September 2005 Archives
The space would determine various aspects of the layout, but the musicians were, in period, almost always in a circle format, semi- or full-circle depending on space and number. The audience was attentive, but was free to augment most of the performances with exclamations, and even dancing; far from forbidden during these performances, even Harun al-Rashid was documented to have danced during a song!
Also not forbidden was wine, and there are any number of songs that praised it's taste and effects. Far from being a restrained affair, the majlis was a way to experience the sense of ecstasy that many Islamic scholars speak on. Although the majlis was considered by many of those same scholars to be haram, or forbidden, there is little doubt that it was a popular past time, especially amongst the upper/noble classes.
The majlis I ran used this ideal as a jumping-off point to integrate various aspects of entertainment in the SCA. I focused the concept upon using the framework of the period majlis ideas to shape these concepts:
* Integrating other period forms of entertainment, such as storytelling and poetry
* Inviting and connecting the European forms of singing/storytelling/poetry
* Encouraging a time-share concept for all performers
* Re-focusing on the social aspects of Middle Eastern dance
We had some serious successes. First and foremost, all the musicians who attended told me they greatly enjoyed playing with each other. They were mostly veterans of many similar parties, such as the excellent hoflas that Orluk runs at Pennisc. They brought those skills to my majlis, and I am most grateful! This was also the first serious break with the period style; rather than insist that each musicians play separately, they all worked together, by and large. One musician did do a solo work, eventually accompanied by a couple of drummers (of which more, later).
We also had my Barony's Baronial Champion come in, despite his having worked himself into the ground, with more work to go, and sing. Sir Axel regaled us with tales of his daring-do, and I even unwound to present a tale, myself. These represented a first attempt at integrating other works into the majlis concept, making it able to work with a wide variety of entertainers. Although not strictly period, it's easy to work with the European groups, and they bring much that is good to the format.
These bits did represent an issue with the format, in that the musicians ended up sitting around for longer than I intended. It was no one's fault, yet I also know that there are difficulties for musicians in waiting long times to play. Correcting that will take some effort, as well as education on formats. Entertainers, in my opinion, should present to the modern attention span, as opposed to the much longer attention span of medieval audiences.
Hospitality was another win for the majlis concept. I had procured foodstuffs that were, by and large, period to the timeframe, and people snacked on them, even though many folks (including myself!) had had a robust feast just before the majlis began. Laying out rugs and pillows also worked, as people used them to relax, and not simply to dance upon, and many thanks were given for that. I believe it led to many people hanging out and enjoying the majlis, people who would have otherwise left due to cold ground.
Dance was a mixed bag. By and large, I'm glad that there was little dancing, as it re-enforces the idea that this is not a dance party, in and of itself. I welcomed dancers into the space, and there was room aplenty. I think, perhaps, that we triggered a reaction that the majlis was more like a mundane concert, to be passively enjoyed. As it is not, and the list of appropriate reactions is nuanced, this is another area to do education on.
As the musicians were of such high caliber, working those of different focus and understand of the musical forms was a challenge. I attempted to share with a drummer a way to play with others without playing a beat that might distract the person doing a solo. My attempt, I suspect, was not welcome, and I hope the person forgives my clumsy words. However, by and large, the musicians of talent should lead the group of musicians, when performances are going on. That is another area for concern.
The host of the majlis (not to be confused with any potential patrons, although they could be the same person) should, for SCA purposes, be willing to drive the works involved. Friendly to all, inquiring about the people in the audience as to their needs and desires, s/he is key to ensuring the majlis runs smoothly. Although being so inviting is not part of the majlis concept in period, it is critical to the SCA version. The work of folks such as Baron Durr in determining the nature of such hospitality was key in creating my own ideas on the matter.
I will, in some time, work on what is proper for a future majlis attempt. One idea is to ensure that the majlis has a core, and I see the musicians as that core. In a SCA nighttime environment, they are more committed to the majlis, if only because they cannot move around as much as other entertainers. Allowing them to play first and foremost in the majlis sets a certain tone, and working other performances with them ensures that it doesn't become a musician's "jam session."
