When I met Corotica, they had barely set foot into our kingdom and yet, it felt like they had been here since its inception. I walked into their life and they bounded into mine. They shared themselves, their art and their shoulder. I would see them soaring from working on their art to adorned in full armor as if invisible wings would carry them effortlessly, but with expediency. I saw fire in them around them. The true passion of the artist and the fire of a fighter, emblazoned in battle. The fighter that is the protectorate with the playfulness of a goblin… nay… a cryptid paladin, ready to fight for the downtrodden, the ignored and forgotten. They were ready to fight the good fight.
However, I am not here to speak of Corotica and how truly amazing of a human they are. I am here to speak of the inspiration that Corotica has bestowed. I would be remiss to only speak of my experiences. When you stand on the dias with other champions, you start to build new bonds. One of those bonds is with the person we are championed to. Inspiration is not just about words, it is about actions as well. Ryan MacWhite shares the story of an arrow. It was a super heated match, if you had not had seen it. The only noise was the sound of bows loosing and arrows making contact with the target. Ryan’s second to last arrow shattered into what felt like 1000 pieces. Only a small section survived. When the round was decided, he took the arrow fletching, which had survived, to her Excellency, Indrakshi and the tip to Corotica. He stated “This is just the first of many arrows I would break in your name”. The finals came and another arrow was shattered. This time, Ryan had presented the fletching of the arrow to Corotica to make their arrow whole, so to speak. Corotica advised how this moment of the event had made their day. Later, after safe travels home. Corotica sent a picture of the arrow parts in a vase in their home. Most folks would say “oh, a broken arrow” and throw it in the garbage but it MEANT something to them and that’s just rare and special.
I bring words from the co-populace, Lady Seigne Ruadh, Woman of the SCA, Archer, artisan and friend. Seigne spoke to me as a woman of the SCA. She spoke, with joyful tears in her eyes, of Corotica, who is female presenting. Seigne spoke of Corotica as a fighter who is a voice for women in the SCA. Corotica has spoken out for the underprivileged genders and continues to speak out for them. Corotica has made it known that things need to change for women and those who do not fit the mold for the male gender. Corotica has spoken publically about how male presenting fighters were treated and the disparity of the treatment Corotica received when they said the same thing just a moment before. When Corotica became consort, they stated that a change was coming. That our world would change. That is influence. Seigne states “ I am not a fighter, I but am an archer and I am a woman. I think it’s really important that Corotica made it known that you need to listen to people, not a gender and I appreciate them for doing that. I was inspired to create a coat to make them stand out. I did a large documentable piece of research because they had a stunning personality, a warrior and who would appreciate a warm gift.” This is power. This is inspiration. This is the voice that Corotica has given the populace.
To all those assembled today, Corotica is a Rose with thorns. They are a defender of the weak, inspiration for the artist, muse for the warriors. They have long since been a peer. I, a member of the populace, was given a voice today thanks to Corotica. I can recommend no one more than I do them.
This year was different. I just couldn’t get out of my own way. 2 years of virtual performance just aren’t the same. I hadn’t been focusing on my music as much as I should have and the passion for competition didn’t light the flame underneath me. This was the first year I just didn’t feel like competing, but I knew it was good for me. So, I continued on. I had originally picked my repertoire, believing that this year would be like the last 5 where I would have to do 1 piece that was SCA appropriate, 1 piece that was period and the final round would be the crowns whim.
It was announced 6 weeks prior to crown bardic that there would be a theme. “War”. War was not really something that was comfortably in my repertoire. Sure, I like to make people sad like anyone else, but the war in the Ukraine had really put a damper on my soul. I needed to rework my plans for competition this year.
My head had tossed and turned about my first round piece. I wanted to tell a story. Folks don’t really know me for my story telling skills. They mostly know me as a singer. I had originally thought about telling the story of beginning the great unification of Japan. Our King, Ryou, based his persona off of Oda Nobunaga, who was one of the 3 unifiers of Japan. I thought that may be really neat. However, my addled brain just couldn’t bear to add new repertoire to it. Also, finding the right way to keep Oda Nobunaga in a positive light was evading me. So, I chose to tell a humorous tale. It wasn’t period, but it was SCA appropriate. I told the story of “How I caught the red dragon”. It was a strong way to start/finish round 1 and vastly different than anything my other competitors would be doing.
I chose for round 2 to do a completely persona accurate piece. I found a landsknecht piece called “Unser Liebe fraue”. My persona is a Trossfrau who would have traveled with the soldiers as they marched off to mercenary jobs.
The final round would be up to the crown.
The weeks passed and every day I asked my husband if I should still compete. It would put a damper on our house remodeling and also would limit my ability to care for our son at events. Every day he encouraged me to continue on. So, I did.
The bardic community is tight here in the East. We are all friends and there is no ill will towards anyone. We spoke often and I would see who would be joining me at Roses. The numbers were low. It was tough hearing the numbers that low. Daily they ranged from 3-7. Would it feel awful if I didn’t win? Would I feel awful if I did win? Did I deserve it? It’s so many feelings rushing through.
Day of came.
I had my community behind me. Again, nothing seemed like it was as it should be. I donned my German, which was my armor and off I went. My husband was trying to MIT for archery so I went alone.
I saw familiar faces. We hugged. We chatted. I found a new face. I welcomed her as I had never even met her before. She was one of us today. I don’t care what her skill level is. She would be one of us.
