My Co-Autocrat and I had spend months and months planning the second iteration of the EKCoP Challenge assembly. This was my first time “running” it and I had found a super sweet location. Weeks before, COVID-19 really started to spread into the US and reared it’s ugly head. The plague doctor could truly not contain this one.
My Co-Autocrat and I made the difficult decision to cancel the even. This was not done lightly. However, not only is this spread via respiratory system, singing/vocal arts were known to be the fastest way to spread it.
I wasn’t willing to go down without a fight. I wasn’t willing to let the performing arts community take a blow to one of their only real chances to gather and perform in a low key environment. Then, it hit me! Why not do this online? What were the logistics?
I spoke to my co-autocrat who has been running monthly online practice to see if this was feasible. It was!
From there we got everything sorted and up and promoted within 5 hours of this idea. Would this work? Would anyone come? Would the delay kill everything? Are we running it like it was run previously? Who knows! here we go!
We eventually settled on a formal of open meet for an hour, classes till 6 and open performances till 10.
Attendance rolled in, every class was attended and well respected.
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
Typically I would talk about my event and my connection to it. I will briefly, but I want to talk about something more than that in particular so I will provide the lead up to it.
This years winter nights was just a time for me to go and hang with my other Bardy friends(not to be confused with baudy, though these are not mutually exclusive) , get a little challenge. No intent on winning. I went with the intent of celebrating Bard friends and being connected to my community, old and new.
This was also Aegir’s first true bardic event. I wanted him to get a view of my world. The second we got there, he ran off with a friend he had made at another event to go make arrows. Whatever.
Round 1 had 26 competitors and every last one was enjoyable. I had asked Aegir what he wanted me to perform and he picked an Irish traditional piece called ” If I were a blackbird”. It fits the SCA feeling so I decided to go with it. It felt solid and I felt like I performed it well.
Round 2 was my first (and only challenge, spoiler alert). I was challenged to do a late period piece which would “Blow a hole through the roof”. This made me a little nervous as I hadn’t sang in about 2 weeks due to being ill. Whatever, I’ll pull it out. I’m a big girl! (5’11 and built like a valkyrie). I decided to go with a Monteverdi piece, “Lasciate Morire” from the opera L’Arianna composed in 1607 into 1608. I did indeed, blow the roof off. Everything, for the first time, with this piece lined up, like the stars and heavens. I was moved to even take the ground and sing from the ground. This isn’t easy to do, but it felt like the right thing to do.
Fast forward to the end of the event. We were all cleaning up and I was approached by someone who knows me from the outskirts but we haven’t been close. She approached me to tell me how much she enjoyed my performance and was wowed by me singing from the ground. I thanked her immensely for her words. They meant a lot to me.
Shortly after, Aegir advised he had been speaking with the same woman earlier. This is the conversation he provided to me. “She said she almost didn’t tell you that. She said you needed to hear it like you needed another hole in the head because you know it to be true.” So, moral of the story. TELL EVERYONE
The reason I wanted to bring this up is for one reason. If you hear or see something you like, tell the artist. We are our own worst critics. We have our own brain worms. I can tell you, day after day, I never feel good enough. The only thing I have to remind me I have some semblance of talent are your words and your tokens.
If anyone knows me, they know that music is the number one priority in my life. Whether I am singing or playing instruments or encouraging others to perform. I know the power that music can hold and I want nothing more than to make sure that others have this saving grace in their lives as well.
A few years ago I was very involved in a choral group called “Voce di Sonata”. These were all volunteer vocalists from Malagentia. We would run through pieces and work on them. Eventually we would get to have other performance experiences as well. However, after running it for 2.5 years, it was time for my life to explode and I simply couldn’t organize it again at that stage of my life. Life happens.
Even without formally running it, I would have folks approach me and ask for group singing and soloists to perform at their events (and weddings). I would gather ad hoc groups as needed as well as find appropriate soloists. In addition, those vocalists in the group would come and say, “Solveig, we would really love to sing with you”. My heart couldn’t say no, but I just didn’t know when.
In addition, I was also involved in the Malagentian Players. From a solo member as well as a member of their troupe. However, through discord and life, it too mostly went the way of Ol’ Yeller.
