[Bards] Lookin' for my brothers!

[Gerald Norris]

>From the Ealdormere bards.  Sadly, I won't be able to attend.

In service to the dream with a song in my heart, I am,
HL Gerald of Leesville
A bard of Stargate 

 Greetings to the Bards and Cooks of the SCA

My apologies if you get this missive more than once. Please do disseminate
this message to your Kingdom list or any other list you wish.

The 4th Known World Bardic College and Cooks Collegium (Oct 6-9/2006 in
Acton, Ontario, Canada) is progressing well and the class schedule should be
up shortly. Teacher spaces are filling up quickly and at this point we will
be running 2 full days of classes (Sat/Sunday) with 3 tracks in each area.
This is almost 100 hours of classes plus 3 main bardic circles, snacks, open
stage time, campfires, a Sonnet Feast, the bi-annual Boreal Symposium (see:
<http://ece.uwaterloo.ca/~arnora/arnora/borealhome.htm)and>
http://ece.uwaterloo.ca/~arnora/arnora/borealhome.htm)and more fun than you
can eat. For non-bards (and cooks) we hope to have additional classes on
craft topics as well as some archery and possibly an open fighting field (if
there is interest - let us know!)

Listing of some of the classes being offered:

Class Descriptions

Bardic

Ann LeGris, OL

1) Reading Neums (square notation) which includes an introduction to
solfege.

2) Why does Mediaeval Music Sound So Different? An Introduction to the
Modes.

Alyce DeSheppe, OP, CB, GoA

1) That's just an apple. Isn't it?: Come see a new way of looking at old
things and maybe you might just get bitten by your muse. A discussion on the
way we perceive things around ourselves and how those perceptions reflect in
the poetry we write. 1 hour 

2) Introduction to Fixed Form Poetry: Does fixed form scare you? Do sonnets
and sestinas give you nightmares? Then you will want to attend this class.
We'll look at an overview of some of the fixed forms used in medieval
European poetry in the first half of the class. Then we will take one of the
forms and work together to create an original piece.

Brion Enkazi, GoA

1) Storytelling 101 - Basics of the art. Storytelling follows the 80/20
rule. The first 80% takes 20% of the effort, and you can tell a darned solid
story by simply avoiding the things that are wrong. This class focuses on
that first 80%. 

2) Storytelling 201 - More of the same, but looking at tricks of the trade.
These classes inevitably focus on a story or two that people are working on,
with the idea of dumping out the storytelling toolbox to find the right ones
to tighten a piece toward where you want it. A LOT of this goes to sanding,
polishing, and otherwise removing extraneous material. 

Cat Faber (ska: Myfanwy ferch Tangwystl, GoA)

1) Writing songs on short notice: Ever wanted to enter an on-site song
competition but had no idea how to go about it? Inspiration can't be
commanded, but the tools to craft that inspiration into lyric and melody can
be learned and practiced. Come hear tricks and tips for getting ideas,
wrestling with stubborn words, weaving words into a complete song, riveting
pitches to syllables, filing them into a smooth musical phrase, forging
phrases into melody, and, most importantly--remembering everything you did
so you can learn your new song!

2) Countermelody: One popular setting for medieval songs is melody and
counter melody; two voices (or a voice and an instrumental line) can carry
different melodies that twine about each other like the rose and the briar.
Come learn some simple tricks for writing countermelody. Students who can
read and write music (however haltingly) or know some way of transcribing it
(ABC notation is perfectly okay) will have an easier time remembering what
they have done; but take heart--tape recorders (or recording imps of
whatever stripe) can also be a helpful tool.

Dahrien Cordell , GoA

1) Norman Haiku: A parody of one of the world's most respected poetry forms.
Pure silliness and humor, Norman Haiku was made up by someone unknown to me.
Master Gerald of Ipsley brought it out of the West Kingdom some time before
A.D. 1989, but also doesn't know who originated it. I'll present its made-up
history and context, its form, rules, and mores, some examples -- and then
the class will create their own.

Dorigen of the Grey gate, OL

1) Poetic Form Workshop: The Sestina - a two-part class where the first
session discusses a poetic form and the second session is a hands-on
workshop where the students actually work with the form.

Eleanor Fairchild, OL

1) Vocal Master Class: This is an opportunity to work with Eleanor on
developing performance and vocal skills and to perfect specific pieces.
Bring a piece you want to work on and get some coaching on how to improve
your 'game'.

