Documentation: Why Bother?  (Part 1)

Part 1: What is Documentation Anyway? 

This is the first in a short series of posts about documentation in the SCA. We in the A&S Ministry, as well as folks in the broader A&S community often speak about documentation.  But, those of you who are newer to the Society or have only just begun a journey into the Arts and Sciences may not be totally sure what it is.  Even if you’re not so new to Arts and Sciences in the SCA, you may still be wondering what qualifies as documentation.  So, before we talk about reasons why you might want to create some documentation, it’s worth saying a few words about what we mean when we talk about “documentation”.  

The Society for Creative Anachronism is an educational organization, “devoted to the research and re-creation of pre-17th century skills, arts, combat, culture…” (SCA Organizational Handbook, April 1, 2022 revision, p6)  In order to re-create any of the skills, arts, combat, or cultural practices of the past we need to find out what they were.  This can be done in many ways.  We all follow our own paths to learning about the past.  No matter how you got there, once you’ve found that information you will use it to make choices about how to craft your re-creation.  At its core, “documentation” is a just record of the information that you used and the choices you made during your re-creation.  

It really is that simple.  Notes that you take and little reminders to yourself can be documentation, even if no one other than you can make sense of it. 

When we talk about “documentation” we are referring to anything that explains why you made your thing (or prepared your performance, or planned a ceremony, etc.) the way you did.  Your documentation can be as detailed or as brief as you want it to be, and it can vary depending on the setting or context in which you’re sharing it.  Many of the conversations we have at Events involve very informal sharing of documentation.  

Some examples:

  • Someone compliments you on a new hat you’ve made.  You tell them, “Thanks! I based it on this nifty painting that I came across at the Museum of Obscure Art.” This is bare bones, but you’ve just shared some documentation.  
  • You really enjoyed one of the dishes at a Feast.  After the Event, you ask the head cook about it.  They tell you, “Oh, that’s one of the recipes from The Cookbook of Masterchef Oldtimer. I can give you a copy, but you know those historical recipes are often vague, and I had to dig up some more information to fill in the blanks, so let me give you the modern-style recipe I wrote out for the kitchen staff, too.”  
  • You’ve made some cups that you and your partner drink from at Events.  Your friend, who is also a potter, notices them and asks you about how you made them.  With a fellow artisan, you go into detail about the materials you chose and the process of making them.  

All of these casual conversations are about sharing documentation.  We don’t always think of them that way, or even refer to them that way, especially as they are not written down.  But, in all these examples, someone is explaining how they went about re-creating some pre-17th century thing and sharing the information they used to decide how to do it.  That’s what our documentation is all about.  

In other settings, documentation can get very formal.  If you’re writing an article for a newsletter or entering a competition, then you may be required to prepare written documentation in a certain format.  Documentation could even turn into an actual research paper or a booklet (like the Compleat Anachronist series published by the SCA corporate offices).  But, not every competition or display requires formal, written documentation.  And, more informal writing is often desirable for things like blogs or social media.  People have also made videos, cartoons, and even poems to explain their projects or research.  Again, how you present your documentation can vary depending on how and where and why you are doing it.  For the most part that’s up to you.  

Just remember, no one is forcing you to produce documentation.  It’s not required of anyone and many people enjoy the various activities the SCA has to offer without ever thinking about documenting what they’re doing.  All of us are here because we enjoy re-creating pre-17th century skills, arts, combat, or culture.  And sharing what we’ve learned can be part of the fun.  

But, if you’re not convinced that documentation can be fun, I’m going to present a few more reasons why you might want to have a go at it.  The remaining posts in this series will all be inspired by some of the virtues that we consider pillars of our Society. 

– Abu-Darzin Ibrahim al-Rashid, Laureate

A Short Treatise on Process

by Signora Fiore Leonetta Bardi, Crowns A&S Champion, May 2020.

When one has a desired goal, a thing to be accomplished, it can be tempting — perhaps even expedient — to figure out how to achieve the goal most quickly. I have been so very guilty of this. I once infamously learned a devilishly hard song for a concert in a couple of days. Of course, I no longer remember it or why it was so important to learn in the first place. And like most of you, I have burned the midnight oil to get to a place where I could finish sewing on the drive to an event. Where I was, of course, wearing/entering/donating said garment. I have learned something by mastering expedience — that it is rarely, if ever, truly satisfying. These days I take the most pleasure in the process itself and I am writing this treatise in an attempt to seduce you into this calling.

