Quarong's $4 worth on the "Filk Etiquette" discussion

Oh boy! I had absolutely no clue when I suggested this conversation thread that the response would be so large! Don't get me wrong, I've been very pleased with the honest, thoughtful, and intelligent responses I've seen; but I kind of wish the rest of my life hadn't been so busy as to keep me from participating more regularly in the middle of things. Anyway, I have a bit of time now to compose some remarks of my own, so I'll dive in.

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replySPECIFIC POINTS OF ETIQUETTE = Well, since this was the original impetus for this discussion, it makes a logical point at which to begin. Many of you mentioned some of the items below; but since *common courtesy* seems to be an oxymoron to many portions of our population today, I'm going to be a bit more detailed.

• Don't talk while someone else is performing. A whispered remark to your neighbor asking to borrow their notebook is one thing; anything louder or lengthier should be taken into the hallway. The closer you are sitting to the current performer, the more closely you should adhere to this.
• Keep other noises to a minimum. This includes controlling doors so they don't slam, sorting through notebooks quietly, and getting tapes ready between songs.
• Try to keep movement around the room to a minimum while someone is performing. If possible, walk around the circle; only cut through the middle between pieces. (Of course this means that those who set the circle up need to leave an aisle around the outside.)
• Be considerate about taping. If a performer is doing a concert, ask for permission first; and whether there, or in circle, be willing to turn your recorder off if someone asks. Try to be discreet about it too: get the supplies out quietly; and remember that while some people don't mind being recorded, they do get nervous if it's in their face. Never sell or distribute the tapes without everyone's specific permission.
• Take turns in the circle. This not only means don't hog the spotlight, but look around for someone who may be having trouble jumping in, and be prepared with your material when your turn does come.
• Be considerate of the performer:
  • Wait for an invitation before singing along: This may be a specific remark such as "Everyone please join me", it may be an encouraging hand gesture during the chorus, or it may come when more experienced filkers in the room join in. (A suggested hint: mid-range, cheerful songs with repeated choruses are more likely to be sing-alongs, than are sad, wide ranging ballads; but that is only a guideline, not an absolute rule.) In return this means that performers need to take greater responsibility in indicating when they would like audience participation; so that the absence of a signal consistently implies a solo piece.
  • Keep your introjections and jokes to a minimum unless you know the performer well enough to know what's ok, and when you've crossed the line. (Remember what's acceptable behavior among friends may be considered rude among strangers.)
  • Don't crowd around behind a performer's music stand: You often aren't going to be able to see very well anyway because of the poor quality of copies many of us have, and you'll disrupt that person's concentration. If the piece is a sing-along, first check with your neighbor and their notebooks to see if they perhaps have a copy of the words, before you try to rush over behind the performer. (Be aware that sometimes when one or two people join the space around the performer it's because they have practiced that piece as a joint effort outside of the con.)

In shorter terms, you could summarize this under 2 principles:
-- (1) {Stop and think about the effects of your behavior before you act.}
As John Bunnell said, "The dynamic of the circle should come before any one person's agenda." A little bit of thought might lead you to some important realizations before you upset other people; or it might tell you that X is probably ok.
-- (2) {When in doubt, gather more information first.} This may mean just
sitting back and watching a bit longer to see if you can pick up some clues from the performer or other experienced filkers. Or it may mean going to Filk 101 panels, reading discussions like this, or asking someone who's been around awhile for clarification.

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replyEDUCATING NEW FILKERS = This seems like a logical continuation of my remarks above; and considering the response received in a forum with a high concentration of the more experienced filkers in fandom, it is definitely a topic in need of more attention. Here's a recap of many of the excellent ideas I saw, with my own comments attached:

At-the-Con:
-- Circle Moderation = There should be a brief explanatory announcement about
once an hour for the benefit of newcomers to the room. This should include the circle format and how to join in; pointing out the major performers, the people available to answer questions or share notebooks, and the location of the copy machine. Also a statement encouraging everyone to participate in a productive manner, in part by being ready when their turn comes, and by respecting the turns of others. (Ideally you can do this spiel in about 2 minutes and then point to who's next.) Anita did an excellent job of this type of moderating at Orycon last year, and it made a positive difference in what was a very large Bardic Circle.