Eliane Halevy, GOA

1) Sephardic Music Overview: An overview, with recorded music and live
singing, of vocal music collected from communities descended from the
medieval Jews of the Iberian peninsula (Spain and Portugal). Some of the
most gorgeous melodies you'll ever hear!

Fiana of Clare, OL

1) Old English Poetry: A quick and dirty introduction to Old English poetic
techniques and how to write them.

2) Women Warriors in Medieval Literature: A (hopefully) short overview of
how women warriors were depicted in medieval literature, and the general
types. Warning: the instructor knows far too much about this topic and may
run over time, bore you to tears, and give you far more information that you
ever wanted.

Garraed Galbraith, OL

1) The Role of the Bard in Celtic Society: This class will examine the role
of the bard in early Irish and Scottish society under Brehon Law and examine
how this might translate to the SCA.

Guernen Cimarguid, OL

1) Welsh Bardic Tradition :

Gwendolyn the Graecful, GOA, CB

1) Bardic Coaching: Have a piece that's not quite performance-ready? Bring
it to coaching for a little polishing! Wring every last drop of pathos - or
funny - out of your song, story, or poem. Please bring a piece lasting no
longer than 7 minutes so that we can work on it with time for all. 2 Hours

2) Songs Every SCAdian Should Know - Back by popular demand! This survey of
SCA music covers some of the basic "types" of songs with examples from some
of the best bards around. Participation encouraged! 90 minutes

Gyric of Otershaghe, AoA

1) Bawdy Songs: Come learn the art of the Bawdy Song. This class will set
you on the road to a rollicking Bardic Circle with a bit of
everything...Romantic, sad, happy and of course...Bawdy. A complete mini
circle complete with songbook. ($2 to cover photocopying)

John Inchingham, OL, OP: 

1) Songwriting for Fools 

2) Improvisation for the SCA.

Magnunnr Hringsdottir Fotatredir (called Unnr)

1) Old Norse Poetics: An introdution to the way Old Norse poetry probably
sounded, assonance, "rhyme," and meter according to Snorri Sturluson & the
First Grammarian.

Marion of Heatherdale, OL

1) "Vocal Projection" -- the physical how-to's of projecting and freeing
your true voice.

2) "Master Class: Performance Critique/Suggestions" (could be in a group,
like last Pennsic) - get some helpful suggestions for improvement of your
performance piece.

3) "Finding New Inspiration" - techniques for finding new sources of
creative inspiration, from literature, legend or just looking at the world
around you.

Martin Bildner, GoA:

1) Norse Music: A survey of the music and instruments used in Scandinavia
and the Danelaw at the turn of the millennium.

Michael Alewright, OL:

1) 

Muirenn ingen Morgair, AoA

1) Harp 101: (BYO harp) Covering the history and development of the harp
from pre-history until the late middle ages. Some emphasis will be placed on
harps in Ireland, Scotland and Wales. Learn the basics of how to hold your
hands, how to play a proper scale, and an easy medieval tune (to be
determined). Sight reading not required, but if you can't read music you'll
have to learn by ear.

Yoshikuri Nagayori Dono, GoA

1) Japanese storytelling and an Introduction to Japanese poetry: The Class
will outline the common elements within Japanese folktales and the
development of the tales. (social, religious, political influence, etc.)
Also,an intorduction to the most common forms and development of poetry
found in period Japan. 1 hour class

Rowen Brithwallt, OL

1) Scots Gaelic Traditional Music: 

TSivia bas Tamara v'Amberview, OL

1) CHILD BALLADS: Not ballads for wee baybees, the Child Ballads are a
five-volume collection compiled by the English Victorian scholar Francis
James Child. These ballads are considered the leading collection of "Folk
ballads" in the English genre, many of them being specifically what are
called "border ballads" (From the English/Scots border areas), and live on
in rural areas of both Canada and the United States. This class will listen
to many variations of these songs, part of a 55 gigabyte compilation done by
Master Ioseph of Lockseley from Atenveldt, looking for clues in dating
whether or not a given song might date back prior to 1650. (We will use 1650
rather than 1600 for this class, as many dancers also use the later date due
to the dearth of earlier published instructions.) Child ballads are a good
starting point for those wanting to write folk-genre SCA music rather than
court-genre SCA music themselves.