This broke my heart.
A few months ago I moved to the Riding of Giggleswick. It is a small riding but with some fiery and passionate hearts. I have a stable place to live and partner. I love my new job. Emotionally, I am in a good place. It was time.
Last night was the first meeting of the Giggleswick performing arts group. I had 6 people show up! That’s huge for our little riding. There is promise for more to show as well. We had very new performers telling their first story in public, more seasoned performers working on newer pieces. We had rounds. ROUNDS GALORE. Folks who claim they don’t sing, sang with us! It was beautiful and harmonious. We even had a few repetitions of singing through “O Magnum Mysterium” which is no small feat. It was beautiful. The feedback was positive and I am ready to do this again in 2 weeks.
The plan is to have folks perform their pieces. Should they want feedback, they will ask. If not, no feedback is to be given. I am hellbound on making sure this is a safe space for all to perform. There will be workshops and classes to come as well.
For now, a new beginning, like a fresh layer of snow.
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.
A few months ago I was asked by the resurgence of the East Kingdom College of Performers to teach a class online. As I have been serving as the Deputy Chatelaine, I feel very connected to this group and it’s successes. I agreed but had to think of what I could teach. Very much, like the iconic Taoist bear, Winnie, I sat and thought and I thought and I thought. Then in struck me, like a a sack of bricks… or something more gentle I suppose, as my face and body are intact. As a modern medievalist, I spend a large amount of time attached to social media. I use it to make connections in our modern world and I use to to connect to better resources. Living in the more Northern Part of the East Kingdom and being separated from our vast populace, there are only so many places I can travel. The internet is for more than porn and kittens… and memes. (By the way, my Partner has just given me a huge lecture on the actual teachings of Taoism)
One if the largest issues about being a performing artist is how to get your work out there and how to get noticed. Below is an outline of my class. If you’d like more in depth information regarding what I talked about, please feel free to contact me.
First and Foremost, your online appearance:
Good/Yes!
Bad/No!!!
Be neat, clean and groomed. It doesn’t matter your personal style, but no one wants to see you fresh out of bed.
1) Getting noticed
Bards/Performers are a 1 off performance (fleeting performance)
How do we get seen outside of competitions and bardic circles
We are not all composers (and don’t need to be)
2) Platforms for getting noticed
Competition
A and S
Word of mouth
Campfires/Events
But…. is this effective? Let’s talk digital!
Social Media Platforms
WordPress
Can maintain images/texts/videos
Simple to use
Easy cross platform posting
Free, but Can pay to upgrade for additional features
Maintenance heavy
Free
Livejournal
Text only
image/video embedding is not as simple
Older Platform
Not as well trafficked
Nominal customization
Free
Reddit
Home of trolls
Very well trafficked
Not well respected in documentation society
Simple to use
Easy Embedding
Easy search engine to use
Posts are easy to discovered if you are looking for them.
Minimal customization
Free
Facebook
Well Trafficked
Well integrated
Easy embedding
Videos can be downloaded and uploaded
Images are easy to upload/download
Algorithms are wonky
Missing data
Timeline only (Scrolling text and no customization)
Easy to maintain. If you don’t have one or don’t know how, we can connect to make sure you have one
Should have who you are, awards, affiliations, interests and events you’ve staffed. If you have any other focuses, those can be listed as well. Should really be just short reference and quick so people writing you in, people reviewing you for the order and scribes and do you proud.
Word Press:
This is where you make the dream happen
Images!
Videos/Recordings
Blog entries
Compositions
All other social media can be linked to and from
What sort of things should I be blogging about?
What you are doing
Period pieces performing
Documentation
Videos and recordings of your performances
Stuff you have composed/wordsmith-ed (Images if they are avail) If there is documentation on that, include it too
Non musical stuff. People want to see that you are more rounded
Classes you are teaching and their documentation
Feedback and reflection
The major barrier of teaching online is engagement and response. Also, equipment levels from your audience.
Success!!! I got a bunch of information out from my house, I had a moderator and more people are blogging.
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!
Meddlings of the Minnesinger 