The day started with Anne de Basillion heralding us in. It was so cool to feel special. To feel like our championship, though small as it was, mattered.
Round 1 went off with out a hitch. A minor hiccup, but nothing I would call a mistake. I was pleased with my story. It’s not for everyone, but I made folks smile.
Round 2… thats another story. I had forgotten half of the words. I didn’t stop. I made them up as I went. This was a skill I picked up in college. Fake it till you make it. No one seemed to notice. Not even the judges who I had presented a copy of the text and translations to. WHEW.
The finals. We all went to the finals since there were only 5 of us. TRM picked my Ladino piece. I got to geek out and talk about my deep knowledge of ladino, a dead language and sing a beautiful piece of love and loss. I got to chit chat about batties and the macabre. I got to feel a bit more whole about my love.
The day was long, but over. I missed my Bardic family. I missed Agnes who was home with Covid. I missed the hugs and camaraderie that is our community. It was small, but we protected one another during each round. We were family.
We were each gifted a favor from HrRM and Agnes sent us all bracelets. I did not receive one from my sister. She only sent 4 and there were 5 of us. I was gifted a special one from Aneleda Falconbridge. This had a history.
Then… court happened. Sovereigns champion was named as Leyli Shirazi. This was the new to me bard. New to our community. She was magic and it was an absolute delight seeing her called up.
Then, this happened:
After my name was called, I stood there, dumbfounded and hid behind the court banners for the rest of the night. This was something I had been working towards since 2015. It finally happened.
This weekend was the East Kingdom College of Performers Challenge and Schola down in Iron Bog. This was a little bit of a schlep for a day event, but I am so glad I headed down. This is the first time we’ve done something like this in the East Kingdom. It was a day of classes and challenges. You did not have to master anything to be a part of it, but you would have to be willing to step out of your comfort zone.
With that said, it was a challenging, but positive day over all. I started the day right away with running a rehearsal for the newest addition to the East Kingdom College of performers, Opera D’el Est. The day, however, started more frantically than I hoped it would. Our one and only alto wasn’t able to come. So, I guess I’d sing her part and hopefully make it work. Then, 1/2 of the performers, who were traveling in the same vehicle, were about 45 minutes late (however, due to no fault of their own. Between traffic and weather).
Rehearsal did not go as planned, and that’s ok. We were fighting a lot of odds between company distances, time we had to prepare music and we are a new group. This happens. Everyone had agreed to give up part of their lunch time to meet again for additional rehearsal.
I met with some of the other vocalists after for some one on one help. From there, I whirled into some recorder site reading, which I really haven’t picked up a recorder since 2009… when I graduated college. Not only did I remember some things (Which was huge) I got to encourage 2 more of my friends to come join us. We went from 3- 5! So many tooty flutes!
From there, off to run a class. I have taught this class a couple times prior, but I think this iteration was the best version of the class. I am passionate about making sure performers are well warmed up for performance whether is be Singing, story telling or even heralding. If the body -and- mind are not there, then your performance will suffer. This iteration of the class discussed anatomy, posture, breathing, the parts of your body that make the sounds, projection and location of sound. I had 6 folks join my class of varying experience and age. Everyone seemed to get something new from the class and was able to apply it. Once of the gentleman in the class, who I performed with later in the day, said that it was a comprehensive warm up and encouraged others to do so. This was encouraging.
From there, a very abbreviated lunch and round 2 of rehearsing. This time, the section which the group seemed to be struggling with, seemed to lock in. Though, no real way to test it until performance. TO ADVENTURE!
From there, time to do another class! I have been bringing rounds with me to almost every event I teach at. They are a safe singing space for novice to master and bring joy. 8 folks at my rounds class. Everyone had a varying degree of expertise and it was delightful. There was a young lady, who doesn’t sing much, but her boyfriend does, who came to my class. She spoke to me afterwords, advising that she was over the moon since she got to sing. She felt the class was tailored enough that she could join in and not feel like she was slowing progress, but that she got to sing the songs and sing her part independently.
Whooosh! Off to perform (No, I have not sat down today or stopped for water). It was time for Opera D’el Est to make it’s debut. (See documentation, synopsis and translation below #1). The first piece we did was the Prologue from Eurydice. Despite some minor technical difficulties everyone who sang in that piece, rocked it.
We had a solo from our fearless leader and newest Queen’s Bard, Laila.
Then a solo from me! I died. I love dying on stage. I performed Laciate Morire from L’Arianna (See info below #2). I love death arias. I love dying on stage. To lament, there is no greater form of drama. See! Look, I’m dead… on the floor… singing the high stuff!
We had a beautiful duet from Laila and Ethnye (Enya). Finally, the choral piece from doom. A te qual tu ti, Euridice, Jacopo Peri. (Info below #3) It’s not that this piece was hard or anyone was untalented, it was just a perfect storm. This experience however taught me a new skill. I went to school professionally for singing. Everyone had hours to prep their pieces and weeks to learn music. This was not that. I learned that I should be happy with a product, that I had volunteers. I learned that my standard of performance is not a level for everyone. I don’t want this to come off as condescending. What I mean is that in fact, I should be proud of a group who came so far to even get this going. This was a huge success. Even if the music wasn’t perfect. LOOK AT THESE FOLKS! Look what they accomplished in such a short period of time.