Cooking

Aeneas Oakhammer GoA

1) Playing with your meat - hands on sausage making

Aibhilin fra Skye OL

1) what the Anglo-Saxon's ate

2) Playing with Anglo Saxon ingredients and food descriptions.

Alyce DeSheppe, OP, CB, GoA

1) Feast Planning: - A look at how I prepare for a feast, from getting to
know the kitchen, through menu preparation, pre-cook, day-off scheduling and
finally service.

Lady Cat

1) Spices

2) A Roman Feast 

Catrin von Berlin aka Gwen Cat (OL, etc) 

1) Potato Puzzlement: Is it or isn't it?

In Marxen Rumpolt's Ein New Kochbuch - 1581, vegetable recipe #37 is the
infamous Erdäpfel recipe. In modern German "Erdäpfel", apples of the earth,
is another name for potatoes. Is this one of the earliest written recipes
for potatoes? Did they use sweet or white potatoes, or was it actually a
type of squash? In this installment of Hands-on Cooking with Rumpolt, we
will break into groups and re-create this Erdäpfel recipe. Time permitting,
we will also play with another veggie, salad, tart, or cookie recipe to help
round out Sunday dinner.

Lady Cera

1) Irish cooking How to develop a feast from the evidence

Katherine (Kate) Holford aka The Waffle Lady OL

1) What to Make for Breakfast? Pain Perdu, Waffles, Eggs and Gammon of Bacon
Slices . . . sounds just like breakfast! I will share some of my favorite
recipes as well as yet-untried dishes. We'll begin with a class discussion
of the various situations and events where breakfast can be served, from
camping to the beginning of an event, and typical medieval recipes that are
still enjoyed, followed by hands-on cooking of a couple of delicious and
easy recipes. 

Fruchan of Skye, AOA 

1) So You Have Decided To Feast-o-crat -This class will help you from the
time you decide to try to do a feast until You start to grocery shop. There
will be hand outs such as a time line, portion size and how much to cook for
100 and others. Expect lots of discussion.

2) Feast Day EEEEK!! -- Well, you have the groceries, now what? Again, a
handout of a timeline and lots of discussion. I will talk you through
putting away your groceries, preparing, timing and serving your feast and
then the all important clean up after all the food is done.

Lady Lucis

1) Cooking for People with Alergies

Lady Rose Marian

1) Spices: A Beginner's Journey -This is a basic overview of which spices
were used in period, with a bit of history on the spice routes and how which
spices came to which locations. Spice examples will be available for
examination.

This class is meant for beginning SCA cooks or those interested in the
basics of spice usage in period cooking/recipes.

TSivia bas Tamara v'Amberview, OL 

1) The Good, The Bad, and the REALLY UGLY:- A discussion on modern
Medieval/Renaissance Cookbooks. Today most serious SCA cooks take for
granted the printing of original period sources alongside a cook's redaction
for the modern kitchen, but it wasn't that long ago that SCA cooks were at
the mercy of translators and interpreters who thought carob was an
acceptable substitute for chocolate in a "more historically accurate" dish.
(CHOCOLATE??!) Baroness TSivia will show some samples of mundane and
SCA-published cookbooks used in the SCA, highlighting why some are good and
others flawed. This is a good class for anyone who wants to become more
fluent in assessing the quality of a cooking recipe (in competitions, for
feasts, or just for their own entertainment).

Yoshikuri Nagayori Dono, GoA

1) Hands on Japaneese cooking - We'll be taking a look at the history of
food in Japan, from the importance of rice to the development of the Tea
Ceremony. Samples of period recipies will be available.

If you are a bard or a cook in the Society, don't miss this excellent event.
Airport pick ups are available at both Toronto and Buffalo and on site
cabins and beds make travel easy.

The basic website is up and running and classes with descriptions will be
updated shortly
<http://www.ece.uwaterloo.ca/~arnora/arnora/cooksbards06.htm>
http://www.ece.uwaterloo.ca/~arnora/arnora/cooksbards06.htm

We are still looking for a few teachers

Garraed/Tim and Aibhilin/Leslie

Autocrates, 

Known World Coioks and Bards 4

 

 

Oct 6-9/2006

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.ansteorra.org/pipermail/bards-ansteorra.org/attachments/20060916/2cc3be19/attachment-0003.htm>