ANST - Bardic Circle material

[KiheBard at aol.com]

In a message dated 97-09-30 20:26:29 EDT, Steven writes:

> I had the good fortune to attend my first bardic circle (competition) this
>  weekend at Battle of the Pines.  It was very enjoyable and made me want to
>  partake in the fun.  What kind of material is appropriate?  And where to
>  find (or how to create) that material?
  
  Steven, you may not realize just how loaded a question you just asked.

All of the following commentary is IMNSHO (In My Not-So-Humble Opinion),
so be aware that others will probably have radically different ideas.

In SCA bardic circles, the question of "appropriate material" must hinge
upon "appropriate for what? who? when/where?".

FOR WHAT: is the circle a full competition for Titled Bard status, a one-shot

organized around an announced theme, or a gathering simply for the joy 
of sharing poem, song and story? If formal, is the expectation for 
"standard format" or some variation (three pieces in at least two of the 
normal performance types) or something else entirely? Are you trying
to entertain, teach, or both?
  
FOR WHO: is this a gathering expecting to be entertained, or folk all
expecting to participate themselves, or some combination? Are there
minors present, or within earshot?

FOR WHEN: is this at an event designed for such a competition, during
the day, after a long court, interspersed with the courses of a feast,
or scattered throughout other activities? Are the performances in an
enclosed space, around a bonfire, in front of a seated crowd or in the
midst / on the edge of a circle? Before or after midnight?

Appropriate Material / Sources:
Shakespear is a rich mine of readily available poetry, soliloquy, and
basic story -- most of which is generally well-received and can reach
an audience due to prior acquaintance. Celtic myth and legend, 
particularly as found in the Tain bo Cualney (Cattle-Raid of Cooley
and associated "fore-matter") and Mabinogion, are extremely rich
sources. Other mythic or legendary material is also often used:
the various Norse / Icelandic sagas, Aesop's Fables, and -- OF 
COURSE -- "The Matter of Britain" (Arthur & the Table Round).

The material created by the troubadour and trouvere, Meistersingern
and Minnesingern, the songs of the Goliards, and most other 
pre-1600 poetry can all be used. As can songs, although you 
will find that there is much dissension as to how accurate our
modern understanding of the tunes and performance techniques
may be. It is a matter of pride for some to perform material from
these sources in the original language; my personal preference is 
to use translations except where the original is going to be understood 
by at least SOME of my audience *or* to present both the 
original _and_ a translation.

Other sources include collections of fairy tales, "The Thousand and
One Nights", and even accounts of the caravan trade or ship voyages.
Russian folk tales can be tricky if you are trying for authentic
pre-1600 material, but there are appropriate stories out there
(look for the stories of the Bogatyr in particular, and don't 
shy away from Baba Yaga automatically because her story
was "mined" for modern role-playing game material).

Don't be afraid to use tales from "cultures in contact", either. 
Particularly and especially Arabic and New World "tales of wonder"!
(consider that traveller's tales, and the tales they brought back
from distant ports/destinations, fuelled much of the Age of Exploration)

You can also create your own, new, works in the styles and
using the techniques of the period / cultures. Or borrow the
compositions of other travellers in these Current Middle Ages
as well. 

These words are only the briefest of summaries, the slimmest of
introductions. Seek out other circles, and listen, and learn from
those who would entertain -- and those who would teach. Be
prepared to do some of each in your own turn.

I'm currently planning on attending Three King's (at the First Monday
site, right?). Based upon your mention of Battle of the Pines, I would 
hope to make your acquaintance there, and perhaps answer other 
questions that might arise. I'm easy to find during the day:
just look for the merchant with the knives, and the attitude.

Amr ibn Majid al-Bakri al-Amra, accorded the recognition of al-Sayyid
in the Society we share; 
known also as Kihe Blackeagle, the DreamSinger Bard; 
and to the tax authorities I am 
Mike C. Baker, computer programmer and modern wordsmith
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