From here, off to the challenges for the day. I stuck myself in a spot just to get out there and do something that I wasn’t necessarily skilled at. I wanted to work on something that wasn’t “Pretty” or necessarily polished. This is a huge fear for me because I was taught to never put anything out there that you weren’t proud of or ready to be recorded for the world. As a Bard, part of my learning is about bringing the news and the stories. They won’t always be perfect, but that is part of the creation and the reality.
The first piece I performed was “Twa Corbies”. This is a spoof written as a response to Raven’s Croft’s “3 ravens”. (See the lyrics and translation of the low Scottish below).
Second, was a completely non period, but SCA appropriate story. I don’t know it’s title, but I shall call it “How I caught the red dragon”. I’m not really a story teller. I do it to challenge myself. Music is my muse. However, I always want to be able to entertain a room. Pretty singing isn’t for everyone. Sometimes, you just need to tell a cheesy story. So I did. I flubbed up some of the words. I didn’t provide enough gesticulations as I’d like, however, I made my goal. I told another story in front of an audience. I’m getting there.
Last but not least, I had the pleasure of presenting the new East Kingdom College of Performer’s Travel journal during the final court. Just prior to, I had sat down in quiet with one of my fellow performers today. She bled her heart to me. She spoke of her struggles and sorrows with today’s events. She exclaimed that she was embarrassed. I shut the door in the room we were… expelling in. I explained to her that this was a new experience. Nothing wen right for any of us. She did well. Was it perfect, no. However, we will grow from good to better to best. I told her of my struggles with the day. That I was just her with 2 years more experience. I told her after the event we would connect and see how we could grow. It was then, I realized I would present the journal to her. She was my inspiration. She fell, she got back up. She is off running again. I could not be more proud of her.
I presented the journal, I shouted, “I”m free” and from court I left.
1)
Prologo: From Eurydice BY Jacopo Peri, Composed in 1600. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.)
Since both the libretto and score were dedicated to the new Queen of France, Marie de’ Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the Queen and King of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo’s most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn’t travel as far as Florence to retrieve Medici.
Peri’s Euridicetells the story of the musician Orpheus and Euridice from Greek Mythology. According to myth, Orpheus was a great musician who journeyed to the underworld to plead with the gods to revive his wife Euridice after she had been fatally injured.
The opera begins with a Prologue delivered by a singer representing Tragedy. She explains to the audience that she has not come this time to reduce them to tears with stories of sorrow, death and cruelty, but has changed her usual costume in order to awaken much sweeter emotions in the human heart. Future artists may well follow in her footsteps, when the whole world admires what she can do in this changed form: the new queen whose wedding is being celebrated, she says, will be more garlanded with laurels than anyone ever was in ancient Athens or Rome. She herself is going to dress up for the royal wedding, and while France prepares to receive its new queen, the wedding guests can relax and listen to the singing of Orpheus.
Hill, John Walter (2005). Baroque Music: Music in Western Europe, 1580–1750. Norton. ISBN 0-393-97800-1.
Oldmeadow, Earnest (1909). Great Musicians. Forgotten Books.
Io, che d’alti sospir vaga e di pianti
spars’or di doglia, or di minacce il volto
fei negl’ampi teatri al popol folto
scolorir di pietà volti, e sembianti.
Non sangue sparso d’innocenti vene
non ciglia spente di tiranno insano,
spettacolo infelice al guardo umano
canto su meste, e lagrimose scene.
Lungi via lungi pur da regi tetti
simolacri funesti, ombre d’affanni,
ecco i mesti coturni, e i foschi panni
cangio, e desto nei cor più dolci affetti.
Or s’avverrà, che le cangiate forme
non senza alto stupor la terra ammiri,
tal ch’ogni alma gentil ch’Apollo inspiri
del mio novo cammin calpesti l’orme.
Vostro regina sia cotanto alloro
qual forse anco non colse Atene, o Roma,
fregio non vil fu l’onorata chioma
fronda febea fra due corone d’oro.
Tal per voi torno, e con sereno aspetto
ne’ reali imenei, m’adorno anch’io,
e su corde più liete il canto mio
tempro al nobile cor dolce diletto.
Mentre Senna real prepara intanto
alto diadema, onde il bel crin si fregi,
e i manti, e seggi degl’antichi regi
del tracio Orfeo date l’orecchia al canto
I, who eager for loud sighs and tears, My face now filled with sorrow, now with threats, Once made the faces of the crowd in great theaters Turn pale with Pity
No longer of blood shed by innocent veins, Nor of eyes put out by the insane Tyrant, Unhappy spectacle to human sight, Do I sing now on a gloomy and tear-filled stage
Away, away from this royal house, Funereal images, shades of sorrow! Behold, I change my gloomy buskins and dark robes to awaken in the heart sweeter emotions
Should it now come to pass that the world admire, with great amazement, these changed forms, So that every gentle spirit that Apollo inspires will treat in the tracks of my new path
Yours, Queen, will be so much laurel, That perhaps not even Athens or Rome gathered more, an ornament worth of those honored tresses A frond of Phoebus between two crowns of gold.
Thus changed, I return; serenely, I, too, adorn myself for the Royal wedding, And temper my song with happier notes, Sweet delight to the noble heart
While the royal Seine prepares A noble crown to decorate the beautiful hair, and the mantle and throne of the ancient Kings, Listen to the singing of Orpheus of Thrace.
