A Self-Reflection List For and About SCA Work

In an online community I’m part of, someone was trying to figure out how to get a music group started that was made of folks into the SCA. She had an early music consort made of some SCAdians and some non-SCA folks, but they didn’t have much interest in attending SCA events, because they were into early music, but not into the SCA.

She had mentioned that she was one of the few people in her barony who was skilled at music and instrument playing, and that her kingdom was large and it was hard to attend events with people of similar skill and interest due to distance.

This person was really struggling with how to get what she hoped to have to enrich her SCA life, and the discussion surrounding it made me think of the lessons I’ve learned since I began life in the SCA about 12 years ago.

Sometimes people who are really good at a thing do not really see how their abilities and deeds might be viewed by others as unattainable, or intimidating, or inaccessible.

Skills (especially “specialized” skills) like instrumental skills or expertise in music – or anything else – can be amazingly intimidating.  One with great knowledge may be seen as too far beyond ones own level and interacting with them can be nerve-wracking, particularly by folks newer to an art, or unversed in it at all. (O! How many times I’ve been told how “easy” sewing is! Yet, alas, for all their words, I’m still allergic to thread!)

A choir, a band, a troupe – it’s all a set of people with their insecurities and their gifts all mashed together. The way I see it is – try to work on making the gift bit shine, and it will eventually lay light on those dark, insecure places. 😀

As I’ve become more of a resource in my own region in the past couple years,  I have found myself much more careful with other people of late. Here’s what I’m finding running through my own noggin as I think more about this topic, and how I’ve tried to assess what I’ve done in the past myself.

Take what you may, and feel free to discard the rest. This is from my brain, individual mileage may vary. =)

1) Am I helping make my desire for a thing be a success that others can share in? Am I being a glory hog? Or the better thing – a glory sty where we all get to hog the spotlight?

2) Can I articulate my goals in a way that encourages buy-in from other people?  Am I willing to look outside my regular circle to meet my goals? Am I willing to accept help? (Oh lord, that accepting help thing is sooooo hard for me!!!)

3) Am I willing to give help when I am asked (even when it is not convenient)? Am I being as patient as I can be (within reason!) with people who are genuinely seeking my assistance?

4) Do I make myself accessible to newcomers in my art form? If someone brings me a gift of their performance am I willing and able to accept that gift for what it is, with kindness?

5) Am I able to I encourage or praise others honestly but without offering critique? (I have found that many people – including performers – are not prepared for unsolicited critiques. We have had long threads about how a casual critique –  sometimes barely even noticed by the critic – can really derail people’s work. This isn’t the problem of the one receiving – but the one giving it – my problem. Critiques should be offered, sure, but only given if accepted. And always in private, unless in a class or some similar exceptional situation. And even then…with care.)

6) Do I take people where they *are* or where I *want* them to be? Am I judging someone unintentionally? Are the things I judge really their issues or reflections of my own insecurities?

7) Am I doing my best? Am I honest with myself and others when I am not doing my best?  Can I say, “I don’t know, let’s find out” and be forthright when I have made an error, or even failed?

8) Do I tell people doing good work that I think they’re doing good work?  Do I join in and support other’s projects when I can? Do I encourage ideas that aren’t mine, and tell others about their goodness?

9) Am I being a snob? Could my attitude be affecting other people’s view of my (certainly awesome!) goals? Is my attitude affecting the potential of other people (yeah, that’s a vain notion, but a lack of support can be a critique of its own!)

10) Am I Being Kind Whenever I Can Be Kind? (This almost covers the other 9 right?) Kindness has to be the default setting.

It’s a long weird list, I guess, but I am more and more often asked for help on where to begin these days, and I realize that I unthinkingly go through a lot of these questions when I’m approaching that with others.

I know people want to sing and perform. And, while I am lately a soloist primarily, many voices make for a more beautiful world, to me. When I’ve done things that were better than just “sort of” successful, it was because of other people made it successful. I’ve listened to many tales of how others process, how they react to things, how praise can heal and encourage, how harder words can do real harm…. I have become more thoughtful about how I care for those who come asking. I try to be honest and firm, but always kind.

Can I do better? Absolutely. I can always do better, but day to day, it’s my best.