Working backward from a goal — determining what happens last and then, what happens before that. And, before that. Until you come to the beginning of your project — is a revelation. As is, beginning with a list of all of the steps before you, and the steps within those steps. Looking at patterns and portraits, or reading other findings. Using these as a basis for your own questions. Allowing yourself to treat each discovered answer as a reward. Treating the unanswerable as a playground for your thought and experimentation. Letting questions lead to other questions. Letting this inquiry and experiment fail and reflecting on the lessons therein.

Embracing failure. Letting the frustration of those missteps bow to the lessons within them. Catching yourself in your repetitive mistakes and your self-limiting beliefs. Accepting that what we know as fact can shift with new findings, better scholarship, and clearer understanding.  

All of this is Process. And as you come to know Process, beginning to respect, and understand your process.

I sew, almost exclusively, by hand. I do not do so because of the virtue in historical accuracy (although I suppose I am glad of it), but because of my specific history. My mother worked in sweatshops as I was growing up and took in piece work to make ends meet. The hum of her Singer sewing machine was a constant feature of my evenings and a soundscape in my dreams. Simply put, I hate that sound. So, I sew by hand and my process is informed by this. My process might never serve you because your process is informed by your reality. These differences sometimes make people feel that they can’t “do” process when not only can they, they would better enjoy their work if they did.

Another example of my process. Hard deadlines are both important and potentially destructive for me. That is to say, that certain projects take me the amount of time they take and a deadline in violation of that time, is disastrous. You may thrive under a deadline so my process in this instance, cannot serve you. 

My point is this, your growth as an Artisan does not have to look a certain way, especially as you begin. But that growth should have a methodology. You could try to emulate the process of someone you admire but before you launch in, make certain to adjust for how you like to learn and do things. Try something one way, keep a record whether written or recorded, document how effective (or not) it was. Iterate and reiterate — make ALL the mistakes and then document them so that you can avoid them in the future. Better still tell others, so that they can learn from you and avoid those pitfalls altogether.

Process — having a goal, stating a plan of action, charting the steps, acquiring knowledge and resources for each step, and keeping a record as you execute each step — leads to something very specific. Process leads to Craft. It leads to Artistry and it leads to more Process because as I mentioned before, Process is seductive. Once you give in to it, you will not want to let it go.

Using Rubrics for Personal Growth in A&S

By: Agnes Marie de Calais

When I started in the SCA I was a fencer. I loved the thrill of the fight, training, sore muscles and how it felt to take the field. However, after I aged in ways that made this activity not medically an option, I didn’t know where to go or where I fit in the SCA. Some life events happened at around the same time, and took a break for a bit to take care of family and health concerns. Time passed and eventually, I came back to a regular level of SCA activity.

When I returned, I want to know where I fit if I could not fight or engage in martial activities. Better understanding Art & Science became a personal journey for me and helped me to find my passion. I tried many things and found that it was writing, research and sharing knowledge with others that was my A&S path. I had not previously known this was a possibility. I remember early on wanting to know if I was “doing A&S right.” When I fenced and I lost a bout, I could easily go over my form, talk to my opponent and see what needed to improve. The path to growth and improvement was not as clear in the Arts & Sciences.

Seeking to improve, and being a former fencer, I turned to the most obvious way that I knew to determine progress, growth, and prowess- a competition. At the competition, I asked for feedback and left a blank book for people to write in. I will admit that some of the written feedback was not positive or constructive. However, in other ways, it was inspiring because of the tokens I received. So, still wanting to improve, I used my fighter brain and went and trained harder by working on my paper some more. I used the constructive advice I was given, and I wrote a better paper, but, I still didn’t “win.” 

