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bardic-msg - 10/17/13


Period and SCA bards. Commentary on bardic topics.


NOTE: See also the files: Bardic-Guide-art, p-stories-msg, song-sources-msg, storytelling-art, poetry-msg, music-bib, songs-msg, Hornbook-art.





This file is a collection of various messages having a common theme that I  have collected from my reading of the various computer networks. Some messages date back to 1989, some may be as recent as yesterday.


This file is part of a collection of files called Stefan's Florilegium. These files are available on the Internet at: http://www.florilegium.org


I have done  a limited amount  of  editing. Messages having to do  with separate topics  were sometimes split into different files and sometimes extraneous information was removed. For instance, the  message IDs  were removed to save space and remove clutter.


The comments made in these messages are not necessarily my viewpoints. I make  no claims  as  to the accuracy  of  the information  given  by the individual authors.


Please respect the time  and  efforts of  those who have written  these messages. The copyright status  of these messages  is  unclear  at this time. If information  is  published  from  these  messages, please give credit to the originator(s).


Thank you,

   Mark S. Harris                  AKA:  THLord Stefan li Rous

                                         Stefan at florilegium.org



From: FSRAD1%ALASKA.BITNET at MITVMA.MIT.EDU (The Barbarian Wench)

Date: 1 Sep 94 05:19:49 GMT

Newsgroups: rec.org.sca


Greetings unto all.

To briefly introduce myself, my mundane name is Dusty Deal and my SCA

persona is Amber the Restless, although I am currently researching a new

persona. My home is in Oertha and I presently reside in Eringyld. (Both of

these are in Alaska, for those of you who are lost at this point)


I am a weaver of tales, and have been told that I am fairly proficient at

my craft. I grew up in an area where we told stories around the fireplace

in the evening and where I sat with my elders and learned history from their

words. I have heard the same stories from different people and the thing I

have learned about oral storytelling is that no two people tell the same

story the same way. Further, as a person gets older and their world veiw and

knowledge change, frequently they will shape their story differently than

they did in their youth. So the same story from the same person told 10 years

apart, was often different in many ways. What I am trying to show through all

of this is that is is slightly ridiculous to memorize a story exactly as some-

one else told it and then tell it that way for the rest of your life. The

success of a good story-teller depends on that person integrating the story

and telling it in his/her own way. It also depends on playing to the audience

at hand. I certainly tell my tales differently among close friends at a small

revel than I do at Coronation. I know what my friends find amusing and what

touches their hearts. At Coronet, I must gauge my audience and learn them as

I tell the tale, by watching when they laugh and when they are interested. If

you maintain the original flavour of the story and the story line, then there

should be no problem with changing specifics and emphasis within the tale. If

you or your audience are uncomfortable with racist elements in the tale,

change them. Turn the story around or create a group of ficticous scapegoats,

or leave them out if possible. If you have an audience which is going to be

offended by sexism, follow a classically chauvenistic tale up with one where

the woman gets the upper hand. If you have an audience which will be offended

by blatant sexual content (and the middle ages were full of such) tone it down

by using double entendres and gentle puns.


Well, for my first posting, I feel I have said more than enough. My humblest

apologies for the length of this message, but you KNOW how difficult it is to

get a skald to shut up once they get started...


May you walk in paths of health and prosperity,

Your humble servant,

Amber the Restless, wandering weaver of tales.




Date: 29 Mar 90 01:04:00 GMT

Newsgroups: rec.org.sca

Franz Joder brings up the question of what to do when one's period song or  

story contains material that is offensive to current middle ages audiences.

Rebecca states a dis-preference for bawdy songs.

in cooking one has the option to a)try to find an acceptable substitute, b)  

only serve it to small, controlled groups, c)leave it out, d) never cook that  

recipie. e.g. a) I will generaly use american beans rather that fava beans,  

to which some people are fatally alergic b) "I made this with penny-royal,  

don't drink it if you're pregnant  c) what i do with the penny-royal if it's  

not a major flavoring, d) frumenty with porpis--i'l just never know .


