Quarong's guide to Filkcircle Etiquette

ORIGINAL MESSAGE: From: Quarong at eskimo.com Thu May 23 1996 To: NW Filk Mailing List <filk at dragoncat.net> Subject: Quarong's $4 worth on the "Filk Etiquette" discussion

The following essay is a synthesis of our discussions about "Filk Etiquette" with the addition of a few thoughts of my own. In order that this document might be useful to newcomers in the future, and because "common courtesy" seems to be an oxymoron to many portions of our population today, I'm going to be a bit more detailed.

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• 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.) reply
• 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:
  reply
  • 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.)
  • If the writer/traditional performer of X song is present at the circle, it's generally considered polite to ask them to sing it rather than do it yourself. At very least ask if they would mind you sharing in the song as a duet. (Now some artists are actually honored when someone else sings their stuff, taking it as a compliment that anyone would like it enough to learn it, and realizing that they now can use their turn to perform something else; but others are offended, so I would err on the side of caution unless you've spoken to them about it ahead of time.) It's also considered polite to acknowledge said creator if you do a song which closely parodies one of theirs. Of course, this means that the Moderator needs to introduce which performers are present at a circle a couple of times during the evening. (You may recognize their name from a tape or lyric sheet, but won't know the face unless you've met them before.)
  • 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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[For more information and discussion on filking check out <alt.music.filk>, or request the "Filk FAQ" from <kay.shapero at bdragon.shore.net>. Also look for my "Introduction to Filk" brochure at many NW conventions.]

				Until later, 
					Quarong
					<quarong at eskimo.com>