2)
This is from Arianna (1608), Arianna’s Lament, the only aria surviving from this opera, with text by Rinuccini. The manuscript survives in two copies: Manuscript Mus. G239, Biblioteca Estense, Modena, Italy and (in the handwriting of composer Luigi Rossi) as British Library Ad. 30491.
Ariadne’s sadness is a prime example of the effects of a man’s false words. In the myth of Theseus, her lover, he promised her a marriage in exchange for her aiding his journey to kill the Minotaur. However, Theseus soon abandons his bride-to-be, leaving her all alone to bathe herself in grief. She then became inspiration to many painters, sculptors, artists and musicians, mainly depicted weeping and in obvious despair.
Lasciatemi morire,
Lasciatemi morire;
E che volete voi che mi conforte
In così dura sorte,
In così gran martire?
Lasciatemi morire.
Let me die,
Let me die;
And what you would think could comfort me
In such a harsh fate,
In such a great martyrdom?
Let me die.
A te qual tu ti, Euridice, Jacopo Peri
A te qual tu ti sia de gl’alti numi
ch’al nobile pastor recasti aita
mentre avran queste membra, e spirto, e vita
canterem lodi ogn’or tra incensi, e fumi.
Se de’ boschi i verdi onori
raggirar su nudi campi
fa stridor d’orrido verno
sorgono anco, e frond’e fiori
appressando i dolci lampi
della luce il carro eterno.
S’al soffiar d’Austro nemboso
crolla in mar gli scogli alteri
l’onda torbida spumante,
dolce increspa il tergo ondoso
sciolti i nembi oscuri, e feri
aura tremula, e vagante.
Al rotar del ciel superno
non pur l’aer, e ‘l foco intorno
ma si volve il tutto in giro,
non è il ben nel pianto eterno.
Come or sorge, or cade il giorno,
regna qui gioia, o martiro.
Poi che dal bel sereno
in queste piagge umil tra noi mortali
scendan li dèi pietosi a’ nostri mali
pria che Febo nasconda a Teti in seno
i rai lucenti, e chiari
al tempio ai sacri altari
andiam devoti, e con celeste zelo
alziam le voci e il cor cantando al cielo.
Aurelio et Ludovico Osanna, Mantua, 1608. Publication of the text included in Federico Follini’s report of the 1608 performance
G. F. Gundulić, Ancona, 1633. Croatian translation, prepared for possible performance in Dubrovnik c. 1620. (5 scenes version)
L’Arianna (English: Ariadne) (SV 291), composed in 1607–1608, was the (now lost) second opera by Italian composer Claudio Monteverdi. One of the earliest operas in general, it was first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as “Lamento d’Arianna” (“Ariadne’s Lament”). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid’s Heroides and other classical sources to relate the story of Ariadne’s abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus.
The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under the composer’s direction in 1640 as the inaugural work for the Teatro San Moisè.
Rinuccini’s libretto is available in a number of editions. The music of the “Lamento” survives because it was published by Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the “expressive lament” became an integral feature of Italian opera for much of the 17th century. In recent years the “Lamento” has become popular as a concert and recital piece and has been frequently recorded.
Scene 3
Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.
To you, what are you of the high ,
That to the noble pastor recasts
While these members have the spirit and life
Singing praises each between incense and fumes.
If of woods the green honors
Brawl on bare fields
Make gasps of horrid
Battle still, and frond’e flowers
Prepare with sweet flashes
Of light the eternal cart.
Seal and blow of Austro nervously
collapses into the sea, the rocks alter
the murky wave sparkling
Sweetly purse back wave
Melting the dark clouds and wounded
Aura flickers, and rambling.
At the top of the sky excees
Not just the air, and the fire around
But it all turns around
It’s not the way, in the eternal cry
How the day or the day falls
Reigns here joy and martyr.
We raise the voices and the heart singing to Heaven
This is my first of double digit events for me. This is starting my 9th year in the society and I am still so very fond of my first event. This was also my partner’s first Birka. I chose not to fence this year as I wanted to focus on him and make sure he got to do everything he wanted at his first Birka.
Our main concerns today were making several deliveries as well as seeing friends of ours receive awards. Also… Fashion show.
Aegir had provided 3 tree of life necklaces to the auction for the incoming reign. I made the matching earrings for them as he wasn’t comfortable to making them. I happily obliged. After finding his 3 delivery recipients and receiving his auction purchase, I had to make my deliveries and receipt. I had donated a 30 minute private performance for the auction, however, this delivery was of another nature.
Last year, I was inducted into the prestigious order of the Silver Brooch. This is the award of arms level of Arts and Sciences awards in the East Kingdom. We decided to do an artisans gift exchange. My recipient wasn’t there, but I delivered hand made trim to her. I finally met up with my gift creator and I was in TEARS with the gift she presented me.
Music is the only thing that truly keeps me alive. Someone made music for -Me-. After I cried over this masterpiece, I spoke with the artist, Shoshanna Gryffyth, and asked her if we could collaborate. She happily agreed. Not only did this project yield new beautiful art that may not have been created (It inspired art) but it helped me connect with someone I would never had met before.
Next was shopping! I didn’t purchase too much, but I am excited for the newest member of the family.
Next, the fashion show! This year, at the coronation of Willhelm and Vienna, there was a challenge issued that we would incorporate Marvel and DC heroes and villains. I’m not much of a seamstress, but I wanted to improve my skills. I am a huge fan of Wonder Woman and German garb, so why not.