I would guess that in story telling (or singing) one has roughly the same

choices, although I can't think of any story so objectionable i'd never tell

it *anywhere*.


The problems with a) substitute and c) ommit are the same as in cooking--you

end up with something different.  Sometimes it isnt vitally different.  Many

obscene stories may be rendered bawdy and bawdy stories risque by carefull

substitution of words  (boccacio in his deccameron uses words that are in

themselves innocuous where a frenchman of the previous century would have

bluntly used "foutre").  If a story contains a miserly jew, we can say "a

miser" unless his jewishness is vital to the plot (as it is in Merchant of

venice). Sometimes it can be done with some loss (the french faiblau "la

sainersse" (the lady-doctor) uses coarse language for its shock value--leave

it out and you have an understandable but much weeker story).  Sometimes it

just can't be done (oh, i suppose you could re-write "le chevalier qi fit

parler les cons" as a knight who conjures voices from elbows and armpits, but

i can't imagine why one would want to.)


So one is left with varing degrees of choosing ones audience (an art in

itself) and tempering ones language.  For myself, i choose not to use sexually


or scatallogically explicit english at events (or over the net (french,

german, or latin, however...)). and save those stories for story-tellers

meetings and post-revels.   When there are smalls about i guard my self

more carefully--this is a new problem to me.  How to people deal with it in

areas where there are often children about?


what level of bawdiness is acceptable at events?  explicit language?(clearly

not) Disguised language and explicit situations as boccacio employs?  

Innoccuous language for storys based on adultery and fornication with the acts


them selves glossed over (and all night he did just as she wished...)?  

Language so abstract scollars will argue for centuries just what is going on

(le roman de la rose)?


The middle agers were a raunchy, bawdy bunch. they thought sex was hillarious.

is problem


more later??



malice at isis.mit.edu



From: heiman at thor.acc.stolaf.edu (Mark F Heiman)

Date: 16 Jul 91 14:40:18 GMT

Organization: St. Olaf College; Northfield, MN


Greetings from Cedrych the Silent!


I am reprinting below (with permission) an advertisement which I think may be

of interest to many.  I have no direct connection with this endeavor, but I

have spoken with the perpetrator and am willing to try to field any questions

you may have.


*Begin Quote*

                               Thomas' Rhymer

                        A Journal of the Bardic Arts


Unto the Minstrels, Troubadors, Trouveres, Jongleurs, Scops, Gleemen, Poets,

Balladmongers, (and Bards) of the Known World, from Owen Alun in the Barony of

Nordskogen, greetings:


There has long been a need for those of us in the SCA who are interested in the

Bardic Arts, spread out as we are amongst these several kingdoms, to develop a

better means of communicating with each other -- sharing material, experience

and research.  This is the purpose that I hope will be served by this



The kinds of material I am most interested in disseminating are:


o Original/New performance material (stories, songs, poetry)

     -- Anything from "Serious Period" to SCA-fylk [sic] is welcome.


o Articles/Letters on aspects of the Bardic Arts and Performance


o Contact Information/ Special Announcements


We will publish quarterly:   (May 1, Aug 1, Nov 1, Feb 1)

Deadlines will be:           (Apr 1, Jul 1, Oct 1, Jan 1)


Issue 1 will be published August 1 (deadline July 1)


Subscriptions: US$8.00/yr, checks payable to SCA-Minneapolis


Thomas' Rhymer is a journal of the Bardic Arts in the Society for Creative

Anachronism. It is not an official publication of the SCA, Inc and does not

delineate SCA policies.  It is available from the publisher:


Ben Tucker

184 W. Skillman Ave.

Roseville, MN 55113

(612) 487 2510


Thank you for your assistance in the endeavor.


