Most people (outside Wales, that is) who have heard of the Eisteddfod are likely to be familiar with its competitive aspect; namely, the highlight of the festival during which prizes are given out to the most accomplished bards. Perhaps Druids play a starring role in your mental image of the Eisteddfod ceremonies. And certainly, the Crowning and Chairing ceremonies and the colorfully robed judges known as the Gorsedd (assembly or court) do have their place in the modern Eisteddfod. But this is only one component; the past history and current traditions of the festival are even richer and more complex.
Chairing Ceremony at the 2002 National Eisteddfod (Source: BBC Cymru)
Literally, the word "eisteddfod" means a "sitting," referring to the gathering of bards that marked the first historical appearance of this festival. The idea of a sitting of bards may also reference the hand-carved chair traditionally awarded to the best poet and musician. The earliest eisteddfod probably took place in 1176, a celebration of Welsh literary culture that was brought about by Lord Rhys in Cardigan. Other wealthy nobles in Wales were patrons of the eisteddfod during the centuries that followed. However, the event was not regulated until the 15th or 16th century, when eisteddfodau at Caerfyrddin (Carmarthen) and Caerwys established professional rules and licenses for bards.
Though the eisteddfod fell into decline by the 18th century, the late 18th and early 19th centuries saw a revival of the tradition. It was also at this time that the Gorsedd of Bards became officially associated with the Eisteddfod competition. Much of the responsibility for this revival, and for the druidic "traditions" that capture the popular imagination, lies with Iolo Morgannwg, aka Edward Williams. In fact, we now know that he embellished the idea of the bardic court and druidic dress during a time of maudlin and fanciful Victorian sentiment about the revival of lost Welsh traditions.
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