I just learned how to embroider. This is my 3rd project for embroidery. Here are a few pictures of the in progress of the embroidery and then the final project.
This is Aegir and I in our pieces:
After the fashion show was over, Baronial court was happening. This was the last court of her Excellency Jocelyn Del Espada. I went to support her and my friends who were to be the incoming Baron and Baroness. After the court was over, I went to thank her for all she had done for me personally. What I didn’t expect was the flood of tears that came from me. She touched me a way that few have ever. She was/is a huge advocate of music. She inspired me to compete. She inspired me to be -HER- Bard/champion. Despite everything she experienced in the past 5 years, between the SCA and Mundane, SHE was my Baronessa.
Kingdom court came and it was time to see my friends receive much appreciated awards. This is always an exciting time for me. However, just before court, my friend, Master Lucien approached me. He was supposed to Herald the Boast for now, Master Scamus. However, he had fallen ill and requested that I do this. I was excited and honored to be able to herald in my friend, fencing teacher and mentor. I had only done this once before, but never for a crowd this large. Luckily, Lucien had written up the boast, so all I had to do was be loud.
My friends Kenneric and Cat received their silver wheels, which I had crafted for the (see previous blog post) and our company escorted them into court. Additionally during court I retained for the princess.
After court was over, my favorite part of Birka was about to begin. I was once again honored to run bardic at Birka for the 4th year in a row. We had about 25-30 folks show. We had everyone from ages 13-??? (old). We heard song, story, poem. We had folks who this was their first event, 90th event and those in between. Everyone performed well. I learned a new story which I can’t wait to try out at winter nights (If Aegir doesn’t steal it from me first). Also, at the end of the night, a new and exciting voice arose. I quickly ran to him to present him with my token and encouraged him to get involved. I filled him in on allll the bardic stuff going on and gave him my information as the EKCoP Deputy Chatelaine.
All in all, this was an amazing Birka. So many emotions.. not a single one bad.
Where to begin with such a gigantic milestone for the East Kingdom. My home. This is the place where it felt safe to sing in public again. What else could I do for the Kingdom I love besides give it back the gift it gave to me?
I decided I would give everything I had to singing this weekend. It was too hot to do anything else. I think the heat this year was as bad as Pennsic 2 years ago where the heat won more bouts than the fighters. I’m glad no one was too seriously injured from heat.
With that being said, although I had transitioned to late period garb, the heat beat me in that battle for the weekend. Saari not Saari. Thats right, I ran around … well, walked around as a proper Indian woman should. It was a new feeling for me as I, in general, don’t show off this much skin. I’m a pretty modest dresser.
I bring this up because it has a lot to do with how I perform. Confidence is key in your performance. If you are not confident, your performance will suffer. Another point being is that when you practice to perform, you should, for all intents and purposes, rehearse in garb and shoes similar to what you will wear in performance. This was not the case for my 3 concerts I did over the weekend.
I was, however, blessed to be surrounded by performers and family of whom I respect immensely as performers.
In the first concert,Bards Ease, I collaborated with my good friends Bird the Bard and Sáerlaith íngean úi Duinnshléibhe (with Guest performances by Mistress Sabine and Mistress Margreatta) We would sing solo, group performances and some off mix of whatever we felt like was a good for the audience. Typically, I’d plan a concert one one genre. However, the 3 of us are so eclectic of performers, I really wanted to showcase that.
The next day we did a showcase of the Sing for the the East CD (which if you purchase this CD to support the East Kingdom Travel Fund, you can hear the track of Ceder San Barefoot and I performing that track. The rest of the concert was the original vocalists performing and the rest of us harmonizing.
The final concert was a sneak preview for the upcoming performance in April, The Decameron. We will be performing a a day of stories and music all from the 14th Century Italian literature. This happy little quartet was again, Myself, Bird, Sáerlaith and Margreatta.
If this wasn’t enough singing, we had our own camp of Bards who withered the night away with song till the wee hours of the morning.
I often find that GNE has been my event home since I started playing in 2010, but it wasn’t my first even. It is always one that has resonated with me as a war… a true immersion event for me.
This year was no different. I got to get my hands dirty with Bardic from helping to arrange the Bardic space, advertising and even performing myself.
I spent the weeks prior to GNE helping Gregor set up the Bardic space and quire Bardic Talent. I’ll admit, however, I was a bit preoccupied with my own agenda. This was my boyfriend’s first event and I wanted it to be as magical for him as it was for me.
Friday I spent fencing and showing my boyfriend around the range and doing a little bit of shopping. Saturday, I made sure I was there for the other performers as well. Prior to my own performance, a friend of mine was having a difficult time building up her own confidence. I spent time prior to making sure she knew people would be there and the massive amount of skill she possessed. I even requested she sing a song specifically for me.
When it was time to perform, I took the stage. This would be a casual performance. I really feel it’s important to read your venue. I chose not to sing the songs that made me feel like a million bucks, but ones that my audience would enjoy. This concert was not for me. It was for the audience.
The Friday prior, my good friend, now Mistress Christiana Crane had been sent to vigil. I feel like I only truly have one gift I can give and so this is what I made for her.
I gave up an arm and a leg — or should I say an eye — to obtain more knowledge, or at least the pursuit there of. The Shire of Mountain Freehold, though small, is mighty. Especially with quenching their thirst for knowledge. This is the second year this event has been running, after many years of hiatus.