                                       Owen Alun

                                       pro veritas verbum




                              Subscription Form


Mundane Name:_______________________________________________

SCA Name:___________________________________________________



Phone (___)__________


I would like to be listed in the Known World Bardic Directory ____Yes ____No


* End Quote *


Owen tells me he's hoping to print about 40 pages per issue -- the first issue

will be slightly smaller, but thereafter he'll increase the format.  Especially

exciting (at least from my perspective) is that songs will be printed with

music whenever possible.


If you have questions or comments, please feel free to drop me a note.  If I

can't help, I'll pass it on to Owen next time I see him.


                                                       In Service

                                                         Cedrych the Silent


                                                         heimanm at carleton.edu


Mark F. Heiman            "Heaven is gracious, but few can draw safe deductions

heimanm at carleton.edu            on its method."  -- Charles Williams

heiman at thor.acc.stolaf.edu                    _Thomas Cranmer of Canterbury_

heimanm%carleton.edu at interbit  <-- BITNET  ================================



From: mfy at sli.com (Mike Yoder)

Date: 24 Jul 91 15:45:23 GMT

Organization: Software Leverage, Inc. Arlington, Ma


Unto all fishers and fishmongers of the Rialto, but especially to the noble and

beauteous Esmeralda, does Franz Joder send greetings.


Yes, there is overlap among the Storytellers, Jongleurs, Bards, and Mummers

(another guild which I may not have mentioned).  This is due to historical

reasons and perhaps a small dash of politics; in practice the difference

between the guilds tends to be one of emphasis, and it is usually intuitively

clear which guild is most appropriate.  There are sometimes ad hoc alliances,

as it were, for particular performances: the Jongleurs will supply the

musicians at plays done by the Mummers, for example.


The Mummers perform plays, and mummings.  The storytellers tell stories; the

Jongleurs have two halves which do instrumental music and singing respectively,

but most members are in both parts.  The Bards are mainly concerned with

personal performance involving singing, often to the accompaniment of a harp or

other instrument that can be played while singing.


These divisions are somewhat fuzzy: a ballad would be appropriate at either

Storytellers or Bards.  There have also been instrumental performances at

Storytellers, but strictly speaking this is outside their purview.


There is no bar to being in as many guilds as you want, other than personal



I have oftimes whispered temptingly to folk of the Storytellers and Bards

guilds that merging the two guilds would be especially serendipitous.  The

strong imbalance of positive to negative responses to my siren songs makes me

think that it might even happen someday (it's a very period thing to do).


Oh, you have probably noted that our use of "Bard" and "Jongleur" doesn't quite

match the usual definition.  Quite right, but I predict this will eventually be

changed. Recently the Brewer's Guild changed its name to "Worshipful Company

of Brewers and Vintners" in order to have a name more period in flavor;

sometime in the next few years I expect an avalanche of similar changes to

occur, and in the process some names will probably become more precise.  This

is a safe prediction because of Carolingia's culture, which is best described

as simultaneously pro-authenticity and anti-authenticity police.  (Yes, I've

been throwing a few snowballs now and then.)


   Franz Joder von Joderhuebel (Michael F. Yoder) [...uunet!sli!mfy]

   The soul's Rialto hath its merchandise. -- Elizabeth Barrett Browning



From: cjcannon at ucdavis.EDU

Newsgroups: rec.org.sca

Subject: RE: 'New book'

Date: 3 Dec 1993 18:41:13 -0500


Greetings to all ye Fisherfolk!


One of my correspondents indicated that he had been passing along

bibliographic info. on 'on-topic' books he'd seen at the library where he

worked. He was quitting to go off to Grad School, and suggested I take

his place.  I don't know if I'll be able to do that, but here's one I just



Paterson, Linda M.


The world of the troubadours : medieval Occitan society, c. 1100-c. 1300

/ Linda M. Paterson.


Cambridge ; New York, NY : Cambridge Univ. Pr., 1993.


xii, 367 p. :  ill., map ; 24 cm.

Includes bibliographical references (p. [345]-355) and index.

Library of Congress Card no.:92-37723  ISBN:0521352401  ca. $60 hdbd.


