The post that has been a long time coming…


Periodically someone will post a “reminder” to one of the SCA costume forums or general groups. The message behind these “reminders” is always relevant, even if the delivery sometimes feels like grandstanding (at best) or virtue signaling (at the worst).


Yes, we absolutely need to take care with our commentary so as not to frighten away newcomers with either our zeal or our knowledge. We need to nurture those that want to join us and it’s most definitely imperative that we make a space for them at our table and make them welcome enough to return.


The problem with most of these messages is that they almost invariably forget that not all of our newcomers are novice tailors, or are not new to history or research. Many of our prospective newcomers arrive as professional seamstresses (or at least have that level of skillset already). Many come with knowledge or college degrees and are looking for an outlet to explore the skills in there field. They come from other reenacting circles and have a strong grasp historic context and how to apply it. Some newcomers are none of those things, but still want to join in and “do things right” from the start.


(I need to take a moment here and define “right”. My idea of doing it “right” is different than someone else’s, and, within the scope of our rules, that is not only perfectly fine, but it is most definitely welcome. Some individuals might only make an attempt at pre-17th century garb, but could love working in a kitchen or spending all day at the archery range, while another person might prefer to spend all of their time and resources crafting a single garment that is as historically correct as possible. Both of these people are absolutely “right”. A newcomer who wants to dive in to history and accuracy as soon as possible, is just as welcome to do so as the next person is to borrow Gold Key garb and just show up. None of us get to be the person who qualifies “right” as long as folks are following the rules.)

Back to the newcomers and these repetitive missives and groups and lists, what keeps getting forgotten in the well-meaning rants and reminders, is that many of our newcomers are not actually “new” at all to the things we do, they are just new to the Society. These individuals need to be just as cherished as someone who wanders into an event off the street. There is, however, inherently less respect for them than others. When others command that we be nice, and to welcome people, and to help people and make them feel at home, they mean that only for those who are struggling to get into garb and get to an event. (People feel they are being more inclusive than that, but their language far suggests otherwise, even if it is likely unintentional.)


Do you know how many conversations I have had with newer members or fringe players who enjoy certain facets of the SCA, but refuse to really join in because they are tired of getting shouted down (or seeing it happen to others), every time a simple question is asked?


(For that matter, do you know how many people have had leave forums that they have helped nurture for years, and that they truly love, because they are sick of being screamed at, condemned or even threatened? Do people not even see that these long-time members are leaving the SCA because they can no longer even have conversations with like-minded individuals without being attacked online?)


I will say this for the 100th time, but “THE C STANDS FOR CREATIVE” should never, ever be an answer to a question. “IT DOESN’T MATTER IF IT IS PERIOD AS LONG AS YOU LIKE IT” is not ever an answer either. There is nothing wrong with the sentiment behind these statements, because some people need an answer like this to allay their fears about “doing it right” and to better feel welcome, but there are most definitely ways to phrase these things that do not also run off those who want an actual, legitimate answer to a question.


What we need to do is talk more to the person asking a question. What are their interests? That can better inform us on how to reply. Did they simply find a pretty picture online and want to make that dress because it fits the pretty-medieval-princess look that they have wanted since childhood? If that is all they want, an answer can be “that garment is quite pretty! That is not based on what we know of history, but is rather loosely inspired by 14th century France. It is perfectly acceptable to make and wear to an event as it is. If you want to see more about the inspiration for that dress here are some great images that can help inform your next garment”. That response is kind, generous with knowledge, and still makes their dream-dress feel welcome and valid. 53 comments about how history does not matter, about the only thing that matters is having “fun”, diminish the conversation for dozens of other viewers who likely have an interest in history or about learning more.


And let’s talk about “fun”, I fully accept that for many people “fun” might be coming to an event, putting on a tunic, and having a cold drink next to the campfire (hell, I embrace this type of “fun” as that describes half of my household, half my SCA family and a large portion of my beloved E17 Pennsic family). “Fun” can be more than that for many of us though, and just as I mentioned with “doing it right” there is more than one valid type of “fun”.


A series of rabid screeches reply to a question that states nothing more than “it’s about having fun!!!” that totally dismisses someone else’s potential interest in accuracy or history is doing the entire SCA a disservice. THIS is driving people away, and it is making both newcomers who are interested in learning more and long-time members feel massively unwelcome. Especially if it has been said once already, it does not need repeated in the same thread multiple times over.  That sort of piling on has no use anywhere.  Ever.  It is completely awful.


