From the Kingdom Minister of Arts and Sciences
Lady Deirdre of Boolteens
AS XXXII (July, 1997)
Greetings! If you now have this handbook, then you have volunteered to be the Minister of Arts and Sciences, or MoAS, for your group. Welcome to the office! You have just started what I consider to be one of, if not the, most enjoyable job in the SCA. As MoAS you have the opportunity to see individuals progress in their chosen art forms. You might assist individuals in developing their personas. You can be a link for putting individuals together with people that can help them and you can recommend and assist individuals in your group to get that recognition for the work they are doing.
This is a wonderful job. Enjoy it! The more active you are with your local group, the more successful you will be and the more enjoyment you will find. The more you get to know your group, the more you will find individuals willing to assist you and put forth ideas of their own. I hope this handbook will give you ideas to start you off and will give you a format that will enable you to be more efficient.
The purpose of this handbook is to give you a reference guide to do your job as MoAS. The book has been created so that it can be placed in a 3 ring binder so that pages can be replaced or added in the future. This manual should be passed on to your replacement when the time comes and be updated whenever you get new pages from the Kingdom MoAS office.
So many individuals have contributed to the creation of this handbook. Much of the contents and many suggestions were provided by Lady Enid nicEoin, MoAS for the Barony of Ponte Alto. I owe her so many thanks for all her hard work. My deputy, Mistress Celynen of Stow-on-the-Wold provided the section on Research and Lady Tangwystl provided me with some viewpoints on her SWAT guild. In addition, I have gathered and compiled information from so many others who have assisted me in the last year and a half. My grateful thank you to all.
Keeping the Light of Knowledge Alive is what your job is about. Our Badge is Azure, a candle enflamed within an arch stooped argent.
His Excellency, Baron Corun MacAnndra, Baron of Storvik gave a beautiful description of what the MoAS badge means. I quote:
"It is the light of knowledge that all those involved in the Arts and Sciences keep alight for all to see.
But it has come to symbolize more than that to me. As Officers, each MoAS at every level undertakes the obligation to keep this flame lit. The badge then becomes the burning fire of passion for those who wish to become versed in some aspect of the Arts or Sciences. It is the light on the desk by which we read our research material. It is the cook fire and the flames of the furnace in which hot metal is forged to strengthen our fighters and bring us prowess on the field. It is the hearthfire that warms us during the winter months and dispels the darkness of ignorance. It is the light in the window of the Kingdom that acts as a beacon to all of Atlantia's craftspeople.
So then, Officers of the Arts and Sciences, wear your badge proudly, and be that beacon. For it only takes one candle to light the way for others to become shining examples, and thereby gloriously brighten Atlantia."
Display your Badge! Heraldry is a wonderful thing. It gives sight recognition from a distance. Be very proud of the badge of your office and don't be afraid to wear it and display it when you are performing your duties as the MoAS. Use it on a banner to mark you're A&S activities. Use it on a baldric or tabard to signify that you are "on duty" at an event.
There will be many times you will be asked questions on resources, contacts and even how to create a persona. You may be asked to provide a report to your group at business meetings. You are expected to relay information from the Kingdom office to your local group. You will also have to continually come up with new ideas for competitions, displays, classes and other activities. Your group may want you to be in charge of the Arts and Sciences at your events. You may be requested to place a letter or article in the group newsletter. And, of course, you will wish to recommend individuals for awards at the local and Kingdom level. The following information is given to assist you with those questions.
As the MoAS for your group, you are part of a team. The team of officers that assist with the administrative functions inherent in a group. As such, you should be actively trying to see how to make their job easier in relation to your job. Cooperation goes a long way. Try to support them in their jobs.
For instance, here are some tips for working with each one of your group's officers. Remember each group is different. If something doesn't work, try something else until you feel comfortable.
You should make every attempt to attend your local business meetings or provide a written report for a proxy to give to your group. Not only should you make them aware of local activities that will be occurring but also relay any information that has come to you from your Kingdom officer.
This is also a good time to make the group aware of any particular progress you've seen on an individual, an award they have received or a competition they won. In other words, use this time to provide encouragement and recognition for the people in your group.
Be active with your group. It is the only way to be an effective officer. If you are unable to attend, make sure that one of your deputies is attending and provide them with a report to give for you.
Although the Atlantian Kingdom Minister of Arts and Sciences office does not require you to run the A&S at your group's events, you should make every effort to see that someone does run A&S at the event and offer any assistance you can. If you are able and willing to run or participate with the activity -- so much the better.
There are many different types of activities that can be held at your events. These can include, but are not limited to, classes, bardic circles, working demonstrations, open displays, competitions, workshops, dances and discussion groups. What you do, will in large part, depend on the activity level and interests of your local group. It may take some time for you to find "just the right thing" for them. Be patient, consult previous MoAS officers of your group, officers in nearby groups and some of the active members of your group. Be open to new ideas as well as old ideas. Be flexible and be willing to say yes, if assistance is offered. You do NOT have to do this all by yourself!
Ask around and come up with a plan. Then delegate to people you feel will do the job the way you want it done. And always remember to give credit where credit is due. If someone else coordinates the site, picks the judges, runs the A&S, etc. give him or her the credit for doing so. This prevents resentment and makes people much more willing to assist you in the future.
Throughout this manual you will suggestions and tips for running various activities, either compiled from a variety of sources or an article written by an individual who has been there. There is also a blank page for you to provide your own notes and tips that work well for your group.
By Mistress Celynen of Stow-on-the-Wold
Generally, one does SCA-related research for a practical purpose. One attempts to discover how something was "in period" so that it can be replicated in modern times. The research techniques employed can be very simple or extremely elaborate. One can look merely at a period painting to document a bench; or, one might undertake the translation of a period document in order to have complete understanding of period tournament rules. Similarly, the result of the search may be listed on as little a 3x5 card or make up an entire Compleat Anachronist issue. Regardless of the breadth of the search, at some point the researcher will need to formulate an achievable research goal and use library resources. This article is designed to guide the inexperienced researcher into an SCA related research project.
The article will provide suggestions for formulating a research goal and techniques to accomplish that goal, including information on selecting sources and using the library.
All research starts with a question. Your goal is to find the most appropriate means to answer that question. The goal is purely subjective. I mean several things by that. First, only you can decide how narrow the answer to your question should be. For example, for the Challenge of the Seven Deadly Sins event, I decided that I wanted to know how the Virtues would have been attired for such a tournament. My goal was to find accurate descriptions for each of the seven Virtues that had been chosen. In all there are 24 Virtues, but I narrowed myself to the selected seven. Also, the representation of the Virtues has changed through time and locality. It was necessary to narrow my search to one century and one country.
The second reason to classify your goal as "subjective" is to clarify that only you can decide how much information is enough to satisfy your curiosity. For example, for my Virtue search I knew that I wanted specific information on 16th Century Italian portrayals of the Virtues. I gave myself a month to find that information. I decided to start with the books I already had at home and then move on to the library. My search began with a fairly new publication on iconography. However, the descriptions of the Virtues within were too general to answer my question. It gave no dates, was not region specific, and, most importantly, it did not tell me the clothing colors of all the Virtues. I decided to move on to a larger project at the library and searched for historical source material. There I found a 16th century facsimile of a treatise on Italian iconography. I was ecstatic until I realized that the facsimile was in Italian. Translating had not been in my original plan, but the information potential was to good to pass up. Not to be deterred, I checked out an Italian dictionary. It was only seven Virtues after all, how long could it take? Well, the process was long and laborious. The translation took a few days. But, in the end I had answered all my research questions. The lesson here prescribes that you must determine how much information will be enough for you. Decide ahead of time what types of sources you want to use and the amount of time you will spend going through them. In the next section I will cover sources and their usefulness.
WARNING: Research can be addictive. The quest for more and more information can turn a simple bench project into a dissertation on medieval culture as seen through chip-carved motifs. It can happen. Set your goals early. Expand your search only after completing the smaller goal.
You will encounter a variety of source materials as you begin to research. These are categorized according to their relationship with the original information. The categories are primary, secondary, tertiary, etc.