The previous year, from what I have been told, had an attendance of 30-40. This year had 87 if I remember correctly. This beautiful church was filled with banners, arts and science projects, a scrumptious day board, and duh, classes. I decided that I would enter an A&S project that was not bardic related. My secondary pastime in the SCA is fencing. Under the tutelage of Don Connor Scamus O’Neil, I was able to craft my own rapier, sans the blade.
This sword is affectionately named Stevie Nicks, because of how many times I nicked her on the belt sander. I left my baby in the anachronistic category, to be judged — I had separation anxiety all day. It was like my baby was in another nest.
I was teaching two classes today: the first would be campfire rounds and the second would be on improving storytelling, a master class.
Before it was my time to teach, I got to attend a class on The Fools. I learned everything from Jongleurs, to the natural fool. I had never thought about the prospective of the fool as a bardic art until I attended this class. Lady Ailiniore shared her vast amounts of knowledge and had in depth discussion, inviting each of us to take part in the class.
Shortly after it was my turn to lead my own class. I did not know how many bodies to expect, because it had been explained to me that there were not many singers in the shire. However, to my gleeful surprise, we had 13 attendees! Holy smokes, Batman! Or, something bardlike.
We sang in English, French, Hebrew, and Cockney. That’s like English, right?
I had mixed levels of skill in the room, and those who I knew were stronger singers were sitting beside those who could use some assistance. We sang songs in two, three, four, and even five parts. I had even done my own individual creation of a combination of Rose, Rose, Hey Ho! and Ah! Poor Bird. See the video below. When the class had completed, I had a few of the Quebecois ask me to come teach this class at their event next January. It was delightful to be able to work with individuals who were not English as a first language speakers, and switching to their native language.
After dayboard, which was delicious, it was time for my master class. This is my first time teaching this class; my heart was racing as I am just beginning to find myself as a storyteller, and guiding others to do so was a new adventure for me. I once again prayed that no one would show up, but that was not to be the case.
I had four excited students of varying levels; I had one that went to school professionally for musical theater, one woman who was an experienced storyteller, one who was a viscount, and champion storyteller, and a young lady who was just getting her feet wet.
I went over four basic points of storytelling, and then went through each point, discussing each in depth and how they enhance your skills. Next I had each student tell me about a time they were excited about something. The story did not have to be true, but it was helpful.
The first student told a story in persona about how he got his dog. We worked on body language, vocal variances, and levels. Upon second performance, he agreed he felt more engaged with his piece and the audience was likewise more engaged. The audience and myself provided feedback both positive as well as areas of improvement.
My second student, the experienced storyteller, had a unique outtake on her story. When discussing her piece, she said that she felt stuck, so we talked about development of her piece and how to create that vision and how to make her journey more tangible. She felt that her story grew in leaps and bounds and had a greater crescendo and ending due to this experiment.
The young lady who was just getting her feet wet was excited to go, but I noticed that within her performance that she would fidget and have no place for her hands. I realized that this young lady had some sort of neurological, or a-typical behavior. I had to think of how I could gently broach the topic without making her feel uncomfortable in a public setting such as this. She disclosed that she had a form of autism, and what the basis of that fidgeting was. We gave her focus, and choreography to her storytelling dance. She now knew what to do with her hands, so she would no longer pull at her dress or fingers, and she would have intention in her movements and focus with her audience.
We talked about varying gaze, and how to stare at her audience without staring them down. I felt like a proud Mama Bird — from a different nest this time — watching this young lady go from a scared chicklet to a swan proud to show her work, who even preened a little bit under the praise from her audience.
The final student was the well-established viscount. She, without knowing it, had shown every point that I had discussed before she had walked into class just a wee bit late. We finally as a group discussed improvisation, and how imperative it is to be able to do in any storytelling situation. My viscount student was given three words to build a story around, and made up an entire story on the spot with those words given.
At that point the class was over, but I was greeted by the newer students asking for my contact information. Every member of the class said this was immensely helpful and the best version of this class they had attended, so I guess I did okay.
The event was coming to a close, and the autocrats would be announcing the winners of each category for the Arts and Sciences Competition. I am once again proud to say that Stevie Nicks had taken home the Anachronistic category. That’s my baby!
Winter is coming, my friends and it’s time for more Bardic!
With winter starting to show it’s face and the camping events slowing down, it’s time to keep our bodies and souls warm with the best thing I can think of. Bardic!
Once or twice a year for the last few years I have been running an unoffical gathering at the Inn of Bards Rest. There is a bonfire, potluck and of course, Bardic lubricant. The event is child friendly until 10pm and then the bawdy material may seep its way out. I try to make this a safe place for all sorts of performers all all levels.
This particular time we have just shy of 30 folks showing up from Maine, Mass., NH and even Vermont. We had performers ranging from age 9 to 60. The fired roared and so many new pieces I have never seen or heard performed happened. One story even made its debut as it was completed being written while the story was being told!
The best part about this was there were folks who showed up only to listen and they grew brave enough with the encouragement of myself as well as those around the circle to perform themselves. It was a magic night especially since the rain held off.
Until next year, when I have a new witty title to name this.
Those suuuuummmerrr….NIGHTSSSSSSSS *singing to the tune of Grease*
Hello friends and welcome to another edition of Solveig needs to stop traveling and competing so much. I am your host, very sleep deprived and messy housed Solveig. This weeks edition is a special one. This episode has nothing but bards in it (ok, and a few viewers).