• 101 Panels = These have been run at several cons in the past, and should happen again in the future. They provide an excellent opportunity for more experienced filkers (and not just those on the panel) to share their knowledge with newcomers; and for all of us to explore more complex questions, and get into deeper issues surrounding this hobby we all love. However, if someone is going to organize them, then people need to show up. Some committees have questioned whether this is a worthwhile use of programming space when attendence is minimal at best; so we need to show them (and us) that the demand is there. (Realistically, the demand may only be there a couple of times a year at the big cons; and in the meantime other means should be used.)
• Other Ideas:
  • Program Books can carry basic information about circle types, concert schedules, or special interest panels to the extent that such information is known a couple of months prior to the con.
  • Signs on the door could provide up-to-date data on concert schedules, or the type of circle currently in progress.
  • "Neo-Filker Friendly" buttons or shirts may be a good idea, especially if worn around the con during the day to note people willing to provide information even outside of circle times. (I'd argue that *during* the circle, anyone with an instrument or pile of notebooks is most likely able and willing to answer a newcomer's questions if they are asked in a way that doesn't disrupt the circle. And if that person isn't, they can certainly point to someone who is.)
  • Brochures = I think this is one of the best ideas I saw! Placing a small number in the flyer racks for the general con population, and then having a pile in the filk room by the copier or something; would be a wonderful way of explaining the basic circle types and etiquette points to anyone who walks in. (The moderator should point them out during their hourly spiel.) I'm willing to help with a project like this. (Actually, I have a copy of one I picked up at ConFrancisco that I believe some group back East did. I'll try to dig it out.)
  • Special topic panels, like "Basics of Songwriting", "How to do a Parody", "The Recording Business", "Music's role in our Lives", maybe even singing or instrument workshops; might also provide additional opportunities for all of us to learn about more advanced issues in this area, or just to share info with each other.

Outside of the Con = Well, discussions like this are a start; as would be explanations at house-filks when newcomers are present. If a new general topic song-book was published it might be nice if the introduction covered some basic explanatory info before jumping into the lyrics. Some people suggested an ongoing snail or email newsletter, but like the 101 Panels, I think it would be difficult to sustain something that would be of use to both amateurs and veterans; but maybe someone out there has more creative ideas on this topic than I do. However, I have been giving some thought to putting together a FAQ essay which could cover the basics and be expanded as we discover more items that should be addressed. This could be posted periodicly here, especially after a con in which we acquire a lot of new subscribers; or just available upon request. Perhaps we could even pass it on to other Net groups, or print it out for conventions. [Please email me at QUARONG at ESKIMO.COM if you have comments on this idea.]

A few words on the topic of "Personal Responsibility" = Those of us with the time, knowledge, money, and ego to take a leading role in these activities can make all of the efforts we want to; but unless everyone joins in, we're wasting our energy at best, and looking like real idiots at worst. I said above that the Concoms will only support filk oriented panels if we can physically show that there is the interest for them, the same principle holds for other items: If notices are printed in the Program Book or are put on the door, then people need to read them. If you have questions, then speak up and ask them. We were all new at this once too, (many of us still are), and we know that the rules are less than clearly defined; please let us know what you are wondering about.

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MISCELLANEOUS TOPICS: (1) The Need for Strong Moderators = "Tournaments Illuminated" (the SCA's quarterly magazine) published an article a couple of years ago about the virtures of, and best methods to, keep your chiurgeon (read: Medic) bored at an event. I think a similar mindset is in order when it comes to moderating a filk circle: Ideally, a moderator shouldn't have to do much during the evening other than tell the hotel when the water service needs replacing, and do the hourly explanatory lecture. However, just like you'd better have a chiurgeon around if someone gets hurt, and that person needs a plan to deal with injuries quickly and competently so that boredom can be restored; a filkroom really does need a moderator around to facilitate those awkward situations and to head off problems before they get out of control; and that moderator had better have the alertness, tact, and knowledge to do so just as quickly and competently as that chiurgeon. (Note the mention of "tact" there: truly skillful moderating is that which is done without most people ever noticing; at the same time the person needs to be confident enough to take action when necessary, redirecting the group to the intended activity. A good moderator must also have the knowledge, organizational and diplomatic skills to work with the con committe to arrange desired events, and to deal with hotel personnel when conflicts arise at oh-dark-something in the morning.) Even if everything is going smoothly, people are taking turns, no one's being rude, etc, a moderator can still help out by keeping track of what requests are in the queue, looking out for that shy person in the outer circle, and calling on the next performer when the group gets sidetracked into talking. Having participated in, and actually facilitated, a lot of groups for a lot of different purposes, I've learned that oftentimes the very act of someone visibly being in charge, laying out the ground rules at the beginning, and then being present as a resource for the rest of the gathering, can head off most problems without them ever making another move. Obviously, the facilitator for X con may not be able to constantly be present in the room, but if they are going to be gone for more than few minutes they should designate a backup.

reply(2) Lyrics = Someone mentioned that it is tough to participate in a circle when they don't know the words to the songs that are being sung. Again, please speak up! I have over 1200 pages of lyrics in my notebooks, and I'm not the only one with a significant collection. I don't know any of us who are not willing to let you thumb through them to find a song you like, or who won't let you look at the words to what's currently being sung if we have a copy; but you have to ask. We also try to have a copier available at the circles so you can make one for yourself, and several of the filk dealers do carry a limited selection of songbooks. You could also ask for a song here or on the Usenet group {alt.music.filk}, and someone might be able to type it in for you. John and Maura both had a point about it being tougher now that there is so much more material out there, particularly since the book producers haven't kept pace; but most of the frequently requested items are still available in some fashion, and there's always the masochistic option of sitting down with a tape, pen, and paper, and transcribing your own copy as many of the rest of us have done and will continue to do.