A primary source is any first hand information. Cesar Ripa's Iconographia is a primary source for 16th century Italian iconography. Artifacts from the period are primary sources. The Oseberg ship is a primary source for information about 9th Century Viking ships. Original paintings are also primary sources. The Psaltar of St. Louis is a primary source for manuscript style in mid-13th Century France. Primary source information is wonderful. These provide the best resources for examples of what would have been done or used in period. There are problems with using primary sources however. With written sources one should be aware of several things. First, the author may offer a biased viewpoint. For example, whose chronicles of the Crusades tell the real story, those of Joinville and Villehardouin or of 'Izz ad-Din Ibn al-Anthir? Both are likely to show some degree of bias. A researcher interested in uncovering the true story will endeavor to find where the two chronicles agree. Second, the author may not have been accurate or elaborated greatly. The only way to show inaccuracy is to bring in opposing information. Bibliographies tend to be long for this reason. Third, the scope of a work might be very limited in time or place. Ripa's work, while perfect for 16th century Italian, could not have been used for information on 14th century English iconography. Finally, the mere translation of primary sources causes problems. Was the translator true to the author's intent? Also, many primary sources have been translated via multiple languages before happening into English. By that time the text may be completely altered from the original meaning. Most Arabic works were translated into German, and then the German translated to English before scholars saw them. If you do not think that can cause problems, ask my husband about the SCA usage of the Arabic word "bint" sometime; or, you can count how many different versions of the Bible there are.
Artifacts pose different problems. When dealing with an artifact ensure that restoration has not disturbed the integrity of the piece. Most curators now take great pains to ensure that reparations are distinct from the original, but this has not always been the case. Modern archaeological digs are very useful for primary information. Take care, however, to remember that artifacts are limited in time and place. For example, the Shoes and Pattens book which has become a popular source for European shoe construction. The "dig" represented in the book uncovered 14th century shoes found in England. The book does not confirm methods of shoe construction used in another period or country.
Paintings are unique primary sources. The researcher must be careful when extrapolating data from paintings, which is other than style itself. Just as authors elaborate, painters use artistic license. Some artists were very careful to render accurate details; others had no intention of doing so. Costume falls prey to this idea of elaboration particularly. Take Romanesque art for example. The artist's intention was to create something otherworldly. Even the untrained eye notices that the human figure was greatly distorted by the artists of that period. Architecture and furnishings were stylized, not naturalistic. Why then should the researcher expect the clothing to be described accurately? I have seen a few extant tunics from the period (the tunic of Infante Don Garcia, from Burgos, Spain for example). None of them have swirling folds of fabric. However, the extant garment can be recognized as the natural version of what the artist stylized.
The secondary source is an interpretation of primary material. It is the archaeologist's conclusions about artifacts. It is the scholar's determination of what is true among the various chronicles of the Crusades. The drawings an artist makes based on artifacts or paintings are secondary sources also. As good as Janet Arnold's drawings of Elizabethan garments are, they are secondary information. This distinction is made because secondary information may not always be an accurate representation of the original information.
Secondary sources are useful. They expose the researcher to past or current trends in thought. When you begin your research, be sure to check the publishing date of secondary works. What seemed a plausible conclusion in 1920 may be disproved by now. New research is always underway. What is a definitive source today may be proved inaccurate tomorrow by another dig or a book found in an attic. By pointing out inconsistencies in primary sources, secondary sources can also alert the researcher. Secondary sources are also a good place for the researcher to start. Use them to get a feel for where you want to go with your own research.
A tertiary source is a work based on only secondary information. Research that uses only secondary sources may satisfy your question. Yet, it is frowned upon. Why? -- Because your research is not considered to be original or complete. The authors upon whom you based your research may have been wrong. Since you didn't go back to the original source, there would be no way for you to know this. Most research uses a combination of secondary and primary sources for this reason (the result is both a secondary and tertiary source in itself). Do not go beyond tertiary sources. When one removes his or her research too far from the original source, it can lead to a "he said that she said" sort of a situation which is not conducive to good research.
Now that you are familiar with the types of information available, it is time to start searching for the sources that will help answer your research questions. Finding sources means becoming well acquainted with your local library and the nearest University library. If your county library is anything like mine, then it is geared towards a general readership. Basic research questions may be answered using the books they shelve; but, more intense scholarship means going outside the county system. This doesn't mean that the county library is useless; in fact, it is just the opposite. They may provide indices that will help you discover books that cover your topic. The county library may have access to on-line indices as well. Most importantly, your county library can bring books to you from other libraries using inter-library loan (ILL).
Inter-library loan is a fabulous thing. Through ILL the smallest, most out-of-the-way county library can receive books from libraries all over the world. (NOTE: many libraries prefer to deal only with American and Canadian libraries. Obtaining books from libraries in Europe and elsewhere can be a hassle. The shipping time drastically increases, the shipping costs are high, the safe delivery of the book can be questionable, and the language barrier can be problematic. The librarians I talked to in Maryland and California would do a non-American/Canadian loan only if you had a very specific reference and were willing to pay the increased costs.) The fees on American/Canadian loans are generally inexpensive. The San Francisco County Library, for example, charges 50 cents per request. The books will usually arrive in 4-6 weeks and you check them out via your local library. Inter-library loan books can not be renewed however.
Now that you know you can get just about anything, the question is how to find out what is available. This is not always easy, but there are a variety of places to look. The first and easiest place to look is in the library's catalog. Many libraries have replaced their card catalogues with computers. Don't be afraid to ask for help if you do not know how to use the new system. Most systems are very user-friendly and require very little computer experience to use. If you have questions or problems with the system, ask your librarian for assistance. The catalog is likely to be categorized according Library of Congress Subject Headings (LCSH). A book listing these headings should be close to the catalog for easy reference. If your key word does not find any matches, use the LCSH for alternate phrasing.
Aside from the catalog, there are other resources for finding books on a given topic. Subject guides and compilation bibliographies are very helpful. These offer lists of titles, which fall under a broad subject, such as Medieval History. Some of them offer annotated references as well. Annotation may help you determine if a book will be useful in your search. Additionally, use the bibliography of books you have already found. The author included them because they were useful to his own research. Therefore, they might be useful to your search as well. Indices and abstracts of journal articles on given topics are also available. One such index is the International Medieval Bibliography. It comes out semi-annually and indexes articles on medieval subjects appearing in over 800 journals and some 200 volumes of conference proceedings, essays, and other such publications. Most often you will find these types of indices, bibliographies, etc. only at the university library, unless you have an extensive public library. Before you go to a university's library, call to make sure that the university library allows non-students to browse the stacks.
Finally, the Internet is also a resource for your search. Many sites compile lists of other sites of interest to medievalists. You may find new information at one of these. Also, several on-line indices are available to you via a university library site (or your local library may provide access to them). I have found one URL, which lists the Telnet addresses for libraries in the Americas, Asia, Africa, and Europe with on line catalogues. The URL is:
http://galaxy.einet.net/hytelnet/SITES1.html
There are several indices available on-line. The Bibliographic File (BIB) of RLIN is one of the most useful. It covers over 22 million titles and gives the call number and library location of each item. Once you have the title, author, call number and location of a book, fill out an inter-library loan request and have the book sent your library. If you are having trouble finding out what resources are in your library or the university library, ask the librarian. You will find that many libraries have a special librarian just for this task. That librarian, therefore, becomes one of your resources. Use it.
Briefly, there are other institutions which house information useful to your search. Archives collect and maintain records of businesses and governments. If you know a specific document in their possession will help you to your research goal; you may be able to have them send you a copy of it. This involves a little more organization, as you must be very specific in your request, i.e. page numbers. Also, museums are a good source of information. Exhibit catalogues often have a small write-up on each item as well as a good photograph. Additionally, museums will make photographs of other artifacts in their collection for a fee. If you feel the need to ask curators for information, I offer one small note of caution. Not all curators have the same temperament as a librarian. If you want more information on a piece beyond what is in the catalog, be prepared with a precise question that has scholarly intent.