The dust-jacket 'blurp' suggests that this is the first comprehensive

study of Occitania, 'the south of France' and its society.  It says that

the author's approach is multi-disciplinary and offers insights into

issues otherwise unavailable to those without specialist

linguistic/literary expertise.


I hope it meets someone's interests/needs.--Carol (currently awaiting my

info./application packet in order to join the SCA, which means I'm one of

those 'infernal' lurkers, I suppose.)



Date: Thu, 5 Jun 1997 20:53:25 -0400 (EDT)

From: KiheBard at aol.com

To: sca-arts at raven.cc.ukans.edu

Subject: Re: How were ollamh made/recognized?


In pre-Christian Ireland, the greatest of the bards were the ollamh

(also seen in documentation as ollave, etc.)


Beyond completion of 14 years training and memorization of

approximaetely 20 thousand lines of poetry, they were also

required to complete one major composition of a new poem

and were further expected to play at least one instrument

with some degree of skill. Primarily, however, the voice was

the instrument required of the ollave.


The requirements were relaxed in later years, and went through

some weirdness when codified for the Welsh (by Hywel Dda

and others).


The precise requirements are lost in oral tradition and history,

therefore, and would also have been different in various

regions inhabited by the Celtic peoples....





Date: Fri, 6 Jun 1997 14:45:43 -0500 (CDT)

From: "J. Patrick Hughes" <jphughes at raven.cc.ukans.edu>

To: sca-arts at listproc.cc.ukans.edu

Subject: Re: How were ollamh made/recognized?


I do not have access to the journal _Eriu_ but my sources indicate that it

contains in its 1942 volume pp 1-60 and 220-36 "An Old Irish Tract on on

the Privileges and Responsibilities of Poets, edited by E.J. Gwynn.  If

any are able to access this, I would appreciate a copy. I have no current

access to interlibrary loans :(


Charles O'Connor

jphughes at raven.cc.ukans.edu



From: "willowdewisp at juno.com" <willowdewisp at juno.com>

Date: February 28, 2008 10:05:42 PM CST

To: ansteorra at lists.ansteorra.org

Subject: [Ansteorra] food and performances at Gulf War


I personally don't bother much about were there is food because as a storyteller I usually get fed at the War. In fact if I don't get offered food and drink I feel I have failed.


I have found that many people are interested in performers but not everyone. I usually hook up with a few "good" performers. A strong singer who can do folk songs is very useful and we go around and ask people if they would like tho hear our performances. If they should show any reluctance we apologize for taking their time and go on.


We usually put a strong singer first and then the storytellers and poets next  and our best performer last. Don't do to much and only do one piece each. If the people want more you could do more.  If they have performers I always try to stay long enough to listen to them. Try not to overload camps and try to leave camps  with their  energy up. Short and sweet is the best. IF you leave them wanting more then they welcome you back later in the week.


Always use courtesies and common politeness.





Subject: Re: ANST - The Bard's Road

Date: Wed, 10 Feb 99 18:33:29 MST

From: Scott Fridenberg <scottf at okom.net>

Reply-To: ansteorra at Ansteorra.ORG

To: ansteorra at Ansteorra.ORG


tegan at swbell.net wrote:

> I am autocrating an event in May in Loch Soilleir and since it is

> our Baronial Championship where we pick our Bard and Artisan I have no

> choice but to make it a competition. What I would like is some input

> from bards that are currently competing on how we could improve upon

> the standard competition.

> Since this event will be special because we will be welcoming a new

> Baron and Baroness I wish to have lots of entertainment.

> I myself prefer wandering bards. There is nothing like having a bard

> wander in to your pavillion and entertain you with story and song to

> make you feel special.

> Basically what can I do to accomadate you the bards?


> Tegan Rhos


   I've ran a few competitions where the Bards are given tokens of some kind, (

we used rings the first time) and throughout the day the bards will challenge

one another and wager tokens on the outcome of the challenge.  The challenge

can be anything of a bardic nature that they agree on, and they decide amoung

themselves who will judge the challenge.  They are encouraged to choose judges

from amoung the populace.  This format is a lot of fun for the bards and the

populace alike.  You can select the winner as the person with the most tokens,

or choose the 3 or 4 with the most tokens for a judged final round.