I’m positive that if you give people an outlet to help create a community through music, they’ll come. It may be slow, but if you’re open and kind, they’ll come. (Even if, for a while, it’s for the cookies and wine. 😉 )

One Way to Make an SCA Performance Playlist

Sometimes people as me “how to I get started being a bard??”

It’s a hard question to answer because I can’t look at someone and know how they perform, what’s easy, what is a challenge…

So I made this list to help anyone who is trying to begin that path make a “performance playlist” that is diverse and yet works for them! This way you can choose a diverse set of pieces that are to your own taste and ability, as well as interest.

Here’s how it works –
– choose three categories
– pick one piece for each you’ve chosen
– learn it really well
– perform it
– repeat until you have a good set list!

You could start with….

1) a piece that inspires the folks you play with most (SCA-appropriate)
2) a piece that suits your own persona (maybe period, maybe not)
3) a piece that is period
4) a song/piece that you can teach quickly (like a round)
5) a song everyone knows and sings along with or interact with (could be a filk, period, more modern SCA piece, whatever SCA appropriate thing…)
6) a piece that’s not often heard in your area
7) an original SCA-appropriate piece
8) a piece that uses an instrument of some kind (drum, harp, whatever…)
9) a piece that’s in a language other than your own
10) a piece that is very short and memorable

If someone chooses five from this list, whatever they are, they’ll be on their way to having an excellent SCA repertoire.

Another way

Ratheflaed DuNoir suggested on the SCA Bardic Arts Facebook Group that every bard should know the following:
1) A funny story/song
2) A sad story/song
3) A song to sing the camp to sleep
4) A song of their homeland
5) A song for the children

These are excellent expansions or a good short alternative list from which to choose…..

My own answers to this -Aneleda’s List – could be:

1) I am of the North”  -(an original piece that my fellow fighters like to hear and sing) – or  Lifeblood” by Mistress Wyndrith Birginsdottir (a piece that inspires the folks you play with most)
2) Maiden in the Moor Lay” Anon old English piece (a piece that suits your own persona(
3) “All in a Garden Green” or “Three Ravens(a piece that is in the SCA pre-1500 period)
4) “Hey Ho Nobody Home” or “Three Blind Mice” (Ravenscroft) (a song/piece that you can teach quickly to others)
5) Ode to Endewearde” (original local anthem) OR “Dona Nobis Pachem” round (a song everyone knows and sings along with or interact with)
6) I have a Younge Sister”  (a piece that’s not often heard in your area) inspired by John Fleagle’s version
7) Follow Me” – a love song sung by a fighting lady  (an original SCA-appropriate piece) a piece I wrote
8) The Herne (a piece that uses an instrument of some kind) inspired by John Fleagle’s version
9) Amirilli Mia Bella(a piece that’s in a language other than your own) an Italian by Giulio Caccini, 1601
10) Jaden’s Shield” original, funny song (a piece that is very short and memorable)

BUT if I were to just to, say, choose a set of five: I am of the North, Dona Nobis Pachem, Follow Me (or Lifeblood), The Herne, and Jaden’s Shield would be a solid set from this list.

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Period song resources are numerous, but if you’re new and prefer to sing in English, check this other post of mine:

Starting from the Beginning: Period English Vocal Music Suitable for SCA Performance

If you want to have suggestions on great SCA-culture songs (music of the modern middle ages), I would recommend checking the list that Master Liam St. Liam has posted at his blog. He’s a long-time SCAdian, a Pelican, and a serious SCA music lover.

His list: http://liamstliam.wordpress.com/2013/07/18/thirty-essential-sca-songs/

His favorite SCA singers: http://liamstliam.wordpress.com/2013/07/18/master-liams-favorite-sca-singers/

Two Sonnets for a Challenge

On Semantics

Philosophers may lounge in smokey dens
Imbibing wisdom ‘neath a flowing cask
While by the wordy fires at length hey bask.
O they could speak ‘till God made dry the fens
whilst multiplying arguments by tens
disguising fears. The words serve as a mask
o’er questions Art herself might take to task
could she but see those blots from inky pens.

Yet of their many words none do describe
the spirt nor the method of my art –
how once in sylvan glen the warriors wept,
why bitter, broken love sent forth the gibe,
when music did make whole the wounded heart,
or other moments that my song hath kept.