All performances at the majlis should be in "discrete elements", so that people can see a variety of "acts". This avoids the "sit around a wait" issue that threatens to drive away performers. This is much like the "one performer at a time" aspect of the period majlis, except that the period ones oftentimes allowed performers to go only ones.
Also not forbidden was wine, and there are any number of songs that praised it's taste and effects. Far from being a restrained affair, the majlis was a way to experience the sense of ecstasy that many Islamic scholars speak on. Although the majlis was considered by many of those same scholars to be haram, or forbidden, there is little doubt that it was a popular past time, especially amongst the upper/noble classes.
The majlis I ran used this ideal as a jumping-off point to integrate various aspects of entertainment in the SCA. I focused the concept upon using the framework of the period majlis ideas to shape these concepts:
* Integrating other period forms of entertainment, such as storytelling and poetry
* Inviting and connecting the European forms of singing/storytelling/poetry
* Encouraging a time-share concept for all performers
* Re-focusing on the social aspects of Middle Eastern dance
We had some serious successes. First and foremost, all the musicians who attended told me they greatly enjoyed playing with each other. They were mostly veterans of many similar parties, such as the excellent hoflas that Orluk runs at Pennisc. They brought those skills to my majlis, and I am most grateful! This was also the first serious break with the period style; rather than insist that each musicians play separately, they all worked together, by and large. One musician did do a solo work, eventually accompanied by a couple of drummers (of which more, later).
We also had my Barony's Baronial Champion come in, despite his having worked himself into the ground, with more work to go, and sing. Sir Axel regaled us with tales of his daring-do, and I even unwound to present a tale, myself. These represented a first attempt at integrating other works into the majlis concept, making it able to work with a wide variety of entertainers. Although not strictly period, it's easy to work with the European groups, and they bring much that is good to the format.
These bits did represent an issue with the format, in that the musicians ended up sitting around for longer than I intended. It was no one's fault, yet I also know that there are difficulties for musicians in waiting long times to play. Correcting that will take some effort, as well as education on formats. Entertainers, in my opinion, should present to the modern attention span, as opposed to the much longer attention span of medieval audiences.
Hospitality was another win for the majlis concept. I had procured foodstuffs that were, by and large, period to the timeframe, and people snacked on them, even though many folks (including myself!) had had a robust feast just before the majlis began. Laying out rugs and pillows also worked, as people used them to relax, and not simply to dance upon, and many thanks were given for that. I believe it led to many people hanging out and enjoying the majlis, people who would have otherwise left due to cold ground.
Dance was a mixed bag. By and large, I'm glad that there was little dancing, as it re-enforces the idea that this is not a dance party, in and of itself. I welcomed dancers into the space, and there was room aplenty. I think, perhaps, that we triggered a reaction that the majlis was more like a mundane concert, to be passively enjoyed. As it is not, and the list of appropriate reactions is nuanced, this is another area to do education on.
As the musicians were of such high caliber, working those of different focus and understand of the musical forms was a challenge. I attempted to share with a drummer a way to play with others without playing a beat that might distract the person doing a solo. My attempt, I suspect, was not welcome, and I hope the person forgives my clumsy words. However, by and large, the musicians of talent should lead the group of musicians, when performances are going on. That is another area for concern.
The host of the majlis (not to be confused with any potential patrons, although they could be the same person) should, for SCA purposes, be willing to drive the works involved. Friendly to all, inquiring about the people in the audience as to their needs and desires, s/he is key to ensuring the majlis runs smoothly. Although being so inviting is not part of the majlis concept in period, it is critical to the SCA version. The work of folks such as Baron Durr in determining the nature of such hospitality was key in creating my own ideas on the matter.
I will, in some time, work on what is proper for a future majlis attempt. One idea is to ensure that the majlis has a core, and I see the musicians as that core. In a SCA nighttime environment, they are more committed to the majlis, if only because they cannot move around as much as other entertainers. Allowing them to play first and foremost in the majlis sets a certain tone, and working other performances with them ensures that it doesn't become a musician's "jam session."
All performances at the majlis should be in "discrete elements", so that people can see a variety of "acts". This avoids the "sit around a wait" issue that threatens to drive away performers. This is much like the "one performer at a time" aspect of the period majlis, except that the period ones oftentimes allowed performers to go only ones.