   We have learned from experience that you should place a tight limit on the

number of tokens that can be wagered and limit challenges to two or three

bards. If not you may find that several bards who have very few tokens left

will join in one group challenge and suddnly the competition will be decided

on the basis of one performance rather than consistant quality throughout

the day.  This tends to spoil the competition.


Robert Fitzmorgan

Barony of Northkeep

Bard of Elfsea

Minstral of Mooneschadowe



Subject: Re: Bardic Acronyms

Date: Wed, 8 Sep 1999 19:51:19 EDT

From: EoganOg at aol.com

To: atlantia at atlantia.sca.org


MSOB--shorthand for the Militant Society of Bards.  We are a confederation of

bards that began originally in the Kingdom of Atlantia but has now spread al

over the known world.  To quote from Master Efenwealt Wystle on the MSOB web

page (http://www.geocities.com/Broadway/Alley/2032/msob.html):


"The MSOBs (also known as the muh-SO-beez or the Militant SOB's) is a loose,

interkingdom confederation of performers from all over the Knowne Worlde. We

are singers, storytellers, poets, musicians, jugglers, fools and other

assorted entertaining people within the Society for Creative Anachronism


"Our primary goals are to:


"-share bardic material

"-promote the bardic arts

"-teach our audiences two important thigs: "Always feed and water your bards

and minstrels because then they come back!" and second, the word "More!".

Applause is nice, but "More!" really gets your point across!

"-we carry a badge - actually, we just tend to wear various forms of motley.

The rule of thumb is "when you wear your motley, you are ready to perform."

The above heraldic badge has never actually been submitted to the SCA

College of Arms, but it sure is cool.

"-There is no fifth goal."


We also publish a newsletter, the Motley Crew (so called because of our

identifying motley).  The web page there is

http://www.scottishtartans.org/mc.html, and is maintained by myself, the

chornicler. You don't have to be an MSOB to subscribe.  Likewise, not all

MSOBs subscribe, choosing to read the newsletter over the web.


To let you know more about the organization, here is a little bit I wrote in

the last newsletter:  "If there is one point that I want to stress it is

this—to be counted among the ranks of the Militant Society of Bards one must

realize that the most important aspect is to be Militant!  We don’t have a

skill requirement.  We encourage research but won’t kick you out if you don’t

do any.  We would like for you to sing or play well, but we were all new

learners at some time.  What we need are bards that are militant.  We need

folk who get out there and perform.  Be seen.  More importantly, be heard.

Be available.  Make the performing arts known and recognized in your area.

That is what the motley cloth is for.  In Atlantia it has become associated

with the Bard.  People see it and expect a performance.  With work and time

it will be recognized as the symbol of a performer throughout the Knowne

World. Be good, and be heard! "


If you have any further questions, visit the web pages above, or write to me,

Master Efenwealt, or one of the other founding members such as Master Niall

Dolphion, Master Bryce de Byrum, Baroness Julitta, etc.  In fact, if any of

you are reading this now, perhaps you would like to share your thoughts on

our motley crew!



Tighearn Eoghan Og mac Labhrainn, CP

Chronicler for the MSOB




Date: Wed, 15 Dec 1999 14:18:19 -0500

From: rmhowe <magnusm at ncsu.edu>

To: StellarArts at Onelist.com, sca-arts at raven.cc.ukans.edu,

       Merryrose <atlantia at atlantia.sca.org>,

Subject: Re: bardic websites


Ivan A Velez wrote:

> I am looking for websites or places where I could find bardic songs

> and tales, I started to like this old minstrel art and want to learn it.

> Alonso de Terranova


These are a few that spring to mind. I have quite a few more unfiled



Master Ioseph has a huge database of SCA songs from many folks as

well. Look under the Locksley.com sites.