Once you have found books on your topic you can start working. Keep notes as you go along. Have a notebook handy at all times while you work. This is important for two reasons. First, as you find useful things, make a note of it. Write down a few words to remind yourself what the author said. Include page numbers and a paragraph number. This will make the reference easier to find again should you have a need for it. Second, write down the title, author, and call number of each book you think will be useful for this or future searches. You might even want to write down what topics the book covered. I cannot count the number of times I had convinced myself that I would be able to remember the name of the book/author, but forgot it later. I have a very visual memory. I remember the look of things and not the actual words. I find few things more frustrating than having a picture of the page in my mind and wandering through the library looking for "the big, blue book with gold lettering." Even if you have a great memory, a small notebook is a good investment. You may never use 9 of the 10 things you had recorded; but for that one it is worth it.
Research can be a very rewarding experience. I hope this is article has made you a little more comfortable with the idea of doing a research project. Make your Minister of Arts and Sciences happy by researching something before you make it. I wish you the best of luck in your endeavors.
By Lady Deirdre of Boolteens
The following information has been compiled from various suggestions given to me in my own attempts to "perfect my persona". By using the following questions as a guide, you can create just who this person you have decided upon is. Instead of just telling someone who you are... you learn who this person would have been. If you can incorporate some of the new found knowledge into your own reenactment, you no longer have to tell people about your persona -- they will see it for themselves.
Of course doing this is never required! Some may enjoy this and some may not. For some people, following a list like this gives them a direction to go in. This is a path of studies. Some people feel that putting themselves in persona adds to the enjoyment of their reenacting. For whatever reason, I hope that this list will assist you when ever a person in your group asks you that important question: "How can I get more in persona?"
There are so many people who hear the word "documentation" and cringe. Documentation is perceived as being difficult or obscure. Many do not understand what sources to include or what the judges are looking for. This section is included to assist you in answering these questions. This information can be used as a guide for those inexperienced in documenting their work. It is certainly not intended as "rules". For formal papers, there are many writing styles you can choose from. One is MLA and the other is Chicago. These are just some things I look at when I document a piece I am working on. I always try to answer the 5 questions: What, Why, Where, When, How, Will
First of all, please remember that it is easier to document something you have been studying than to justify something you have created by documenting later. Not only are you less biased in your decisions but you also are in less of a time crunch to find the information. In other words, ideally, you should be studying your art or science and decide on a project, inspired by your studies.
Put your documentation into clear cover sheets in a 3 ring binder. This will make it easier for the judges and will protect your documentation.
When you decide to formally document your work, think about five sections in your documentation.
The page should only be one page in length and tell the judge all the relevant information they need to know. Always write your documentation with the consideration that the person reading knows nothing about your entry. That may be very true!
What is it? – This should tell the reader what the article is in a brief description.
Why did you do this? – This question should provide the inspiration for your decision. Did you do this because of a book you read? Did you see a tapestry or picture in a book that intrigued you? Did your lady or lord express an interest in a certain item? Why do you pick this particular choice? Including a brief answer to this question can not only make your documentation interesting but can also give an easy setting for your references.
Where would you have used this? – This answer should give the reader a brief description of how they would have used the object you created in period. How do you know this? Give your references as to where you got this information.
When would they have used this? – This answer will give the reader your justification for including it in the time period or periods. Again, this is a brief explanation and a reference to your sources. How do you know when this was used?
How did you make this? – This is a brief explanation of the work you put into this item. Did you deviate from the way they would have done it in period? If so, a brief explanation of the difference is in order. Did you do it exactly they way they would have done it? Kudos to you and tell them why you think so! Remember to be brief.
Will you attempt this again? – This is another section that can make your documentation interesting to read and also give you the opportunity to state what you would have done differently and why.
This section provides the meat of your documentation. Here you answer the same questions you did in your summary page but now you provide more detail and photocopies of your sources, if that applies. Make notations so that an individual will understand why you are including a photocopy. Don't assume that the reader will know what they are looking at. Many individuals will not and you will have lost the opportunity to teach someone something new. This section can be as long as you wish but remember that judges will not be reading all of this is they are busy judging multiple entries. If you want them to notice something, note it in the summary and then highlight it in the research section.
If you are using footnotes or endnotes, this is the section for using them.
This section should include your references. There are many books out on writing styles, such as the MLA or the Chicago, but basically bibliography information should include the author, the title, the publisher and the ISBN number (if you have it). For instance:
Carol M. Meale, ed. Women and Literature in Britain, 1150-1500. Cambridge Studies in Medieval Literature, 17. Cambridge: Cambridge University Press, 1993.
Harris, Barbara J. 'A new look at the reformation: aristocratic women and nunneries, 1450-1540.' Journal of British Studies. 32:2 (1993): 89-113. IMB 1993 p.232
Some individuals may also divide this section into primary, secondary and tertiary sources. For more information on what these are, read Mistress Celynen's article on Tips for SCA-Related Research earlier in this chapter.
An annotated bibliography is one where you make your own statements about the reference you have used. This is great and will sometimes give the reader information that will assist them in deciding very quickly which book or source they would like to investigate first.
The Bibliography section can also be titled "Further Reading" or "Cited Sources". Whatever you wish to call it, make sure to include it in your documentation. Not only does it allow the judges to see where you are getting your information from but it also gives an interested individual ideas for study.
Documentation is not hard and well worth doing. Remember the five questions and you will do fine.
In addition to the above information, there are listings included in the Appendices of this handbook. These will change over time and there is a blank page included for you to add your own.
During your time in office you will be responsible for maintaining the files of the MoAS office for your group. These files should be maintained for five years so that they can provide a history of what works for your group, provide backup copies of correspondence relating the office and so on.
Your files should include:
Your files can also include:
Most files, unless particularly pertaining to a problem with an individual, or award recommendations, should be considered public to your group. If you have files, that you consider private, keep them in a separate folder. At the end of your tenure as the group's MoAS officer, you will hand over your files to your successor, including your private file folder. Any correspondence relating to the group's selection of your successor should be handed over to the Seneschal and not included with your files. All other files should go to the next officer. Even if you keep some of your files on computer disk, there should be a paper copy in the files. Your successor may not have a computer and will need paper copies.
Doing your quarterly reports will be a very important part of your job. This is the way the Kingdom officer can find out what is going on around the Kingdom and can also be your way of reviewing yourself for what is working and what you may need to change.
Your Reports are Mandatory! A skipped report places an officer on probation. Two skipped reports and you and your seneschal will receive a letter requesting the reports by a deadline. If the deadline is not met, your seneschal will receive a letter informing the group that your warrant has been revoked.
Doomsday Reports are year-end reviews. Please check with your current Minister of Arts and Sciences to determine whether they are required in addition to your quarterly reports. Some officers require them and some do not. If required, these reports are a recap of the months of the year. They should include any event activities your group sponsored, arts and sciences done at demos, individual accomplishments and group projects. The copy distribution and filing procedures are the same as your quarterly reports.
The following information is a combination of general tips for doing your job and doing it well. These suggestions will make your job easier and therefore more fun. It will also make it much easier to write your report at the end of the quarter.
Encouragement can give an individual the jump-start to do great things. The improper application of criticism can stop an artisan from ever attempting the difficult. Sometimes the MoAS officer will feel as if they are walking a tightrope trying to determine how to give instructive criticism without hurting someone's feelings or discouraging them altogether. As MoAS for your group, your job will be to encourage and promote the Arts and Sciences of your group. This will sometimes put you in the position of providing both praise and criticism to your group's work. I hope that this chapter will give you some tools in dealing with both.
Probably the single most effective way to encourage the Arts and Sciences in Atlantia is to show, personally and directly, appreciation for the work that individual people are doing, whether newcomer or experienced artisan. This does not mean blinding and constantly saying that everything is great. This means being genuinely appreciative of the effort that went into a project, research that was done, a new task tried or a stride toward authenticity. This not only encourages the individual artisan and anyone they share their enthusiasm with but also sets a great example for others.
Lady Enid nicEoin provided some things to keep in mind when striving to encourage:
One of the most frustrating and intimidating things you might have to do in your office is to provide constructive criticism on an individual's work or deal with someone who slams an individual's efforts repeatedly. There are many issues at play here and handling them can be difficult sometimes.
Positive Criticism is critiquing that is based on fact or educated guesses. Positive criticism should always offer a path for improvement. Positive criticism is always offered from a genuine desire to assist an individual to improve their work. Positive criticism gives an individual an open door for discussing their work more with you if they have questions on your comments. Slamming someone's work is just the opposite. Slamming provides negative adjectives without a direction for improving the work. Slamming is usually offered as a put down rather than being offered as a desire to assist. Slamming many times closes the door to further discussion. Slamming can present unreasonable expectations of someone's work that no one, including the person delivering the insult would be able to achieve.
