ANST - Bard .NE. Minstrel

[Mike C. Baker]

After making some well-phrased commentary about the general
matter of art for art and the role of documentation, Ldy. Alys
addressed Ldy. Simone's assertion about Bards.  Please allow
me to make a distinction which meshes into the exchange:

> Lady Simone, you said in your commments that Bards are not required
> to supply documentation because their items are newly written.  I
> would like to suggest that those same poems, songs, and tales would
> be all the better, and would help us all experience the moment of
> "the dream" that we are trying for, if they were researched for their
> style and content.

True Bardic material relies upon oral transmission.  When the SCA's
more formal competitions begin requiring written documentation,
guess who as a general class begins to avoid entrance to same?
Who suffers the more for this.

Repeating the thread re-title: Bard does not equal Minstrel (or Performer).
Neither does a "true" Bard perform only newly created material, but
due to certain historical factors neither can it be responsibly demanded
that a Bard provide written documentation of a particular performance
item. (It was an offense punishable by death to place a majority of the
orally-transmitted material into written form during the hey-day of the
Celtic
"Bard".) It is the responsibility of the individual bard (or Bard) to notify
his or her audience whether or not a given piece is an original composition
or has been learnt from other sources (oral or written, with proper
attributions available but not critical).

The "Trimarian dissection format" I saw described recently (HL Fionegan,
with advance apologies for the mangled spellynge) is a dis-service to
live performance. Perform first, darn it all to heck, provide the
documentation
in an appropriate form afterward in BRIEF oral form, drop the written stuff
on the judges that want it, and get the heck off the "stage".  Four minutes
of advance dissection for a one minute recitation chaps my buns, folks.

Now, in fairness, if the performer is presenting a piece in an unfamiliar
or newly-researched style, more advance prep may be necessary.
(Worked well the first time I saw Robin of Gilwell playing an instrument
with which I was not familiar, and which he was honest about still
learning.)

> No, not everyone is going to be able to write a sonnet, or compose
> a balad in the style of Dowland.  Only the most tallented will be able
> to do so.  But we that follow them will then have a higher standard to
> try to attain.  I don't see how this could create "a lower standard of
> quality in their arts".

(paraphrase) "Any hack can slavishly follow the dictates a form already
in existence. A true <artist> CREATES."

It is still possible to merge the two approaches (following the forms with
newly-created material, creating _new_ forms) AND provide documentation
of acceptable quality. Mikal Hrapsfa does this very well in the SCA context
by working in forms where this was the expectation: Norse poetry. I've
personally been working on documentation for the same approach in
other cultures, as part of the ongoing research into the variations on the
theme of "bard" and "minstrel".  (There are a *lot* of variations, the most
crucial of which being that bards not only create and perform, they have
other culturally-relevant and socially-important functions. Genealogists,
historians, "conscience of the king", and whatever else.)

However, there is room for both styles (documented performer or
"singer/songwriter") without forcing a merger as well. Just be careful
to specify well in advance of any given competition or non-competitive
performance venue what the expectations will be. (And be compassionate
in dealing with entrants who fail to meet every aspect of the requested
expectations...)

> I am not an authenticity maven, but I do appreciate those that are
> with us, for they will keep us on track and challenge us to do better
> next time.

One of the keys that simply must be addressed in the process is that
we cannot allow the push for authenticity to block the development of
creativity. I've seen it happen too often, I fear, and know without doubt
that it will happen again. Human nature & the hazards of interacting
with all of its myriad adherents (including some that we might question
from time to time as qualifying for admission to the category "human").

All of that being said, and said, and said <gryn>, if it isn't already clear
allow me to repeat that I encourage research and documentation.
Helps maintain the "educational" aspect of the Society, and most of the
time allows a more-level playing field in performing-arts competitions.
(I could hope for wider acceptance of orally-tranmitted forms, always.)
Some people perform better, others have better documentation skills.

Balance.  A truly wonderful concept.

> And yes, incase you were wondering, my documentation was panned too.
> I'll have to do better before the War, there is still the open
> competition to think about!

Lady, the way you sing I wouldn't worry too much. Now if we can just
get you to do more of it -- for fun!

<VBEG: on-going exchange>

(Alys, you _know_ that I respect and care for you as a person.
And adore you as a most excellent vocal performer!
Please don't take any of the above as a personal slam -- these are
long-term issues that I am just happening to use your post as a starting
point to raise again.)

Mike C. Baker
SCA: Amr ibn Majid al-Bakri al-Amra
"Other": Kihe Blackeagle (the Dreamsinger Bard)
My opinions are my own -- who else would want them?
e-mail: kihe at ticnet.com OR kihe at rocketmail.com

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