Martial A&S Roundtable

The MOAS office was pleased to host a martial Arts & Sciences round table recently. If you were not able to attend and would like to watch it, we now have a recording available online.

Panelists spoke on a variety of topics at different experience levels, including: finding sources, challenges, project generation, and more! Possibly even some elephants.

The panelists were: HRH Chatricam Meghanta, HRH Donovan Shinnock, Bella di Sicilia – Armiger, and Scholar Katerina Falconer de Lanark. Moderator: Maréchal Remy Delamontagne de Gascogne

-Raziya bint Rusa
KMoAS

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.

On finding teachers to lead workshops & classes

Sometimes it can be hard for MoAS officers to find people to teach at small scholas or a local A&S workshop night. Often, officers will try to put out a general call for volunteers to teach, saying something like, “we are looking for a volunteer to teach x” or “we’d love people to teach classes at X workshop.” However, these types of requests are often met with silence, which can be discouraging.

On the other hand, many local MoAS officers over the years have found that if you ask a specific person directly to teach, that they quite often get yes for an answer. So, if you are having trouble finding teachers, try asking someone to teach directly in person, or call them, or send them an email or Facebook message with a specific request. Many times artisans will not respond to a general request to teach, either because they did not notice your message, forgot to respond, or even perhaps because they feel that they are not experienced enough to teach. As a result, asking directly (while also making sure to not to pressure the artist, or imply that teaching group classes is required) can make it clear that you are interested in them and what they have to offer.

Local MoAS officers have also found over the years that it can help your recruitment efforts to give the person you are asking some concrete information, such as a few potential dates/times, an idea of how many people to expect, an idea about of what specific things you’d like them to teach (although this is usually flexible), and the level of expertise anticipated in the group.

Now, if you are looking for someone who teaches a certain skill, and are not sure where to find them, try reaching out to others in your group, region, or throughout the kingdom to see if someone else might know of a willing teacher (also, make sure to reach out to other local MoAS officers).

As a local MoAS officer, it might also be worthwhile keeping an informal list of artisans in your group or other nearby groups that might be able to teach. Note artisans who are entering local A&S competitions, artisans who are teaching classes at other events, or artisans you simply see doing art on their own at an event.

As you do schedule workshops, asking people to “pre-register” for the lesson might increase the likelihood that they will attend, because they have made a commitment to do so. Also, don’t be afraid to let the teacher charge a small materials fee, depending on the class. Doing something like this can make it easier for people to teach exciting and interactive hands-on classes.

Finally, to help with this issue, a “teaching” category has been added to the A&S Wiki Categories on the East Kingdom Wiki. We hope that as artisans add this tag to their profile, that this will be a tool to help MoAS offices and class coordinators find teachers. In your outreach to your local group, please make sure that your local artisans and teachers know about this category, and the EK A&S Wiki Categories in general.

Thank you,
-Lissa (MoAS)

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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