Confused, frustrated and still trying to figure out what was wanted, I went to an Art & Science Consultation table. I brought my work and my fraying patience and calmly asked “what am I missing?” That was the moment my focus on what being an Art & Science community member was for me changed. The consultant explained that just doing my art was a win, sharing it was a win, and that if competing was not helping my art thrive that I did not have to do so to progress on the Arts & Sciences path. However, she said that if I wanted to continue to compete, that reviewing the kingdom rubric could help me to fairly evaluate and critique my own work and measure my personal progress

I use rubrics daily as an educator, not just to evaluate my students but help them think about what they want to express in their own work. To me they are used as a personal metric to help set goals and measure growth. Yes, I use rubrics on myself. The Kingdom rubrics were daunting at first. I had concerns, questions and doubts about the ability of my work to live up to a “good” score. I shared these concerns with others honestly and even took training to understand the rubric better. I also engaged in shadow judging to see it in action. The rubric allowed very different types of Art & Sciences projects, all entered into a designated and chosen high stakes competition, to have a single metric that addressed their art (calligraphy, weaving, metalwork etc.), but within a scoring system that would allow for the comparison of numerical scores in an effort to be more equitable.  For me, it helped me sent personal benchmarks, think analytically and critically about what I had done and think of ways I could improve my work further. If anything it became less of a competitive tool and more of a personal one.

A rubric is a tool to evaluate oneself or, with consent and caring, to evaluate the work of others. Like with all tools practice is imperative, and like with all the tools, the one wielding the tool may use it in a way that it was not meant to be used. However, it is a tool we can choose to not use. We are free to create and share our art in the forums we chose. Some may find rubrics helpful outside of competition as a way to expand and grow their work.  For others, they provide a common language to be able to reference when giving compassionate and helpful feedback. And yes, they help decide Arts and Sciences tournaments or competitions. In either case, it can be used to help growth when an artisan chooses to do so. In short, while competition is indeed a familiar use of a rubric, it can be used in other positive non-competitive ways.

Lady Agnes lives in the Shire of Quintavia and enjoys various A&S pursuits, such as researching and writing about Medici and renaissance porcelain as well as performing Bardic Arts.  Ask her about researching and she will excitedly tell you why it can be fun! Mundanely Agnes has been a middle school educator for over thirteen years in the public school system.

A&S Competitions – Are They For You?

By: THL Amalie von Hohensee

The subject of competitions is a hot topic in the A&S world, and the range of personal experiences and emotional responses is vastly varied. Some artisans have been challenged and encouraged by their participation, others have been frustrated or even devastated by their experience. I want to begin my discussion by stating that all of these emotional responses are valid. My goal in writing is not to convince you that “competitions are always great!” or that your disappointment or heartbreak was probably just a misunderstanding, but rather to help you determine if entering competitions could be helpful and constructive for your personal A&S journey.

Competitions are tough. Competitions mean that, in an official capacity, a few people “win” and probably a lot more people “lose.” Competitions open the door to possible misunderstandings, hurt feelings, and disappointment. However, competitions can also challenge artisans to take on tasks they never dreamed of, and can lead to an immense sense of personal accomplishment, whether or not an artisan wins. So, how do you determine if competition is for you?

The single most important factor in making this decision, in my opinion, is emotional honesty. Are you able to hear constructive criticism in real time without feeling hurt? Are you able to not win and not feel like a failure as a result? And a less obvious, but equally important question: are you able to compete while still supporting your fellow competitors? If the honest answer to any of these questions is “no,” it is not a sign of personal moral failing. It does not mean that you’re a poor sport, or a “bad person.” It means that you know yourself, and you know that if you enter a competition, you may likely be setting yourself up for negative emotions. If this is the case, that’s ok! There are many other ways to showcase your art. You do not need to feel invisible as an artisan if you don’t compete. And if you honestly don’t know how you will respond in a competition, then try entering a low-stakes, local one, and see how you react. It’s ok to try and decide you don’t like it!

If you were able to answer “yes!” or even just “I think I can!” to the above questions, then maybe a competition could be a constructive experience. Other factors to consider are things like, do you find you need external motivation to get projects done? Do you need a set timeline in order to finish a project? Would a set of rules or rubrics provide structure or helpful guidelines that you otherwise find lacking in your work? Do you have a personality type that enjoys competition? These are all great reasons to try out competitions. They can be a great motivating tool, especially for projects you might otherwise never try.