Petrarchan sonnet (a b b a  a b b a  c d e c d e) written 9-9-13

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The Art Garden

I stumbled once upon a garden large.
Twas bordered by a gate of iron wrought
Well-craft about with many creatures charge’d
For rampant, sleeping, dancing were they caught.

’Twas quick apparent its creator thought
His garden more enriched by many flowers
Some bloom’ed wild but others had been taught
to grow and flourish on the ancient bowers.

Bold blossoms brought the eye to note the towers
Untam’ed ones cavorted at their base
To note them all one need wander for hours
Each stem did have its own distinctive grace.

A garden perfect requires many parts.
How so akin to flowers are the arts!

The Spenserian Sonnet (a b a b  b cb c  c d c d   e e) written 9-9-13

 

A challenge had been posted that any of us currently “in discussion” about what it meant to be a “bard” or what “bardic arts” included or did not include, was to write a sonnet on the matter as a means of, I suppose, putting our money where our mouths are. These were my offerings.

Baronial Scroll – Ane and Sylvia du Vey, Baron and Baroness of Endewearde

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Lord Alexandre Saint Pierre wrote the words down in his immaculate script and the gorgeous illumination and gold leafing is by Lady Christiana Crane.
Photo by Christiana Crane.

Heed good folk of Endewearde noble and fine –
Their Majesties shall enact their will and thine
That Ane and Sylvia du Vey may now
Take possession of these lands as rights allow.
Know now Baron, Baroness, of the white tow’r
We give you this demense, every stone and flow’r,

Each river, stream, and pond; trees both great and small;
Coastline, fields, and hills; and mountains short or tall,
Hold in fiefdom all these things and thus employ
Ornaments thereof in ready, tempered joy.
While the years dance by in graceful roundelay
Apply these wild and northern places as you may.

Mark well the society year forty eight
Our inaugural year of granting this estate,
On September’s 28th, this joyful day
We invest both Sylvia and her Ane.
By Our hands sign’d Gregor King, sweet Kiena Queen
In Endewearde’s Baronial lands long foreseen.

* * *

About
Each line is a painful 11 syllables, which is the form from which was a request from the calligrapher: “It would be a huge bonus if the words were in metered verse (I can’t tell how many syllables per line, between 9 and 11?) split into three “equal” parts like the example , but definitely not required. I know that adds a lot to the complexity.”

So, I did. The poem was made with three groups of 6, a/a, b/b, c/c scheme.

 

 

Four Tanka On The Night Of The Autumn Equinox

Four Tanka On The Autumn Equinox

-autumn-

Broken free at last,
golden leaves go out dancing
like girls freed from the tea house,
brightly dressed in rustling silks,
giggling from behind their fans.

– winter-

In her hand the brush
Makes lines that are as graceful
as Crane taking flight.
Yet her lines hold a stillness
the stone pagoda envies.

-spring-

O moon, come down here,
Said the emperor’s daughter.
I am catching frogs
But dropped my only lantern
as I watched you from the bridge.

-summer-

The old koi looks up
to see the eyes of the fox.
Why brother, how kind
That you have come to visit.
How is it I may serve you?

These are part of a challenge issued by a gentle in the Kingdom of Calontir…

In my Kingdom of Calontir, King Damien has been challenging people to pick one project they have always wanted to do, and to take one year and do it. I have accepted the challenge, and my project is this.

In the year 1205 one of the great anthologies of Japanese poetry was completed, the Shin Kokin Wakashu. It collected 2000 poems in traditional format (tanka, poems of five lines in 5-7-5-7-7 syllable format) in 20 chapters, on 12 subjects: Spring, summer, autumn, winter, congratulations, laments, partings, travel, love, miscellaneous, Shinto poems, and Buddhist poems.

My goal is to create an SCA Shin Kokin Wakashu. I will collect poems for one year, until 9/17/2014, or until we reach 2000 poems (the size of the original). At that time the poems will be distributed for free online, to spread the word fame of our poets.

Poetry must follow the tanka/waka format of five lines of 5-7-5-7-7 sylables. Poems will be taken from anyone, regardless of persona, and will be credited how they wish (indicate in email). Art submissions or anyone who wants to help beautify it will be gratefully accepted as well.

Submissions should be sent to SCAWakaBook@gmail.com