One of the problems with the give and take of criticism is in its perception. There are a few members in our Kingdom who have been professionally exposed to rather blunt and direct critiquing of their art. You can find this with performing artists, professional scholars, etc. However, many, if not most, individuals in Atlantia have never been trained or prepared to accept and deal with criticism. They may take it as a personal attack of their work, rather than a way to improve what they are doing. This makes our timing and our approach to critiquing very important. Sometimes, no matter what you say or how you say it, there will be individuals who will not be able to accept criticism. If you are asked, continue to give them polite honest feedback, remembering the tips on praise in the previous section. Do not lie but please make sure that critiquing is what they are asking for. Many are not. Sometimes people are just looking for the acknowledgment that they have made an effort. Reading this from their statements can be very difficult. As soon as you see that someone is either not listening to you or looks uncomfortable, take that as a hint that your current comments are no longer welcome. You may want to try another time or another tactic.
As an MoAS officer, in coordinating displays, competitions or workshops you will see both positive criticism and slamming. You should never feel obligated to keep a slamming comment on a display table. If you have questions on the tone of the comment, ask the judge. Many times, they will be surprised that it came across that way and may want to add additional comments. All comments should be signed. If you come across a rude, unsigned comment, you can remove it from the table. If the individual wishes to comment on someone's work, they should also feel obligated to stand behind their comments and allow the individual to pose questions on how they can improve.
If you are put in the position of providing critique on someone's work, these tips should help you decide whether your comments are constructive criticism or slams.
Baronial officers, particularly those in Baronies with Cantons or Colleges, can have special needs that some other officers may not run into. There are two other levels to the job that most officers do not have to contend with. Those two new levels are The Coronets and the Canton or College MoAS officers.
For the Baronial officer, you have another level in charge to deal with – The Coronets. Please make every attempt to find out what their goals for the arts and sciences in their barony are. A working relationship with The Coronets is very important. These are the individuals who have been placed in charge of the Royal lands and are the voice of the crown. They will be giving awards to your populace and can be an enormous help to you in getting recognition for deserving individuals.
Most Coronets, when asked, will appreciate your concern for their particular wants and needs. They may even have excellent ideas that you have not yet thought of. Their enthusiasm can be contagious with the populace, which will make your job much easier. Their wishes, in accordance with Kingdom Law, should be respected and honored and their input appreciated.
Working with the Coronets can also give you focus and ideas to unite the various groups within your barony for projects, events or workshops.
As a Baronial officer you may also be dealing with various groups in your barony – Cantons, Strongholds and Colleges. Take the time to get to know the various MoAS officers within your Barony. Many baronies are successfully setting up meetings at baronial events or on free weekends to just get together, plan and help each other.
First of all, the baronial officer is not "in charge" of the MoAS officers from the local groups in their Barony. All MoAS officers are bound to Kingdom Law, representing their local group and reporting to the Kingdom officer. However, the groups of the Barony should be able to look to the Baronial officer as a larger local resource and aid, just as all officers can look to their Kingdom officer for additional resources or ideas. The advantage of contacting you, as their Baronial officer, is that you are generally more familiar with your area and people than your Kingdom officer and they may see you at local events more frequently than they will see their Kingdom officer. All canton, college and stronghold MoAS officers within a Barony are required to send a copy of their quarterly report to their baronial officer and their local seneschal. This keeps the communication flowing and that is the point.
As Baronial officer you may be asked to do some of the same things a local officer is asked to do, but on the Baronial level, not the local group level. You may also be asked to coordinate efforts between local groups, in the event of a baronial project, scriptorium or event. Work with these officers, include them in your plans, communicate with them and select willing volunteers for your deputies. Remember that one of your duties is to train replacements. You have an experienced pool of officers right there in your local groups.
There are a wide variety of viewpoints when the subject of Guilds comes up in the SCA. In Atlantia, the one truth is that officially sanctioned guilds by this office can never have an exclusive membership and the guild can not sell their products for profit. Other than that, this office does not restrict the creation of guilds. They require a vast amount of organization and constant effort by the organizer to maintain the energy level of the group. If you wish to start a guild, you will find below some tips on getting started and some pros and cons to its creation. Mistress Allesondrea is the current guildmistress of Arachne's Web and Lady Tangwystl is the innovator and organizer of the "unofficial" SWAT.
From Lady Tangwystl:
Greetings unto all would be guild members, masters, and mistresses from the hearth and loom of Lady Tangwystl ferch Dafydd! I've been fortunate enough to head up the forming of Atlantia's Textile guild known as S.W.A.T. or Spun, Warped and Twisted. Like all guilds, the idea was not new; it just took someone with the desire, motivation, and/or insanity to follow through. So you want to start a guild? There are a few things to consider:
Do you really want/need to start a guild, or do you just want a loose formation of people who get together on -- say -- Tuesday at two?
People join guilds for many reasons, some good and some that need more thought. Some join guilds because it's a way to get good information on a topic of interest. Some join because the just want to meet like-minded people who will understand their raptures and frustrations. Some join because it's the thing to do, they want to belong and/or they think it will get them somewhere or something. For most, it's actually a combination of these reasons and more. The thing to always keep in mind is that we do this for pleasure, enlightenment, camaraderie, and fun. If you are not having fun, then you are doing something wrong. Some ideas to consider.
Pros
Cons
Okay, you want to start a guild. Do you create a charter or not and what type?
At this point you must first ask yourself what your goals are. I got some charters from other guilds and looked them over. For my part, I didn't want the strict confines of officers, dues, and guild levels. My goals were to share information, get knowledgeable people with "wannabes", and provide a focal point and higher visibility for textile artisans. For this reason SWAT has a loose charter with minimal definition to be considered a guild: Purpose, area or operation (i.e., Kingdom of Atlantia, definition of membership, goals (similar to purpose but more specific), statement of official affiliation or lack thereof. If you wish to have a more hierarchical type of guild, you would need to include definition of guild levels (apprentice, journeyman, master), process by which levels may be obtained, definition of officers and terms, dues and how they will be managed/spent, etc.
Do you wish to be "officially" recognized as a Kingdom/Society guild?
My personal opinion on this subject is that "official" recognition will come in time. If your guild takes off and produces worthy individuals/items, then recognition by your canton, shire, barony, kingdom will follow. It is a nice touch for guilds to sponsor events or gifts to their majesties, and generally unnecessary to offer a charter in court. Still, it goes back to goals and structure. The only necessary time for official recognition would be when funding is involved. Otherwise, this is a personal choice.
A few final thoughts to keep in mind. Expect growing pains. With SWAT, the response was MUCH larger than I anticipated and I had some difficulty maintaining prompt and reasonable return on information, etc.
Involvement and sponsorship of events and happenings (you can delegate!). You can't please everyone, so seek reasonable compromise and treat all ideas with proper respect. Don't expect everyone to be as excited as you are, but encourage gatherings and activities among members. DELEGATION is not a dirty word. Have fun. Good luck!
May the colours of your life be pleasing to the eye!
Tawny
[insert tips from Allesondrea ]
If you have Internet access, you may want to take a peek at the two addresses below. One is a compilation by Mark S. Harris of various threads off The Rialto mailing list at http://www.pbm.com/~lindahl/rialto/guilds-msg.html and the other is a guide for the The Manuscripts Section of Guildhall Library under http://www.ihr.sas.ac.uk/ihr/ghguide.html
As part of your group activities, many A&S officers set up workshops. These can be formal or informal and cover whatever subject you can get the people and materials to work on. They are generally handled during an evening or on a weekend day when there is no local event going on. Topics can be as broad as writing period poetry to making your own period shoes.
Some tips for having a successful workshop:
If you have a lot of interest in calligraphy and illumination or would like to start some, you might consider holding a scriptorium in your area. This gives your group the opportunity to reduce the backlog of a local Barony or the Kingdom, or provide promissory scrolls.
The following information has been provided in response to some questions I put to the current Kingdom Clerk of the Signet, Lady Rebecca the Contrary.
When a group would like to do scrolls for Kingdom or their barony what paper do you suggest?
