las be advisory to speak the public to.
Challenges:
 Repetition of ‘WHEN’ and ‘TO’ in the verse hence the tone need
tovaried to avoid monotony.
 Phrasing is equally key as the verse is scantly punctuated so creativity
is needed while phrasing topass the message effectively.
6 7
2001HB: UPPER PRIMARY ENGLISH SOLO SET VERSE
MY SHADOW ….By: Peter Wolveridge
Interpretation: The shadow,its presence, imitation muteness,disappearance
and reappearance is observed by the persona in affection in stanza 1.…!
like…',reassurance in stanza 2 'But I know it's always quite
near…For later…',impression in stanza 3 Ive noticed…',wonder in stanza
4 ...bedtime….switch off the light...wonder,introspection in stanza 5
Pace: The tempo is moderate/Stately pace of delivery
Challenges:There is repetition of ‘I’ In stanza 1 hence calling for its
Tonal Variation to thwart monotony.
Contracted forms e.g. I’ve, shadow’s and I’m will be
challenging thus calling for close attention.
2019HB: UPPER PRY ENGLISH SOLO CHORAL SET VERSE
THE COLOURFUL BUTTERFLIES ….By: Eddah Kamau
Interpretation: The persona , a pupil describes the arrival of five Beautiful
butterflies into their classroom causing excitement they chase them and try
to catch them in vain, one of them crushes one butterfly making them sad.
Eventually Suzy opens the winndow and they fly back to the field.
Mood: The undelying mood is a playful and jovial one as thepupils Play
with the butterflies trying to catch them but at stanza four Lines 4-5 when
John crashes one butterfly’s wings it shifts to sad and gloomy.
Pace: The tempo is moderate but shifts to moderately fast in stanza
Four when they play around Catching the butterflies
.
Challenges: The verse is heavily punctuated hence when rendering it
Attention to be put on observing the punctuation
The shift in mood especially at stanza 2 line 6 to show
The dissapointment and stanza 4 lines 4-5 to show sadness
Will be key and those teams that capture it will rank highly.