Back at the Feast of St. Nicholas in Queen Elizabeth’s Court, Drake Oranwood had described to me this as an all day/night bardic challenge called Winter Nights. He spoke of this sweet sweet armband he got to wear for a year and the circulating location of this event. It had started as a Concordia only event, but had grown larger. This event, however, was not typical to most bardic competition. This one would almost require you to have access to your coveted book of all things bardic. On top of that, you would be issued a challenge and would issue a challenge every round. This would be a new way for me to meet new Bards as well as stretch myself.
Drake had reached out to me prior, asking if I could assist with gate, so I arrived early anticipating that I would be providing assistance. Luckily, when I arrived, that was all managed so I didn’t have to leave the secret not so secret bard lounge. The atmosphere was filled with Drake noodling on his new toy, chatting of new bards meeting one another and then anxiety of trying to figure out the sign up format and the grading system. We would all be judging. Hooray for rotating judges!
Although I had introduced myself to several new faces, ADOS (Attention Deficit OOH SHINY) over a fancy piece of weaving, I cuddled myself into familiar bare feet. I was second on the roster to perform my first piece (which was our choice). I pulled out a familiar favorite of mine as most of these folks had never heard me sing it. I sang it well and as per the challenge, described what kind of a Skald I was. To date, I believe this was my best performance of this piece yet, despite the yellow liquid trickling down my leg and boy… was the air dry *cough cough* is it hot in here?
Each of the performers one by one displayed their array of interesting styles. I was quickly feeling intimidated. I was so used to being a big fish in a small pond. It was awe inspiring but it also kicked me down a few pegs.
The second round I was issued my first opposition challenge by a familiar face I had met at crown. Lorita spoke of how she had observed me constantly making the audience laugh. She asked me to make the audience cry. I gladly accepted that challenge. Her challenge from me was to perform a piece not using her own words.
For my challenge I chose the Irish folk piece of lover’s loss, “Turtledove”. It was somber, slow and beautiful. I wish I had chosen a better key to sing it in. Hindsight. Lorita did an incredible job of telling a story (which she informed me afterwords, was originally a song) of an angry woman cursing the populace as they would make a pregnant woman run. Her emotions evocative, her timing, impeccable and her facial expressions were solid.
For my final challenge, I was paired with Grimm/Grym Skald. I panicked to think of a challenge for this story telling/poetic giant. His work was far surpassing of my own and I often wondered how I could challenge him. I though, very Winnie the Pooh style and contemplated how I could even put a small obstacle in his way. It then dawned on me that I had never heard him sing. I asked my barefooted co-skald if that was a thing Grym could do and they affirmed as such. I asked Grym to sing and he asked me not to sing. I was prepared. I had not 1 but 2 stories I could pull out this time. Which one? GYAH!
After deliberation, I pulled out the piece that had more refinement to it and played with the audience. The timing was much better than the last time I performed it, better response times from the audience and much shorter. This was some of the feedback I had received from the King’s previous bard (from K and Q) as well as a few peers. Still not perfect yet, but it’s a work in progress.
The end of the event, we had some open bardic before the winner was announced. I sang a contrafact/filk which I hadn’t performed for the public, as well as Drake’s “We are the East” (Which, to that date, he had never heard another human sing his piece for him). Peregrin the Illuminator was named the winner of the day and my god, his grapes were the best grapes. (he had been challenged to Illuminate the grapes and as well write a dirty/lusty/raunchy/sexy piece… which he took his first piece and wrote a new perspective on it).
The other two performances which truly stuck out to me were Cedar san Barefoot’s piece where they wrote themselves into a “Norse” piece where Loki had to get them to wear shoes and Douglas Doan’s constant use of staircase jokes and box myths. I will never look at staircases and boxes the same way again.
As we packed up for the evening, I was stopped by Toki (of whom I had never met prior to this day, but apparently had created this event many moons ago). He presented me with his token. I was humbled because as the day had progressed I had heard much about him. I thanked him graciously and thanked him for his patronage.
A few days later I had connected with Toki on the Visage of Tomes and we had a several hour conversation. To me, I think a new mentoring relationship/friendship was born an I am deeply grateful for this opportunity.
You must not under any pretense allow your mind (Harp). To dwell on any thought that is not positive, constructive, optimistic, kind. -Emmet Fox
I think this should be the mantra I focus on. It’s always tough when you put your heart and soul into something and then have your spirit crushed by not obtaining that goal.
This year was a new year to push myself . To try something new. This year I brought new repertoire. These pieces had never been performed by me for the public. This year’s repertoire choices were very personal and close to my heart as well.
Saturday I spent the day fencing, teaching, reveling in good friends and company. What did you teach, Lady Solveig? I taught what’s called a “Master Class”. This class is a safe place workshop where you bring a piece you are polishing or a piece you want to improve on. The format is generally you perform your entire piece all the way through and then you do it again, section by section. Suggestions are made about your performance and how to improve it. This was my first time performing this outside of an academic setting and I was overwhelmed to have three students attend. All of them brought difference pieces and styles to the table. I say overwhelmed in a good way. I never know how performers feel about being critiqued. Not everyone takes criticism well and even when they ask for it, it can rub them the wrong way. This was a great exercise for me in providing feedback but also serving as a bardic mentor for those who were older, same and younger than I was. I monitored body language very closely to make sure what I was providing was well received. When the class was over, I was thanked by the students and was told by two of them that they were now going to compete with these pieces for Baronial Bard and the third was just going to get up and perform for the open mic section. I couldn’t be prouder. I felt like a mama bird, proud that her kiddos are getting kicked out of the nest…. her… viking nest. With spears and fire.