Generally we recommend Bristol board. That's the most common type.
What inks do you suggest?
I don't have a particular practice for inks but black and red are the most commonlydocumented colors.
I generally stay away from true India ink just because it will permanently stain everything.
Where can they get the texts they need?
For Kingdom texts, at the moment they'll have to contact me directly. Refer to my address in regnum. (There are plans in the works to make this available via the Internet)
For Baronial texts, they can contact their local Clerk Signet or the baronial A&S officer.
Do you have a bibliography they can reference?
I don't have a specific set of sources at the moment. Most illumination books, as long as they mention the dates of color plates and the fact that the color plates are direct copies from books/manuscripts. My favorite Calligraphy book is by Mark Drogin and published by Dover (read cheap!) but the name escapes me at the moment. I like it because it's cheap and covers all of the hands.
Any tips or tricks that successful groups are using?
Mostly getting together to practice and share libraries is important. The strength in numbers motivation is always useful and it's always good to share ideas. Eventually I recommend learning to work together and find each other's strengths. One person may be good at the calligraphy while another is good at illumination while a third is great at the heraldry. Combining efforts on the same scroll is certainly acceptable and encouraged among newcomers.
Any suggestions on running a scriptorium?
The key issue is to set aside a regular time. Depending on what else is happening in your group, it may be a weekly or monthly. For starting out, I recommend weekly and don't be surprised if you don't have the same people every week. Try to fix different subjects for each meeting to start out with but don't be afraid to let the needs of the group change plans suddenly. Questions from one meeting often decide the plans for the next meeting.
Calligraphy classes are good, and it's wise to learn at least one early period hand and one late period hand, unless you intend to do only those scrolls from a particular era. When learning calligraphy I suggest working with a text. It's OK to practice the alphabet for a particular hand but you'll feel much more of a sense of accomplishment when seeing a text get more and more even. Texts can be found in the scribe's handbook.
I generally start out illumination classes with the dots method of knot-work because it can be done by hand and takes very little artistic ability. Simple vines are also good subjects to teach. I also recommend to new scribes that if doing scrolls for kingdom at first is intimidating, then try doing something for your barony. Other ideas are to practice C&I on greeting cards or with gift scrolls that you intend for someone. I also like to make bookmarks.
I generally recommend color copies of work that you've done so that you can see the improvement and after getting some experience, you can share your ideas with other scribes. Don't practice forever either. As a new scribe one's often afraid to jump into a commitment but we do have scrolls that require very little illumination since they're given at the whim of the crown. We can set you up with a commitment and then you can send me a pencil drawing of your intentions that I can make suggestions with if you're worried about appropriateness.
One very productive activity you can establish as an A&S officer is that of setting up a collegium. These give individuals in your group or the local area an opportunity to perfect their teaching and give individuals, locally, a wide variety of subject matter to learn. If a teacher becomes comfortable teaching at collegiums and they feel they have perfected their class, suggest they offer their services to the Chancellor of University.
Collegiums or Lyceums can be a day event, is usually very low cost and on average, very well attended, particularly if you have given enough advance notice on what classes will be offered. This is very important for a collegium, as well as advance planning. It requires some legwork but is very rewarding.
The Atlantian University is by far, one of the best in the
SCA. Atlantia has an abundance of very experienced teachers and an
increasing flow of new teachers who are willing to share what they
have learned with others. Our populace continues to support the
University system in ever increasing numbers. They know that they will
get a wide variety of interesting subjects taught by some very good
teachers.
Encourage your populace to attend University. They will enjoy the experience and it will increase the knowledge level of your group. Many individuals have gone to University and then come back to their local group willing to share what they have learned in local classes, workshops and collegiums.
Mistress Deirdre O'Siodhachain, our current university chancellor, submitted the following information for the handbook:
"The University of Atlantia
Atlantia's University is a find and noble institution dedicated to bringing together teachers and students. It facilitates the study of subjects related to the Middle Ages and Renaissance and our activities in the SCA. By Royal charter, the University meets two to four times a year and is hosted by a different group each time. The University tries to sponsor a variety of classes to serve as wide a cross-section of the populace as possible.
The Chancellor is responsible for all University activities and organization. The Chancellor is appointed by the Crown and is an officer of the Kingdom, although not a great officer.
University Awards
The University offers three awards which are in the reach of most people.
Any individual can be named a fellow who has taught at three separate sessions of the University. The number of classes at a single session, or the variety of classes does not matter.
A bachelor's degree is given to any individual who takes a total of 24 different classes.
A master's degree is given to any individual who a) teaches 12 different classes at University or b) is a fellow and earns a bachelor's degree.
The Chancellor's personal award is a Doctorate. This is reserved to former Chancellors and any individual who has performed consistent, persistent, outstanding service to the University.
Hosting a University
The University is constantly seeking potential hosts. The following is meant to give a general idea about what is needed for a good site. Most commonly University takes place at schools or college campuses. Whatever the location, the greatest concern is to provide facilities which can accommodate the needs of many different students and teachers. Sessions normally take place in mid-November/early December, or the first weekends in February and June. Most University sessions are scheduled six to twelve months in advance in order to allow for recruitment of teachers and publication of the catalog.
Sponsoring a University is relatively easy. All recruitment of teachers, announcements, registration, etc. are handled by the University. The host group is responsible for those portions of the event which must be handled locally such as securing a site, posting directional signs, listing local resources (copy shops, restaurants, hotels). The University is entirely funded by donations from students and the host group is not expected to make any significant financial contribution to the event.
A good site for University should be able to accommodate at least 250 attendees, although a recent session had over 350. The site should have at least 12-15 classrooms and some areas where workshops can be set up (should include large tables for laying out of materials, tools, etc.). There must be a large central gather area to accommodate Registration and Convocation, and provide a central gathering place. An outside area for heavy weapons, rapier, and/or archery classes is always welcome. Parking should be adequate and there should also be convenient food service for lunch, as well as sufficient crash space and commercial lodging to meet the needs of those who have traveled.
For a more detailed description, contact the Chancellor at the listing in The Acorn.
Deirdre O'Siodhachain, OL"
The following information can be found in Appendix B of the Atlantian Red Tape, current to A.S. XXXI. The information can also be found on the Internet at
http://www.pbm.com/~lindahl/atlantia/university_atlantia.html
We, Ragnarr Thorvaldsson and Gwenllian de la Foret, Sixth Prince and Princess of Atlantia, do this day grant a Royal Charter to the University of Atlantia.
The purpose of the University shall be to spread knowledge of the crafts and sciences of the Middle Ages and the Current Middle Ages throughout our realm.
The University shall be administered by a Chancellor who will be appointed by Us, or by Our successors, for a term of two years and who can succeed himself for a maximum of one term. The Chancellor shall be advised by a five member Board of Regents who shall be appointed by Us, or by Our successors, for a term of two years.
An Order of the Fellows of the University of Atlantia shall be established to consist of all those instructors who have taught at three or more different sessions of the University. After the first day of May, A.S. XVII, the Monarchs shall make all appointments to the University office from among these fellows.
The University shall hold not more than four nor less than two sessions in each year. To best spread the University's influence to all parts of Our realm, these sessions will not twice in succession be held in the same locality.
The Chancellor shall have the right to display the device of the University. All Regents and Fellows shall have the right to display the badge of the University.
The University shall maintain its traditional autonomy from all authority save that of the Crown of Atlantia.
Done this 12th day of April, A.S. XIV, Ragnarr & Gwenllian
And confirmed this 2nd day of May A.S. XVI at Our Coronation feast, Michael & Carissa
And amended this 1st day of October, A.S. XVIII at Our Coronation, Olaf & Aislinn
And amended this 18th day of August, A.S. XX at the Pennsic War, Richard & Anne
In Atlantia, we have a special group of people who are given the title of an Atlantia Chartered Notable after winning one or more special competitions. These include the Royal Armorer, the Royal Bard, the Royal Brewer, the Poeta Atlantiae and the Scrivener Royal. Each of these individuals have competed and won a competition judged by the Crown, the Kingdom Minister of Arts and Sciences and the Current Occupant of the title. Their title carries a responsibility to promote and encourage the craft for which they have been given this title and to entertain The Crown. They report directly to The Crown.
