Quarong's guide to Circle Types

ORIGINAL MESSAGE: From: quarong at eskimo.com Thu May 23 1996 To: NW Filk Mailing List <filk at dragoncat.net> Subject: A Glossary of Circle Styles

I've decided to write this like I might phrase a Program Book article or other more objective explanatory piece. Hopefully it might prove to be a valuable resource for some of you who have been wondering what all of these terms mean, and what the various options are. I'll start with the types most commonly used in the NW, namely Bardic, Chaos, and Concerts; then move on to some of the variants used less often in our area, specifically Poker Chip Bardic, Performer's Circle, and Artist's Jam.

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BARDIC CIRCLE:
-- Description = This is probably the form the majority of you are most
familiar with. It is the mainstay of most Oregon circles, and also appears commonly at Washington cons. In it each attendee is offered a chance to "Pick" (a song, performer, or topic), "Pass" (skip their turn), or "Play" (a song, poem, story, etc). Turns progress around the circle, with everyone getting one chance before anybody gets a second; commonly a stuffed animal or other tangible object is used to signal who is next to go.
-- Strengths = Everyone has an equal opportunity to participate, and
newcomers are particularly encouraged to join in.
-- Weaknesses = If you have a large number of attendees, a "turn" could
take several hours; and many participants, especially those not totally into this hobby or those who traveled a long way to be involved and are now not getting to do much, may get frustrated and leave. It is also nearly impossible to develop a series of songs on the same theme, as consecutive individuals may have different interests.
-- Suggestions = An active moderator who can regularly explain the format
to new arrivals; and who can encourage everyone to please have their choices ready when their turn comes, so time is not wasted searching through books. This format works well with a group of between 6 & 30, particularly if they are somewhat reserved, or very interested in making sure everyone has an equal chance to participate.
-- Jeff Hitchin came up with a compromise format at Westercon 50 in which
as moderator he started a written sign-up sheet upon which folks could state their desire to play a song or to request one; turns then went down that list. This ensured everyone had a fair chance to participate in what was a large circle, and yet kept things moving a bit faster than is typical in a standard Bardic.

CHAOS:
-- Description = A format in which there is no set pattern of turn-taking,
rather anyone is free to jump in with a performance or request after the previous person finishes. In practice, the musicians generally try to regulate themselves so that no one person is hogging the spotlight and shyer individuals can get a word in; often with the assistance of a moderator who may be more or less active depending on the inclinations of the group and their own nature.
-- Strengths = The pace of the circle moves faster, and you tend to hear
more original work by skilled performers, (which makes many of them happier and more likely to come back). There also can be a wonderful atmosphere created as jokes fly and 30 minute plus series of songs on the same theme develop.
-- Weaknesses = It can be very difficult for someone who is new to filking,
or just shy about speaking up to join in. There is also the potential for one or more artists to begin dominating the evening, to the exclusion of what other people would like.
-- Suggestions = A strong moderator who can keep track of requests, watch
out for someone who may not be able/willing to step in on their own, and tactfully redirect the person who is trying to dominate the spotlight. This format seems to work well in larger circles (over 30), in which there are a good number of performers accustomed to using it, and an audience that is either fairly assertive and/or happy to spend much of its time listening.

CONCERTS:
-- Description = A format in which a single performer or group has the
stage to themselves in front of an audience eager to listen. There might be opportunities to sing-along on the choruses, but mostly this is a chance for the performer to showcase their skill and best/new material. Generally these are done in 30-60 minute slots during prime convention hours, prior to the song circle starting.
-- Strengths = This is an excellent way to see a performer's skill in
a setting more conducive to quality showmanship than a late night song circle. They often appeal to con-goers who want to hear some quality music without staying up until the wee hours or waiting their turn through lots of pieces they don't like.
-- Weaknesses = Concerts generally do take time away from group singing.

• Suggestions = Schedule the concerts early enough in the evening that the circle can still start at a reasonable hour (say 10pm). Make it clear to the performers what their time limit is, and that they need to stick to it. Consider putting big-name guests on in longer slots during the afternoon, so that everyone can get their fill without sending things into overtime.

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POKER CHIP BARDIC:
-- Description = Each attendee is handed 3 poker chips, (one each of red,
white, and blue), when they enter the room, and is informed that the "Red" round is currently in progress. During the "Red" round anyone with a red chip can toss it in the center and make a request or announce that they are going to perform a piece. If someone has a follower to that song/story, they can then toss their red chip in, (or if they've used their's, try to convince someone else to use their turn to do so), and follow the piece; otherwise someone can make a different suggestion. Once everyone is out of red chips, you go on to Blue and then White; and then redistribute the tokens and start again with Red. (The actual colors and their order in this example are irrelevant, but you get the idea.) This variant is found in Southren California, among other places.
-- Strengths = This variant combines some of the best traits of both the
Bardic and Chaos formats, in that equal participation is assured, while the pace is speeded up and on-going themes can still develop.
-- Weaknesses = This takes a bit more explanation and set-up than the
other forms; and determining who was first to pitch their chip in a large circle can be difficult.
-- Suggestions = The moderator needs to make sure that each person who
comes into the room understands what is going on, and be available to arbitrate the "who was first" problems. This form would probably be best for the 6-30 person groups as in regular Bardic, but where the attendees are interested in a bit more variety.

PERFORMER'S CIRCLE
-- Description = Three to six or so performers are seated in an arc at
the front of the room, while the audience faces them theater-style. The performers then take turns playing their own works, or making requests of each other, with periodic suggestions from the audience. Often these groups may be organized for one-hour blocks focussed on a certain theme (eg. computers, the current space program, biology, a certain author's world, etc); with the topics and performers changing over the course of different blocks. This variant is common in the Midwest and points further East.
-- Strengths = Specific performers have the opportunity to showcase
their skills and interpretations of a given topic, and to play off of one another, without dealing with many of the demands of audience requests and turn taking as in a song circle.
-- Weaknesses = The audience does not get much of a chance to actively
participate in the selection or singing of the songs.
-- Suggestions = This format works well at a large con that can afford
to put on a solid daytime panel track in which a variety of topics could be covered, and the con-goers can pick and choose which blocks they'd like to attend. It might also make an interesting concert segment in the evening at a smaller con if you had several artists who wanted at least a brief chance to play together; or if you didn't really have enough time to hold multiple concerts, but still wanted to give the performers a bit of time in the spotlight.

ARTIST'S JAM
-- Description = An opportunity for multiple musicians to get together
in the same place at the same time and just play off of each other. Generally there is no singing, only instruments; and there may or may not be a passive audience present.
-- Strengths = Many solo and/or amateur musicians very much desire to
have an opportunity to just play with other performers without having to worry about sheet music, set chords, audience requests, or anything other than where the next note could go. A convention gathering may be one of the rare opportunities they have to even meet fellow players, much less really share their hobby in a mutually pleasing way.
-- Weaknesses = Again those who prefer audience sing-alongs, or at very
least vocal performances may question whether this a good use of often limited programming time.
-- Suggestions = As above, this may be a good panel for large cons with
a good number of interested musicians, and daytime programming space to spare.

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These are all of the types of Filk Performance variations I am familiar with at this time. I hope my explanations have been educational for you. Please let me know if you have any comments or suggestions.

				Quarong
				(quarong at eskimo.com)

P.S. For more information and discussion on filking, please check out the Usenet group <alt.music.filk> or request a copy of the "Filk FAQ" from <kay.shapero at bdragon.shore.net>. You can also pick up a copy of my "Introduction to Filk" brochure at many NW conventions. Received on 11/03/97