Music and Poetry












































































































If you can't find the address try slicing off the end of the URL

as it may have been changed a bit. If it still isn't there....


[If you then find the correct URL, please let me know and I'll update it. If you know it just doesn't work, let me know and I'll note that - Stefan]





Subject: Re:(Fwd) bardic info

Date: Wed, 22 Dec 1999 10:08:55 -0800 (PST)

From: Ceara ni Neill <kisamul at yahoo.com>

To: Stefan li Rous <stefan at texas.net>


Ivan A Velez wrote:

> I am looking for websites or places where I could find bardic songs

> and tales, I started to like this old minstrel art and want to

> learn it.

> Alonso de Terranova


Try this site:



----Ceara ni Neill, House Barra



To: SCA_BARDS at egroups.com

From: "Fayme Harper" <GypsyProductions at yahoo.com>

Mailing-List: list SCA_BARDS at egroups.com; contact SCA_BARDS-owner at egroups.com

Date: Sat, 28 Oct 2000 23:55:56 -0000

Subject: [SCA_BARDS] Bards who don't sing.


For those of you that specialize in bardic arts other than singing, I

made another club that addresses that.

Drop on by and sign up.




Your humble moderator, Sapphira of Alexandria



Date: Mon, 20 Jun 2011 23:00:08 -0400

From: Amerie Helton <ameriehelton at bellsouth.net>

To: Merry Rose <atlantia at atlantia.sca.org>

Subject: [MR] Running bardic circles


To everyone who attends bardic circles -


I've had several people tell me that they've been to bardic circles  

where the person running the circle said everyone had to perform. In  

one case, it was the lady's first bardic circle.


This is just wrong. No one should be required to perform. Many people  

are deeply afraid of performing, and telling them they must do so is  

cruel. So of course they leave - I would too! This drives away what  

could otherwise be an appreciative audience, and in some cases will  

keep them from ever attending a bardic circle again.


As a performer, I like having an audience! The more, the merrier!  

Performers NEED an audience. Telling stories to chairs is Very Boring.


To be completely accurate, I should say there are two events where  

the price of admission is one performance - Performers' Revel, and  

Performers' Revel South. So if you go to one of those events,  you  

really should be willing to perform something : > But even then I've  

never seen anyone singled out and told they must perform.


My favorite way to run a bardic circle is Pick, Pass, or Play. Some  

item is passed around the circle. Whoever has the item can Pick  

someone to perform or something to be performed, Pass the item on to  

the next person, or Play (perform). This gives everyone who wants to  

perform a chance, and allows those who simply want to listen to do so.


So if you're running a bardic circle, don't tell anyone they must  

perform. Asking is fine, encouraging is great, but insisting is wrong.


Yours in song and story,

Mistress Dervila ni Leanon

Royal Bard of Atlantia



Date: Tue, 21 Jun 2011 07:26:21 -0400

From: Brian Bertrand <bertran.de.st.jean at gmail.com>

To: Amerie Helton <ameriehelton at bellsouth.net>

Cc: Merry Rose <atlantia at atlantia.sca.org>

Subject: Re: [MR] Running bardic circles


Personally I prefer Pick or Play, having pass as an option allows people to

be passive non-participants.  By picking someone to perform, they are still

engaged but are not themselves forced to perform.  A performance is a gift

you share with others, by no means should anyone be forced to do so.



Date: Tue, 21 Jun 2011 12:58:37 +0000

From: Gina Shelley <paintedwheel at hotmail.com>

To: <atlantia at atlantia.sca.org>

Subject: Re: [MR] Running bardic circles


I second this. Nobody needs to be doing anything to discourage people from showing up to Bardic Circles. Putting people on the spot is a sure fire way to discourage folks. While I wouldn't call what we do "bardic circles", sometimes that's the closest thing at the momentPeople show up when we're sitting around playing, and we ask them if they have something they'd like to do, but we don't press anyone. Who wants to be rewarded for showing up by being put on the spot? If we see someone singing along, I hand them a songbook (if they don't already have one, some do). Someone shows up with an instrument and tries to play along, we prompt the chords for them. Otherwise, people are welcome to show up and do whatever they want, up to and including using us for background noise while they chat in the back.


