minstrel: Book and field bardic: a response

[Scianna Augustine]

To Lord Gunnar, and others on this network:

        My lord and I read your article with deep interest, and could not
withhold a hearty "Huzzah!" at the lines: "The bard who does not entertain
will not have an audience. Without an audience, the Bardic art becomes no
more than a dusty exercise in English Lit."
        This debate is near and dear to my heart, and I would like to toss
in my own two coppers for this erudite forum. First, my credentials: I have
been in the SCA for three years, and have performed my music in Caid,
Atenvelt, and Middle. Outside the SCA, I have worked as a writer, singer,
and actress. My good lord has studied and taught international folk dancing
for many years, and is a percussionist of some note. Our first album of
songs for hammered dulcimer and drum is being released this month.
        The people of the SCA can be an appreciative and extraordinarily
demanding audience. Historically authentic pieces that might leave a modern
coffeehouse audience slightly quizzical will receive warm praise in an SCA
bardic circle. Yet the same circle may be heard to request "I Likes A Moose"
three times in a night at a war. The SCA bard or minstrel must be adroit in
covering many bases, from planxty to polyphony, from folk to filk to fantasy.
        Performing the songs of centuries past, we remember and honor the
ancient bards we hope to emulate. Retelling the old stories around the fire
is to make the dream live again. Yet our art is a living art, and we play or
sing or tell tales for living people. Unlike some other historical groups,
we are not a "reenactment" society; we are a society that re-creates. We
take the arts and accomplishments of the Middle Ages and give them new life
in the Current Middle Ages.
        Our finest costumers research and study old texts and paintings, and
create wearable masterpieces that dazzle the eye. It's quite possible
they'll use sewing machines, though, and fabrics manufactured by
out-of-period technology. Our visual artists learn calligraphy and pore over
period illumination, and create scrolls and paintings that take our breath
away. It's quite possible they'll purchase their tints, brushes, and paper
from a modern art supply store.
        Does this mean we should abandon the study of papermaking, and
weaving, and the use of herbs and earths for dyes and paints? Absolutely
not. But does the use of these materials make the finished piece more
worthy? Not necessarily. And, to my mind, the true test of a bard or
minstrel is the ability to capture the attention of the audience, touch
their emotions, create a mood or a moment, and leave them wanting more. The
use of out-of-period elements means little if the greater Art is served.
        At a recent war, we heard stories of "rhino-bards" -- those would-be
performers who wander the camp with their Big Bardic Books, looking for an
available campfire. The Rhino-bard strides in, saying, "I've come to perform
for you," and thunks his BBB down in front of the fire. "Would you like
Traditional or Original?" he says. Thunk! the book opens and rustle!rustle!
rustle! he flips through the pages. Finding his place, he says, "This is
"The Twa Sisters' with twenty-three documented verses, performed without
instrumentation as was appropriate," and begins to sing.
        Is it well-documented? Obviously. Is it art? I don't think so.
        I speak, of course, as a performer, not as a student or historian.
There are others whose musical abilities are greater than mine, whose
research is more in-depth, whose Books are Bigger. Yet I stand in the
company of free bards, welcome at many a campfire and feast. And in the end,
I believe, the art is  what matters. Lord Gunnar, thank you for sharing your
gifts with us.

Lady Scian Aoibhell ni Laoghaire
        


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