The next thing to consider is, “what type of competition?” A lot of discussion is centered around Crown A&S, but in reality, the East has a lot of wonderful competition opportunities. And it may be that one competition fits your needs as an artisan better than another. Artifacts of a Life or St. Eligius might be perfect for you if Crown A&S feels too intimidating or limiting. Or maybe you’re new to competitions and want to try a local A&S championship. Think carefully and critically about what each possible competition has to offer you personally in your A&S journey. Every competition is not necessarily the perfect fit for every artisan.

The next step is to take control of the competition process for yourself. In many cases, competitions are a frustrating experience because you have no control over what your score will be or how the judges will respond. However, there are elements you have control over. You have control over the scope of your project, the amount you push yourself, the quality of research you do, to name a few examples. So, before entering a competition, develop your own personal criteria for a “win.” So, your personal “win” might be pushing yourself to try something you’ve never done before. Or it could be reaching a new level of excellence in a skill you’ve been developing for a while. Accomplishing your personal goal allows you to feel victorious regardless of the outcome, and allows you to feel “in control” of an otherwise uncontrollable situation. If you are able to put your own personal goals above the possibility of winning, then competition will likely be a positive experience for you.

Now, suppose you’ve done all of the above. You’ve asked yourself some hard questions, you’ve evaluated the type of competition you’re entering, and you’ve accomplished your personal goals – but you still leave the competition feeling discouraged and frustrated. It’s ok to feel disappointment. That emotion in and of itself is not un-peerlike. In this case, I would encourage you to seek out the support of those around you. If you’re a student or apprentice, talk to your laurel. Talk to others in your A&S community. Be honest about your emotional response, but in dealing with difficult feelings, do your best to remain kind. Try to put yourself in the shoes of your judges. Try to look at things from a variety of perspectives. And, most of all, give yourself time and understanding. Disappointment, especially when it stems from a feeling of personal failure, can feel a lot like grief, and it takes time for the sting to go away.

Now, one negative experience doesn’t mean that competitions aren’t for you. Maybe that particular competition isn’t for you – maybe you entered Crown A&S, and found the rubric to be too prescriptive for your artistic process, for example. Or maybe you need to set some boundaries to competitions. For example, my personal boundary is that I’m willing to travel a limited number of hours to a competition that does not fit my personal goals as well, and I will be frustrated if I travel over that set amount. For competitions that fit my personal goals very well, I’m willing to travel farther. Boundaries are an excellent way to protect yourself from a negative emotional response.

I hope that this discussion has given you some helpful tools in thinking critically about competitions, and how to participate with a greater chance for personal success. And if competitions just aren’t your thing, explore the Official EK MoAS website for other suggestions about ways to get your work out there.

Upcoming MoAS Office Classes & Consultation Tables

View our Event Calendar

Upcomming Class

Displaying Your Project (Online Class) January 15, 2020 @ 8:00 PM – 9:30 PM Join Master Philip White (Craig Shupeé) for an online discussion about presenting your work for Arts & Sciences displays or competitions. The session will cover best practices for the physical set up of your display in addition to verbal presentation considerations. Instructor: Master Philip White Link: https://meet.google.com/epm-svou-gxe

Birka: Consent in A&S: Giving & Receiving Feedback January 25, 2020 @ 1:00 PM – 2:00 PM , Dartmouth Room

St. Eligius, 11/16

Floating Consultation Table, Master Galefridus Peregrinus & Master Onora ingheainn Ui Rauric. (A signup sheet will be available at the registration desk the day of the event and consultants will meet entrants at their display tables.)

EK Rubric Class, Mistress Elena Hylton, Time TBD

Online Class, 11/21 (Thursday), 7:00-8:30pm

East Kingdom A&S Rubric, Mistress Elena Hylton & Mistress Lissa Underhill. (A web link will be sent out prior to the online event.)

EK University in Runtallan, 11/30, 10:00-11:00am

A&S Panel, Mistress Alisay de Falaise. Led by the MoAS deputy for Tir Mara, Mistress Alisay welcomes all who have questions about A&S in the Society and Kingdom. If you can not attend the panel at this time, Mistress Alisay invites you to approach her with your questions/concerns at other times during the event.

Bhakail Yule, 12/14

Consultation Table, 11:30-1:30 (Library), Mistress Lissa Underhill & Mistress Margaretha La Fauvelle

EK Rubric Class, 12:30-1:30 (Library), THL Mariette de Bretagne & Mistress Lissa Underhill

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