It's not formal and there really aren't any rules. And you SURE don't have to perform if you don't' want to. (you don't even have to listen if you don't want to! ) ;-)



Painted Wheel



Date: Tue, 21 Jun 2011 09:58:57 -0400

From: Gerita della Mara <geritadellamara at gmail.com>

To: atlantia at seahorse.atlantia.sca.org

Subject: Re: [MR] Running bardic circles


As one SCAdian who is a serious patron of the Bardic Arts (all of them),

but wouldn't perform to save my own soul, I must agree that forcing a

performance is a bit harsh and would definitely drive me out of one of

my favorite activities at events...that of listening with great pleasure

to the performances of those who enjoy doing that.   I do have to draw

the line at people who sit in a Bardic Circle (or the sometimes slightly

differently arranged audience section) and talk.  Really, folks!  Would

you do that in a concert hall? In a meeting?  While Bards are 'of us',

our friends, they are also performers putting something of themselves

out there for others' enjoyment and at some level, approval.  To talk so

that they cannot be heard within the circle is really rude.


And to that end, I would beg those Autocratting events at which Bardic

Competitions are part of the activities to consider the real, actual

needs of Bards in such a situation.  In order for judges to properly

appreciate each entrant's work, there needs to be some kind of

separation from the hubub of the rest of the event.  Not a whole lot,

because audiences are important to performers, but enough that the

judges can actually hear the entry.  Please.


Gerita One Note



Date: Tue, 21 Jun 2011 10:53:47 -0400

From: Eric Campbell <solvarr at gmail.com>

To: Merry Rose <atlantia at atlantia.sca.org>

Subject: Re: [MR] Running bardic circles


<<< If you take a moment and look back at the history of a Bardic Circle, you will find that after a day of toil and travel, family, friends, workers, and travelers would gather about a fire in the evening, to prepare a meal, to keep warm, to share their day. Once the meal was finished, the spirits may have been shared and the stories of their day?s journey, past travels or simply a tall story would begin. Singing songs, sharing stories, enjoying food and drink, that is what an original circle was.


Keep this in mind. If your circle is closed, and unwelcoming, others will not join. A Bardic Circle should always have space for others to join, be open and welcoming. >>>


I disagree. Not every bardic circle needs to be open to everyone.

If the circle encourages critiques and commentary it is more useful to

a have a grouping of fellow artisans and not a group of

non-contributing spectators.





Date: Tue, 21 Jun 2011 10:22:11 -0700 (PDT)

From: Alexandria Stratton <kyrilex at yahoo.com>

To: atlantia at atlantia.sca.org

Subject: Re: [MR] Running bardic circles


"My turn! Performance tips for the budding bard" by Ceara ni Neill



-- Isabelle LaFar



Date: Tue, 21 Jun 2011 19:49:26 +0000

From: Gina Shelley <paintedwheel at hotmail.com>

To: <atlantia at atlantia.sca.org>

Subject: Re: [MR] Running bardic circles


<<< I disagree. Not every bardic circle needs to be open to everyone.

If the circle encourages critiques and commentary it is more useful to

a have a grouping of fellow artisans and not a group of

non-contributing spectators.

Solvarr >>>


Well, then that shouldn't be advertised as a "Bardic Circle." That's a performer's gathering and a distinction should be made with how it's advertised. "Bardic Circle" has traditionally meant, as far as sca goes, an open gathering for sharing and enjoying songs, stories, jokes, or whatever, whether someone is there to perform or just enjoy the atmosphere.


A practice or critiqued "dry run" is something else entirely.