[Insert information from the Royal Armourer here]
The Royal Armourer is selected for excellence in making armour. The Royal Armourer is expected to combine excellence in product with a reasonable attempt at period design. In addition, the goals are making armour for the Crown, displaying work at events, sponsoring armouring competitions, and teaching in such venues as are available and reasonable.
The Royal Armourer will be selected by a competition to take place at Fall Crown Tournament; the competition should be announced by the current Royal Armourer in the Acorn at least twice before the competition takes place. The current Royal Armourer, in conjunction with the Crown, will set the details of the competition and judging standards. Judges should be drawn from the following: [1] The Crown or their proxy, [2] the Heirs or their proxy, [3] the Kingdom MoAS or proxy, and [4] the Royal Armourer. Additional judges may be chosen at the discretion of the Royal Armourer; in no case should there be fewer than three judges. The judges should prepare a ranked list of three finalists, including a list of all competitors and comments, to present to the Crown and the Heirs. From that list, the Royalty will select a new Royal Armourer.
[insert information from the Royal Bard here]
The Royal Bard is selected for excellence in the individual performance of any of the following fields: singing, instrumental music, poetic rendition, or storytelling. The Royal Bard is encouraged to be proficient in at least two of these fields. The Royal Bard is expected to combine engaging and entertaining performance with a reasonable attempt at authentic period styles, both in material and presentation. In addition, the Royal Bard should encourage the performing arts in Atlantia. Suggested goals are: performing for or writing compositions about the Crown, performing at events, sponsoring bardic competitions, and teaching in such venues as are available and reasonable.
The Royal Bard will be selected by a competition to take place at Twelfth Night. The competition should be announced by the current Royal Bard in The Acorn at least twice before the competition takes place. The current Royal Bard, in conjunction with the Crown, will set the details of the competition and judging standards. Judges should be drawn from the following: [1] The Crown or their proxy, [2] the Heirs or their proxy, [3] the Kingdom MoAS or proxy, and [4] the Royal Bard. Additional judges may be chosen at the discretion of the Royal Bard; in no case should there be fewer than three judges. The judges should prepare a ranked list of three finalists, including a list of all competitors and comments, to present to the Crown and the Heirs. From that list, the Royalty will select a new Royal Bard.
From a former Royal Brewer, Lord Tadhg:
"The position brought a good deal of fun and hard work. The Royal Brewer is expected to actively encourage the art of brewing throughout the kingdom. Since I enjoy talking about brewing and teaching what I know, the title tended to bring me into contact with new people I may never have met otherwise. The price of the title was being asked to judge most every competition in the kingdom (such a shame). I heartily encourage everyone to compete: meet new people, talk about a favorite hobby, and drink new potables (which you, as a brewer, didn't have to make yourself).
Regards,
Tadhg"
The Royal Brewer is selected for excellence in making beer, ale, mead, wine, or other period alcoholic beverages. The Royal Brewer is expected to combine excellence in product with a reasonable attempt at authentic ingredients and recipes. In addition, The Royal Brewer should is expected to encourage all aspects of brewing in Atlantia in concert with the Atlantian Brewers Guild. Suggested goals are: making products for the Crown, displaying work at events, sponsoring brewing competitions, and teaching in such venues as are available and reasonable.
The Royal Brewer will be selected by a competition to take place at a Kingdom Event some time between November and February. Suggested venues are Winter University, and Twelfth Night; however, the competition should be announced by the current Royal Brewer in The Acorn at least twice before the competition takes place. The Royal Brewer must arrange with the autocrat to ensure that the event site allows for the competition. The current Royal Brewer, in conjunction with the Crown, will set the details of the competition. and judging standards. Competitors must enter a minimum of three categories. Categories as defined in the charter of the Atlantian Brewers Guild consist of the following: [1] beers, [2] meads, [3] wines, [4] cordials and liqueurs, [5] vinegars, and [6] exotics (e.g., kefir, kumiss, and other fermented beverages.) Judging standards will be those used by the Interkingdom Brewers Guild. Competitors' overall scores will be the sum of their category scores; the category scores will be the average of a competitors' entries within a given category. Competitors will be limited to a maximum of three entries per category. Judges should be drawn from the following: [1] The Crown or their proxy, [2] the Heirs or their proxy, [3] the Kingdom MoAS or proxy, and [4] the Royal Brewer. Additional judges may be chosen at the discretion of the Royal Brewer, such as the Guildmaster of the Atlantian Brewers Guild; in no case should there be fewer than three judges. All judges must be of legal drinking age according to the laws of the state in which the competition is held. The judges should prepare a ranked list of three finalists, including a list of all competitors and comments, to present to the Crown and the Heirs. From that list, the Royalty will select a new Royal Brewer.
[insert information from the Poeta Atlantiae here]
The Poeta Atlantiae is selected for excellence in composition of poetry in at least two period forms. The Poeta Atlantiae is expected to combine excellence in poetic composition with a reasonable attempt at authentic period styles, both in material and structure. In addition, the Poeta Atlantiae should encourage the arts of poetry in Atlantia. Suggested goals are: writing for or about the Crown, displaying work at events, sponsoring poetry competitions, and teaching at such venues as are available and reasonable.
The Poeta Atlantiae will be selected by a competition to take place at Spring University or a Kingdom event during the same time frame. The competition should be announced by the current Poeta Atlantiae in The Acorn at least twice before the competition takes place. The current Poeta Atlantiae, in conjunction with the Crown, will set the details of the competition and judging standards. Judges should be drawn from the following: [1] The Crown or their proxy, [2] the Heirs or their proxy, [3] the Kingdom MoAS or proxy, and [4] the Poeta Atlantiae. Additional judges may be chosen at the discretion of the Poeta Atlantiae; in no case should there be fewer than three judges. The judges should prepare a ranked list of three finalists, including a list of all competitors and comments, to present to the Crown and the Heirs. From that list, the Royalty will select a new Poeta Atlantiae.
[insert information from the Scrivener Royal here]
The Scrivener Royal is selected for excellence in calligraphy and illumination, and acts as the personal scribe of the Crown. The Scrivener Royal holds office under the Office of the Clerk of the Signet. In addition, the Scrivener Royal should encourage calligraphy and illumination in Atlantia; suggested goals are: creating scrolls for the Crown, sponsoring calligraphy and illumination competitions, and teaching in such venues as are available and reasonable.
The Scrivener Royal will be selected by a competition to take place at the Spring Crown Tourney. The competition should be announced by the current Scrivener Royal in The Acorn at least twice before the competition takes place. The current Scrivener Royal, in conjunction with the Crown, will set the details of the competition and judging standards. Judges should be drawn from the following: [1] The Crown or their proxy, [2] the Heirs or their proxy, [3] the Kingdom MoAS or proxy, and [4] the Scrivener Royal. Additional judges may be chosen at the discretion of the Scrivener Royal; in no case should there be fewer than three judges. The judges should prepare a ranked list of three finalists, including a list of all competitors and comments, to present to the Crown and the Heirs. From that list, the Royalty will select a new Scrivener Royal.
If your group has a local newsletter, this is another great way for individuals to teach. Some people are not comfortable with getting up in front of a group but are perfectly happy to write about what they know, draw a picture or illustrate a point. Talk with your local chronicler to find out what their requirements for submission are. Most chroniclers will be delighted in include information in their newsletter. Some groups have even gotten so many submissions that they publish an Arts and Science issue of their newsletter!
The limit of a local newsletter is usually space and cost. The size of the article may have to be somewhat pared down but your local chronicler will be able to tell you for sure. If the scope of the information prevents the article from being appropriate for publication in the local newsletter, there are other publications discussed in this chapter.
The Oak is another opportunity for the individuals in your group to learn and to educate. Please encourage your populace to contribute. For specific requirements and where to send submissions, the editor of The Oak is always listed in the Acorn. The following information has been kindly provided by the current editor to The Oak, Lady Elisabeth MacAlester of Kintyre
"The Oak is the Arts and Sciences Newsletter for the Kingdom of Atlantia. It is published bi-annually by the Office of the Kingdom Chronicler The Oak receives no guaranteed funding from the Society For Creative Anachronism (SCA) Corporate Office or the Kingdom and relies on fundraising to cover printing and mailing costs. Copies of The Oak are distributed to all members of the SCA receiving the Acorn and to all contributors.