I had set up, ahead of time, for an accompanist to help me with a piece. A few weeks prior, for personal reasons, he had to decline. Luckily, I am surrounded by amazing musicians in my life and another rose from the mist. I went to go rehearse with her but found out she had broken her foot the night before. In addition, she may have injured her wrist (Insert a chain of explicates and rapid swearing/heart beat) Oh wait! Another friend… can you play a thing? Maybe? No. Crap. oh hey, other friend (#4) yeah, I can play violin and make this work if your guitarist can’t. (Like watching the Bob Ross reruns on twitch where he throws a blob of paint on the painting and you think its ruined? Nope.… SAVED!). We made this work. Awesome.
After the class was over I rushed to get ready for feast and the bardic competition that night. “Ooooo girl, you so fancy!” I would jest with my friend, Ollala, that I was “Installing my weave”. I was quickly corrected that it was not a weave, because they were not sewn in and they were just extensions. I pushed that button a lot over the next few hours. After all, what is a Skald without harassing their good friends.
I made my way over to feast in my finest raizing garb, head weighing a few pounds more, thanks to the extensions and beads. I promise, my head was not full of hot air… that would have made this so much easier to walk. I followed up with a few of my friends whom I knew were competing, and I made sure to speak to them and encourage them. One, specifically said they weren’t even sure if they were going to complete. I did my best to encourage them and even walked over with them to sign up. The rest was all feast and a blur until the competition. Feast was an immense success as it always ways. The food was amazing as was the company. #Foodcoma #Wholeroastedpig #liquidcourage #bardjuice
Game face on. No… not vampires. You know, srsbsns.
I mentioned that my repertoire this year was important to me. Several years prior, I had discovered a performer named Owain Pfyfe. If you know me well enough, you know I do not really care for tenors. The bright timbre is not something iI inherently enjoy. However, there was something about his charisma and style that I couldn’t ignore. I was so intent on finding him. He had to be a SCAdian right? After about six months of searching and re-listening to all of his repertoire, I was DEVASTATED to find out that he had passed a few years prior. I then began spending my time learning his music, listening to his humor and trying to take it and internalize it, making it my own. My first piece would be one of his repertoire and it was my own take on it. I spent time focusing on that.
This year, I started with a mummer like feeling. I sat in the back of the room, covered in a wool cloak and an Italian Renaissance style plague doctors mask. I sat, quietly listening to the other performers, trying not to disturb them, but enjoy myself as well. Then, a friend of mine and fellow Bard, Kara the Mischievous took the stage. She sang a song, in which I have already received from her to add to my own personal book (It was that awesome!). Then, she too, decided to tell a story. She had mentioned at dinner she was telling a Norse story. I listened intently as she started her story, to tell us about when “Thor wore a dress”. My heart hit the floor, eyes widened and all the blood rushed from my body. That was -my- story. What was I going to do? Should I leave? Should I quit? What should I do?!?!?!
I took a stiff upper lip when it was turn, re-centered and let my new “persona” take over. I would not back down. I took the stage from the back of the hall in my mummers kit and my awful mix of European accents. I would crack jokes, get my “unsuspecting” assistants to the stage to help me out and slowly remove each piece. First the cloak (Which was alllll wool) so i weighed more than the world did at the moment. Next, the mask. Facial expressions are very important with physical comedy and the shtick I had chosen at that time. The piece I performed was “Fuggi, Fuggi”. I had the audience sing with me, I sang the Italian and as I explained to the audience, they’d be singing the Latin… ( Falalalala). At the end, it was time to show off my classical training. I arpeggiated my way up to a F above treble clef (One full octave above the top F line) and then gliasando’d down (Slide). A few small mistakes here and there, but ultimately I am very happy with how that piece went down.
Next, it was time for my story. I quickly thought of how I was going to fix this, the debacle, of two of us telling the same story. I opened with, “You may have already heard this story… tonight” and the audience seemed to appreciate that. Thank goodness for me, Kara and I have very different styles of telling stories so, although we told the same story, it was very different. This story was huge for me as I am not a storyteller, though, my friend’s say otherwise. I rely on my fast paced wit and vocal technique to entertain with. This was also important as this was my first true to persona piece I had done. Win or lose, this was my own victory.
At court on Sunday, I was not announced at the victor and my heart sunk. I had several folks approach me, telling me how much they enjoyed my piece, how much they loved my voice, how excited that I was going to be their champion again. I think this was devastating to me only because this was told to me. Had I not had so much stake in this at this point I think it wouldn’t have been as much of a letdown. However, their new Baronial champion is a shining star. She is just starting to really get her feet wet into Bardic. She has such talent and skill. I cannot wait to watch her grow and support her. My job in Stonemarche is done. Their community is growing strong and supportive. I will never stop supporting them, I will never stop being a part of their community, but they are not my focus any more. I need to find another group who needs my help just a tad more. You could say, “I’m a Wizard, Harry” and “A wizard is never late, nor is he early, he arrives precisely when he means to.” And I will go precisely to where I am needed next.
Meddlings of the Minnesinger 