One could argue that "critique and commentary" comes in the form of how many people actually want to show up as spectators. ;-)  





Date: Wed, 22 Jun 2011 21:43:14 -0400

From: "Etienne Le Mons d'Anjou" <etienne.le.mons at gmail.com>

To: Amerie Helton <ameriehelton at bellsouth.net>

Cc: Merry Rose <atlantia at atlantia.sca.org>

Subject: Re: [MR] Running bardic circles


There's an etiquette involved for each part of a bardic circle: the

performers, the audience and the person hosting it.


The performers should follow the layout set by the host and show respect and

courtesy to each other. Keep to the prescribed time limits and if none are

given, use your own professional courtesy.


The audience should also be respectful and laugh when they feel moved to do

so, cheer when the mood strikes, and enjoy the variety of emotions that a

good bardic circle can invoke. If a piece is serious, treat it seriously and

if it is humorous, then by all means laugh!


The person hosting the circle is responsible for making everyone feel as

comfortable as possible, encourage a free-flowing sharing of the performing

arts, and provide *gentle* reminders of appropriate etiquette as needed.

If everyone in the circle understands that they each play their own part,

then a bardic circle can truly be magical.


Etienne Le Mons

Poeta Atlantiae



To: gleannabhann at yahoogroups.com

Subject: Bardic fire walking was A question

Posted by: "mlaf" mlaf at sbcglobal.net maybard

Date: Wed Oct 19, 2011 7:59 pm ((PDT))


----- Original Message -----

From: jim_hannold <jim_hannold at yahoo.com>

<<< I have been told that it used to be a common occurance for bards and

poets to make the rounds of the camps and "sing for their supper".

Today, in my own experience, it's now more that the bards and poets

perform in their own camps and other designated performance venues and

it's up to the populace to make their way to those locations. >>>


Part of that, I think, is kingdom culture.


In Caid, only wars were camping events.  Most wars had fire rings, and it

was quite common for bards to go "fire walking", singing as we went.  Groups

of anywhere from 2-10 of us would wander around till we found a fire that

wanted us.  Each of us would sing one or two pieces, depending on how many

of us there were, and then we would wander on.  It was not at all uncommon

for a really good bard to be gifted with rings, bracelets, necklaces,

clothing, and/or other goods, in addition to the more common food and drink.


When I started attending events in Meridies, and Gleann Abhann, I found very

few fire rings, mainly because of the cabin camping.  Also, very little

bardic activity of any kind, at least, as compared to what I was used to.

There is something very different about the atmosphere of electric lights in

a cabin and campfire light at night.  Cabins also seem a lot more private

than campfires - much easier to go up to a campfire and ask if anyone would

care for a song, than it is to go into a cabin and ask.  When I am at a

camping event, I usually wander around and if I come across a group of

people, I ask if they would like a song or a story, but often, the group is

far more interested in drinking and telling no sh** stories to each other

than they are in listening to a wandering bard.


I'm really glad that the Briar Rose started having bardic circles on board

ship at most events, because at least that way, I know people who come to it

are people who are interested and want to participate in bardic activities,

even if it is only as a listener...





From: "* Cirocco *" <despotissa at gmail.com>

Date: April 21, 2012 11:10:38 AM CDT

To: the-triskele-tavern at googlegroups.com

Subject: {TheTriskeleTavern} Fwd: [SCA-Laurels] New book on tudor minstrels


---------- Forwarded message ----------

From: <tsivia at uottawa.ca>

Date: Sat, Apr 21, 2012 at 1:20 AM

Subject: [SCA-Laurels] New book on tudor minstrels

To: Pbardic <pbardic at minstrel.com>

Cc: SCA Laurel e-list <sca-laurels at lists.ansteorra.org>, SCA Bards e-list <SCA_BARDS at yahoogroups.com>




A note from my colleage Dr. Steven Muhlberger, on a new book about/by a

Tudor minstrel (YES....an authentic manuscript!). Many of you will also

know Dr. Muhlberger by his SCA alias:

Duke Finnvarr de Taahe, KSCA, OL, OP, and creator of the Pas d'Armes.




<the end>

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