(3) Songbooks and Live Tapes = (My feeble attempt to maintain some type of logical flow here.) I would agree that more of both of these would be nice, especially for newer filkers who are trying to gain a sense of the field and for those who haven't amassed their own collection of favorites yet; but also for those of us who'd like to expand our library. However, I would point out that the logistical and legal hurdles involved in doing so are not small: Simply collecting a suitable pile of lyrics, sorting them, making decisions about if and how to note the music, laying everything out, publishing and then distributing it would be a very large, time consuming, and expensive task. As for tapes, one needs quality recording equipment, a chance to get good samples at several conventions, the means to edit and mix the resulting footage, and again publishing and distribution means. Neither of these lists takes into consideration the difficulty of obtaining legal permission from the involved artists, accomodating their desires for the project, and often paying for the rights to items. (It is my understanding from some of those involved with producing filk books and tapes, that it has been this last point which has notably contributed to the decline of such efforts.) This is not to say such an endeavor is impossible, only that it is a bit more complicated than the uninitiated observer might assume, and it will take someone with notable resources and a lot of time and energy to pull it off.

(4) Providing Background Information for Songs = This was another request someone made, asking that performers explain what book or movie any given song is from so that everyone can follow the story better. I would say that this might be appropriate in some places, and certainly you should feel free to speak up after a piece and say "What was that based on?", but I would strongly argue against making it mandantory. Too much discussion like this and we'll all spend more time comparing books than we will singing. There's also the point that many songs, and one could argue any "truly classic" song, should be able to stand on its own without background explanation. That's one of the reasons I love Larry Warner's work so much: He writes many songs about "Star Trek", but in a way that explores the universal themes of the show, what it says about humanity and exploration, in a manner where you never need to know that the song is about "Star Trek" in order to enjoy its full beauty. Yes, background information is nice; but I argue it's not essential, and therefore should not be allowed to interfere with the music.

reply(5) "Many local circles are mostly the Steve Dixon show." = I think John Bunnell covered this point very well: In many cases, a filk may be largely dominated by one or two performers, with other people only making occassional contributions. However, the distinction that needs to be made here is between a performer who hogs the lion's share of the spotlight, ignoring others who wish to participate; and one, who by virtue of their musical skill and/or repertoire plays or assists in playing a notable share of the songs at their own initiative, and more particularly, at other's requests, while still making some attempt to encourage others to join in. I would say pretty much all of the "NW Performers" fall in this latter category, in that while they enjoy having a chance to play, they have no desire to dominate the scene, and will gladly yeild it to someone else. This brings us back to the "personal responsibility" theme: If you'd like to hear from someone else, then make the request when your turn comes. Call on someone who looks like they have been trying to jump in. Ask the quiet person with the guitar to play something. Ask the people in the back of the room if they'd like to jump in. Sing a song yourself; or if you can't sing or play an instrument, then recite a poem or tell a story or joke. (Remember that just because we're in the filkroom, doesn't mean that every item must be related to fandom: pop songs, folk tales, Shakespeare, urban legends, etc are all fair game.) Yes, it's scary to perform something yourself. But to let you in on a secret, most of the "big-name replyperformers" also get nervous in front of an audience, especially with a new piece or when they're having a bad day; so join the club. Fannish audiences are the most forgiving I've ever seen: If the spirit is there, you have a neat idea and make a solid attempt to convey it, they'll support you; and over time you'll find your skills, and your nerve, improving.

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replyDIFFERENT FILKS FOR DIFFERENT FOLKS = This is one concept that I think was only ever addressed indirectly by any of the other participants in this discussion, so I'd like to explore it a bit more fully here.

Some people were asking for more sing-along sessions. A couple of oldtimers  noted that the circles are at the same time more diverse and more performance oriented than they used to be. Maura mentioned in her discussion on the virtues of chaos format that many performers really want a chance to be involved in the circle and hear new material. What does this all add up to? IMHO, I think it means that we all need to try to be attentive to each other's needs, and try to find a way to share what opportunities we have in a way that gives the greatest benefit to the greatest number.