The Oak will consider for publication any articles, artwork, or poetry on topics relevant to the time period 600 C.E. to 1600 C.E. and the context of the SCA.
The Oak can always use more art and articles. If you aren't comfortable with your writing ability, the editor would be delighted to work with you to improve your skills.
If you are interested in submitting art or articles for The Oak, please keep the following in mind:
There will be times when you may be asked to run the Arts and Science activities at an event your group puts on. The office does not automatically require you to run this but you should at least offer assistance to your group in selecting someone to run it, if you do not do it yourself. And you should make note of the activities for you report on that quarter. If your group is sponsoring a Kingdom event, you should check with the Kingdom MoAS to see what they are planning also.
Ideas for A&S at your events can come from many directions. The more you find out about A&S in your area, the more successful you will be at sponsoring or assisting in activities that will go over well with your group.
Competitions can be held in a variety of fashions. Some groups do well with competitions and some do not like them.
There are no set rules for SCA competitions. They are as varied as the SCA itself. Each competition has its own variations and its own rules, created by the organizer(s).
There are many different types of competitions. There can be one winner per category or a Science fair type competition with first, second and third prizes winners. There can be one winner overall or no winners at all.
The rules can be very informal or highly structured, according to the nature of the event, local tradition, the desires of the organizers, and the skills of the available judges. Examples of informal rules would be Best of Show decided by one person, No documentation required or Accurate from 10 feet away. A panel independently scoring each item with the final score being based on the average or total points, a weighted scoring system, scoring some aspects higher than others, or requiring specific criteria would be an example of formal rules.
There is no guarantee or set formula for success. Don't be disappointed if there are few entrants or things don't go as smoothly as planned. Almost all of us have had a competition where there were few or even NO entries – just try something a little different the next time. The following are a few suggestions that may help.
To get a larger number of entries:
To use competitions to encourage a craft that is not commonly practiced in the area or for which there is a special need:
To get more attention focused on the A&S competition at an event:
To avoid so many entries that judges are overwhelmed
The selection of judges is an important part of running your competition. You want to make sure that the judges are dependable, that you have enough to cover the number of entries and that the judges will be willing to follow the criteria and competition rules that you have set up.
When selecting judges
Note: There will be times when you will be asked to judge because of your office. Be honest about your knowledge. We, as officers, do not know everything about the arts and crafts we encourage. You may be knowledgeable in one area and completely unaware of another. It's okay. All of us have been there. In desperate times, you may end up judging an area you are not familiar with. Do the best you can while relying heavily on the documentation and your own instincts. Try not to assume that the person is incorrect and try not to be overly critical. More on that later.
The Judging Form will be found in the Chapter "Sample Forms". The guidelines for judging criteria will be found in Appendix D "Guidelines for Judging"
7. Kingdom Minister of Arts & Sciences
7.1
Purpose 7.1.1 To foster the development of the historical accuracy and/or information of Arts and Sciences by helping organize competitions, exhibitions, demonstrations, classes, workshops, publications and guilds. The most important job is communication with artisans, so that all get the help and recognition they need.
7.2
Local Officers 7.2.1 All local officers are appointed by the Kingdom Officer, subject to confirmation by the Crown, after receiving recommendations from the local group. Final authority rests with the Kingdom officer and the Crown. All local groups must have either an Arts and Science officer or a warranted marshal. For a local officer to receive a warrant, the following must happen: The prospective officer must be a dues-paying member of the Society for Creative Anachronism. The prospective officer should be a subscribing member or better; in all cases, the prospective officer must have immediate access to copies of all issues of The Acorn when published. The outgoing Arts and Sciences officer (if any) should write to the Kingdom officer, providing the following information:
7.2.1.1 Date as of which office becomes vacant.
7.2.1.2 Reason for vacating the office.
7.2.1.3 Society and legal names of the recommended successor.
7.2.1.4 Mailing address, phone number and membership number of the recommended successor.
7.2.1.5 Any pertinent information concerning the recommendation.
7.2.1.6 The Kingdom officer must receive a letter signed by at least the Seneschal of the group and the Coronet, if the group is a Barony. Candidate should preferably have a signature by a majority of the officers, verifying that the recommendation is acceptable to the group. This may occur as a footnote over signatures from the outgoing Arts and Sciences officer.
7.2.1.7 The candidate must write the Kingdom officer a letter of introduction, including name, address, phone number and membership number, qualifications and a statement that the candidate is willing to assume the responsibilities of the office. The letter may be included with either or both of the letters described above. No Arts and Sciences officer should hold any other office, at any level. Arts and Sciences officers must make themselves available to their local memberships. To this end, they should have a phone and, should make their phone number generally available to the group. The officer should be prepared to accept calls at reasonable hours from the local members.
7.2.2 Primary duties of local officer are as follows:
7.2.2.1 To file quarterly reports in a timely fashion.
7.2.2.2 To insure that the reports filed provide a reasonably accurate picture of the Arts and Sciences activity in the group in question, particularly in regard to teaching and research.
7.2.2.3 To encourage the Arts and Sciences in the local group. This may be approached in any of a number of ways. One important means involves bringing promising and gifted members to the attention of the Kingdom officer and the Crown. Always encourage people to share their skills and knowledge, through direct exchange in informal and formal workshops, classes, articles, tips, reviews, and in any other way that spreads the information.
7.2.2.4 To train deputies, providing help for all the duties above and insuring a reasonably smooth transition when the current officer steps down. An officer may have more than one deputy.
7.2.2.5 To maintain accurate and complete files, providing institutional memory. Files should be maintained for seven years.
7.3
Reports 7.3.1 All officers must submit, in writing, four quarterly reports to the Kingdom officer. In groups without an Arts and Sciences officer, the Seneschal is responsible for filing reports (see Red Tape Issue, Policies of the Great Officer's of State, Seneschal's office, section 1.3.3.1).
7.3.2 Officers of local groups within a greater Barony must report directly to the Kingdom officer, sending a copy to their Baronial officer. All officers must send a copy to their local Seneschal. Baronial officers are encouraged to work with the local officers of groups within their Barony coming to a mutually amicable agreement to meet reporting deadlines. Local groups within a greater Barony are responsible for making sure that the Baronial officer receives their report early enough not to delay the Baronial officer's report. Baronial officers not receiving reports from their local group officers are still responsible for filing their own reports on time. To this end, they are to file their reports without the local group's report. The officer should mention in their report the missing copy of the subsidiary group's report. In the case of a subsidiary group without an Arts and Sciences officer, Baronial group officers are encouraged, but not required, to provide reports on the subsidiary group's activities. (Seneschals of subsidiary groups are not required to report if the Arts and Sciences office is vacant)
7.3.3 The schedule of reports is as follows (reminders will either appear in The Acorn for the month before the report is due, be mailed out directly, or both):
7.3.3.1 First Quarter (January 1 through March 31): Due April 15
7.3.3.2 Second Quarter (April 1 through June 30): Due July 15
7.3.3.3 Third Quarter (July 1 through September 30): Due October 15
7.3.3.4 Fourth Quarter (October 1 through December 31): Due January 15
7.3.4 Normal reports should include Arts and Sciences activities at events, teaching activity, significant individual or collective arts and science activities, individuals the local officer considers particularly worth watching, and any problems that have arisen. All reports must include at least the following:
7.3.4.1. Period the report covers (including year)
7.3.4.2. Name of the group being reported on
7.3.4.3. Date (including Gregorian year) the report is prepared
7.3.4.4. Society and legal names of the officer
7.3.4.5. Address and phone number of the officer
7.3.4.6. Status of the officer (probationary warrant; normal warrant; Seneschal reporting in absence of local officer)
7.3.4.7. Membership # with expiration date (for reports issued by Arts and Sciences officer)
7.3.4.8. Name of individuals copied on report
7.4
Warrants 7.4.1 All warrants are maintained by the roster system and are for a period of two years. At the end of the two years, the officer may request a renewal for another term, not to exceed a total of four consecutive years in office. Newly appointed local officers will receive probationary warrants, to last until the end of the second reporting period after they take office. Officers holding probationary warrants who file two quarterly reports on time and are still acceptable to the Kingdom officer, will be issued a normal warrant for a period to end two years after the date of assuming office, pending confirmation by the Crown. Local officers nearing the end of their tenure may apply to have them renewed. Such applications have the same requirements as the original warrant.