Yes, there are some of you who would like to mainly do sing-alongs, but there are performers and some of us regulars who spend hours at every circle, and really would like to play/hear some new material in that time. There are also a sizeable number of con-goers who don't have the skill, interest, and/or patience, to take a turn in, or even really to sit and listen to much of a circle. These are the folks who only come to the concerts, or maybe stick around for a bit if a good number of skilled performers are dominating the circle. (Be careful not to dismiss them as undedicated filkers: They may be that, but their presence lends larger numbers and more attention to our hobby, status we need to do many of the other things we want to do, and some of them own or have access to the concoms' ear.) Some of you have complained about how long a Bardic rotation can take at a big con, or that Chaos doesn't allow enough participation by shyer attendees; and some musicians have expressed an interest in just having a chance to jam with other players without having to worry about turn-taking and pleasing an audience.

All of these desires are valid and important. How do we accomodate them then? I'm sure many of you can come up with ideas, but here are my suggestions. (Keeping in mind that the size and therefore resources and demands of cons vary, I've tried to list my points in order of importance and feasibility, most to least.):
-- Get a good-sized room as early in the evening and as late into the
morning as possible. (7pm to 6am gives you lots of space, and having too much in the dead-hours is better than getting forced out while things are still thriving. I know this isn't always possible, but you still need a goal to shoot for.)
-- Keep the general circle dynamic we now use, in which everyone has a
chance to make requests or to perform themselves, and in which we get a good mix of new solo pieces, and old-favorite sing-alongs. Bardic or Chaos is irrelevant for the moment here, the important trait is the variety of material and participants which hopefully should contain something to please everyone.
-- Set up concert slots for the major performers at the beginning of
the evening, so that they can show off their skills and new songs in an arena where they don't have to compete for attention. Also, so those con-goers who aren't interested in joining a circle where the skill level and themes vary, can still come and listen to some of the wonderful, creative, and original music our associates can produce. Arranging for major filk guests (here including whoever Friends of Filk brings in for Orycon, or Heather Alexander because of her immense popularity), to have an hour during the main part of the day for their concerts can provide everyone with a more enjoyable experience, and cut down on the "running overtime" problem in the evening sessions.
-- Work with the concom, especially at the larger cons with more
filkers, to hold filk related panels during the day. Some of these can be the discussions I mentioned above (101, songwriting howto, the role music plays in our life, etc); others can be opportunities for specific groups to participate in the types of musical celebration they particularly love: An hour of nothing but sing-alongs, or one in which those interested parties with instruments can just get together and play off of each other. (Maybe some people come to listen, maybe not.) You get the idea.
-- If the con has the space to spare, and you are certain you will have
enough skilled filkers with varying inclinations showing up to populate them, arrange to have more than one filkroom going in the evening so people can spread out and take advantage of their preferred format, performers, or topics.

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TYPES OF FILK CIRCLES = I kind of wondered whether my original topic suggestion might branch off into a "Bardic vs Chaos" style comparison. Fortunately when it did, you all showed far more inclination to exchange opinions in a patient and congenial manner than I've seen most times that discussion has started. I have some comments of my own on this matter, but this essay has already gotten very long so I'll send them later under a separate heading. Two brief remarks here however:

(1) John Bunnell & "Audience Bardic" = The format you mention with a small circle of performers up front playing mostly their own pieces with periodic suggestions from the audience, is also known as a "Performers Circle". Apparently it's fairly common from the Midwest on east. The organizers at ConFrancisco held several of these as one hour panels, with 3-6 performers playing songs on a given topic (eg. computers, biology, Tolkein, etc); mostly their own choice, but sometimes they took requests from the gallery. I figure they'll probably be doing the same at this year's Worldcon.

(2) Performer's Needs and Circle Type = Maura had some excellent comments on this topic in her last post. While it may be difficult to always make everyone happy, and sometimes an organizer my decide to use a different format, the points she raised on this, and desirability of having an environment in which ongoing themes can develope, are important ones to take into consideration.

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[Last point, I promise. :) ]

ANGLICON = I said a couple of weeks ago that I would check with my contact at this con and see what had happened to the plans for the Sat night filk. Here is the reply I received from Eric, their Head of Programming. (Note I did suggest to him that a sign would have been nice, explaining the change in programming times.):

> It was initially scheduled at 9 PM.  Darrel asked if he could do a
> special 1 hour preview presentation sometime, so I scheduled him at
> 9:00 and bumped filking to 10:00.  The previews ended up running two
> hours, and I only found out afterwards that people had been asking
> about the filking.  Whoever they were, they apparently gave up by the
> time the room was actually available.
>
> If I do programming next year, I'd like to get somebody signed up to
> be the "panelist" for the filking, and start it off.  I could then keep
> them in the loop about any changes, and they would be more inclined to
> track me down in case of a problem.

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Ok, I think that's it for now. I know, after reading all of this you certainly would hope it is. Thanks again for all of your comments. I've learned a lot, and have been very pleased to see how alive one of my favorite hobbies is among con-goer's in the NW. As always feedback is welcome, either to the mailing list or to my private account.

			Quarong     
			(quarong at eskimo.com)