7.5
Ending Term of Office 7.5.1 Any officer or deputy may resign at any time. Local officers who choose to resign should also designate a successor and set the transition process in motion as described above. If the local officer fails for any reason to contact the Kingdom officer, someone else must; this usually falls either to the local group's Seneschal or to the acting successor. Officers with an expired warrant desiring reinstatement must write the Kingdom officer applying for reinstatement and explaining why they did not apply for renewal at the appropriate time. At any time the Kingdom officer may remove any kingdom deputy for failure to perform assigned duties. The Kingdom officer, may remove a local officer for cause at any time. In such cases, the local officer may appeal the removal to the BoD. The Crown on its own may suspend any officer, for just and stated cause, for the duration of the reign. (See Corpora, VI.C.5.a.(2)) The Kingdom Officer will place local group officers who fail to file one Quarterly Report or who are significantly late in filing on probation. The Kingdom officer will remove officers on probation who miss or who are significantly late in filing a second consecutive Quarterly report. The Kingdom officer will remove officers who have been on probation three times within two years. The Kingdom officer may also remove officers for failure to comply with any of aforementioned policies. On removing any local group officer, the Kingdom officer will notify the local Seneschal (and in the case of Baronies, the Coronet) and request a recommendation for a replacement. Officers who have been removed, per above, may apply to the Kingdom officer for reinstatement. Application for reinstatement must include the following:
7.5.1.1. A good explanation for the problems that led to the removal
7.5.1.2. Some reasonable assurance that the problems will not occur again.
7.5.1.3. Reports covering any period that remains unreported.
Statements by the local Seneschal, and Coronet in case of a Barony, and signatures of a majority of the local officers that reinstatement is acceptable to them. Decisions on reinstatement are the sole province of the Kingdom officer, pending the Crown's confirmation. The Kingdom officer is not required to reinstate any individual and reinstatement is never guaranteed.
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SCA Web Site:
Kingdom of Atlantia Web Site:
http://www.pbm.com/~lindahl/atlantia.html
Kingdom of Atlantia Arts and Science Web Site:
http://members.aol.com/charlenn/MoAS.HTM
Atlantian University Web Site:
http://www.pbm.com/~lindahl/atlantia/university_atlantia.html
Atlantian Red Tape Web Site:
http://acorn.maxson.com/www-rdtp.htm
On the following pages, you will find sample forms for you to use. Whether you wish to become warranted, renew your current warrant, write your reports or judge a competition, these forms should prove helpful.
If you ever come up with a form that makes your job easier, don't hesitate to show it to your Kingdom officer. They can use new ideas also. They may find your form helpful to many individuals. With the current format of this handbook, the form can easily be included.
Note: The report form is a suggested format. As long as you have the required information, you can format your report the way you wish. This is to give you a general description of what should be included in your reports.
Required Information
Xth Quarter Report for Group Name, date range and year included in report
MoAS SCA and legal name, Address, Phone and e-mail (if you have it),
Membership #/Exp. Date
Summary: (A general status of the A&S activities and key changes since your last report)
Optional Information – (information should be included in some format)
Events: A brief commentary on A&S Activities at local events, such as cooking feast, small competitions, and displays. (If you are doing a full event report, it is recommended that you attach it on a separate page. Large competitions should be included as an Event Report, even if non-A&S activities were also held at the event.)
Group Activities: A list of local guilds, A&S meetings and households with regular A&S activities. Commentary associated with each item should include such data as leader's name, frequency of meetings (‘alternate Tuesdays'), typical attendance levels, group projects, and significant changes since the last report. Individual projects, even if made at the group activity, should be included under Individual activities.
Individual Activities: A listing of people in your group who have participated in A&S activities during the quarter, and the nature and category of the activity, (such as ‘teaching dance' or ‘Celtic jewelry'). Information should include SCA name, mundane name (if known), and the kinds of A&S activities they have participated in during the last quarter, whether they have received recognition or on a competition and areas of notable improvement. It is not necessary to describe most individual projects, but a brief description may be appropriate for major projects.
Persons to Note: This is your change to bring special people to the attention of others to support your efforts to get recognition for the talented people in your group. This should be in addition to any letters you have written to the Crown and corresponding Principals of the orders and should not be considered a substitute for writing those letters.
Problems and Opportunities for Improvement: This is intended to be an objective review of difficulties associated with the A&S office. Whenever possible, include your plans and ideas for addressing the problem during the upcoming quarter. You can also ask for help and advice.
I, ____________________________________________________________________
Wish to become the Arts and Science officer for the group of
______________________________________________________________________
I have read the Red Tape policies, understand the duties and reporting requirements of the job and am willing to follow through with them. I have discussed this with my group's Seneschal and the group desires me to be their officer.
My personal information is:
SCA Name:___________________________________________________________
Legal Name: __________________________________________________________
Address:______________________________________________________________
Phone: _______________________Email:________________________________
SCA Membership # _______________________ Exp. Date: ____________________
Signed this day of _________________
Your signature: ________________________________________________________
Signature of Seneschal: ___________________________________________________
Signature of Baronial Coronets, (if you are applying for Baronial MoAS status)
_________________________________________
Entry # _____ Description:
Note to Judges: Please just check the boxes, comment, sign & return to the MoAS who will total the scores. Thank you!
|
Category |
Judge |
0 |
1 |
2 |
3 |
4 |
5 |
6 |
Cat Totals |
Judges Comments & Signature |
| Documentation | 1 | Judge#1 | ||||||||
| 2 | ||||||||||
| 3 | ||||||||||
|
Authenticity | 1 | |||||||||
| 2 | ||||||||||
| 3 | ||||||||||
|
Complexity | 1 |
Judge#2 | ||||||||
| 2 | ||||||||||
| 3 | ||||||||||
|
Workmanship | 1 | |||||||||
| 2 | ||||||||||
| 3 | ||||||||||
|
Creativity | 1 |
Judge#3 | ||||||||
| 2 | ||||||||||
| 3 | ||||||||||
| Judge's Discretion | 1 | |||||||||
| 2 | ||||||||||
| 3 | ||||||||||
|
Total Score -> | ||||||||||
Each entry in a competition should be judged on it's own merit -- not judged against another entry. The following information is a general guideline as to what the different sections on the judges form are used for. There are individual judging criteria sheets if you need detailed information on how to judge a particularly category of arts and sciences.
|
Documentation | Having no documentation is an automatic zero. However, if documentation was specifically stated as not required, then the Judges Discretion category should reflect this. Also, in your comments, please make sure you read the documentation as much as time permits. It may assist you in judging the other categories. |
| Authenticity |
Rarely will you see a zero in this category unless the entrant makes no attempt at typing this in with a period practice and all documentation is clearly post 17th century. If you know of further resources that can help this individual improve this score, please make sure to include them in your comments. |
| Complexity | Multiple processes needed to complete the object would increase the complexity. This would include the level of difficulty section also. Basically a very simple or easy to create piece will score lower than a high difficulty, multiple step piece. Also remember that muliple level would not mean the same to a dancer as to a woodworker. Complexity is specific to the art form. |
| Workmanship |
Experience level is NOT a factor here. Judges Descretion should reflect the experience level there.. This category is solely based on the workmanship of this item and is not to be judged against another entry. |
| Creativity | Here is where obsure studies, unusual viewpoints, or variations of actual period pieces should be judged. Also SCA usefulness should be taken into account here. |
| Judges Descretion | This category is where the judge should take into account the presentation or the experience level or any ooh ahh factor. Please make sure your comments reflect a particularly high score in this area. |
Entry #_____________Description:________________________________________________________________________
(Entry # = legal initials plus birth month and day – ie. Jane Doe 6/12 would be JD612)
Time Frame in Period:_________________________________________________________________________________________
Location in Period:____________________________________________________________________________________________
Additional Documentation Included? yes noIf no, please list any sources you used for this entry
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
Experience Level beginner intermediate advanced professional
Additional Comments:__________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
Note: Please include your SCA Name, legal name, address and phone number and the name of your home group on the back of this form.