Another example is, “Is this fabric period?” Imagine that the fabric in question is a quilting cotton in a giant modern floral print. Talk to the person asking the question, do they have a time and place in mind or are they just trying out different things and doing some stash busting in the process. It is not a crime to state that the fabric is unlike anything in the SCA period (it is a statement of FACT, after all), but we can still suggest ways to use it. Would it be good for a mock-up? Would be almost-kinda-sorta-passible as a dress from X Place and X Period? We use lots of fabric for other things too, maybe suggesting those is the route if the real desire is to stash-bust. Does the person just really want to use THAT specific fabric for a dress (for whatever reason)? Yes, we can help them find a pattern and work out how to make it (and possibly show period images for a future project at the same time), and they are moving forward knowing exactly what they have and are doing.


What is utterly useless (and often detrimental) in these cases is multiple individuals launching onto the thread and insisting that it doesn’t matter at all if it is period (especially if it reads that it SHOULDN’T matter at all, ever, to anyone, and yes, that is frequently how it reads). The people in the previous paragraph are providing helpful input not only to the individual asking the question, but to the more broad audience as well. It is not dismissive of the person asking the question, or those who might really want to learn more about period textiles.


And for the love of all, if someone states upfront that they are interested in accuracy, those multiple comments about how it doesn’t matter, and it is just about having fun, quite simply do not belong. THAT is dismissive not only to the person asking the question (who might very well be a newcomer), but it is also beyond hurtful to anyone who is taking time out of their own day, and away from their own projects, to help others. Hammering away at someone answering a question (especially if they were already thanked by the asker), does just as much damage as walking up to someone and telling them that their garb sucks.  


Just stop. You aren’t making anyone feel more welcome. If you want to pretend to care so much about our newcomers, please be inclusive of ALL newcomers and including those who are here to have "fun" exploring history.

One of the ways you can readily tell that someone is beyond the basics of reenactment research is by looking at their sources and how they are using them in their work.  Blatant assumption that museums, Laurels, other reenactment groups, and even academics, are always “right” is a method of thought employed often by beginners.  This is not necessarily bad (as we all start somewhere), but as we grow and start to put the pieces of the puzzle together, we often discover that information is dated, ill-thought out, or sometimes just wrong.  Realistically, this is a natural part of the process, and “growing up” in this field and we all have been there at some point.  The trick is to start to develop an eye that can readily sort out fact-based items, as well as works of fiction. 

I actually started working on this about a year ago after some discussions online made me realize that people who I thought had a deeper understanding of the material were, in fact, relying on assumptions that just because they saw it in a museum or on a living history reenactor meant it was absolute fact, without taking time to look into it further.  A recent discussion on an erratic museum display caused me to complete this post so that I can share my thoughts.
 
Before I share examples, I do want to note that there is no one single approach to this subject matter, but there can be good or bad approaches.  I had a previous post titled “A Difference of Opinion” ( http://awanderingelf.weebly.com/blog-my-journey/difference-of-opinion ) that shows two excellent, yet wildly different, lines of thought on the Oseberg Queen’s costume.  Both are very well researched, both are evidence based, and both are equally valid interpretations.  The difference in items such as those and the 'less good' things I will mention below is the approach the artisans took and how they came to their conclusions.
 

As I mentioned, recent issues with a museum display are, in part, what triggered this post.  This controversy is about the Viking exhibit at the National Museum of Denmark.  

In an effort to drive more traffic to the museum, the authorities there have employed Jim Lyngvild, a television personality and fashion designer to craft a display that would appeal to the modern eye.  I highly recommend doing some reading about this celebrity's on and off screen antics, and one perhaps can see how his participating in museum displays of ancient history can be problematic.
 
You can see the promo photo located on the museum website (https://en.natmus.dk/museums-and-palaces/the-national-museum-of-denmark/exhibitions/danish-prehistory/ and that sets the tone for the rest).  There are other images making the social media circuit now that are even further out there than this one.  The point of this post is not to critique each image, but rather to provide commentary that this is not a reliable source for making accurate interpretations.  There was a review this year in Antiquity that better sums up the things that have gone wrong here (and how it could have been done to make both fact and fantasy exist better in the same space).  I highly recommend downloading this free PDF and reading it before looking for additional images (some of which loudly proclaim they are "The Real Vikings").  https://www.cambridge.org/core/services/aop-cambridge-core/content/view/A40E54491325BC2E3951F975F6452708/S0003598X19000012a.pdf/meet_the_vikingsor_meet_halfway_the_new_viking_display_at_the_national_museum_of_denmark_in_copenhagen.pdf?fbclid=IwAR3XG-4dB72apePrO7A8Liep6pl5Ha8ue7HFAVkakuVTxuIQ7Orn6PyHGxU
 
If you source additional images you will readily note an over-use of ragged furs, mishmash of time and place, and some very, very Hollywood style embellishments (such as ‘sexy’ slits up the leg of a woman’s dress and items that are pure reenactorisms that are not really even hinted at in graves).
 
This particular museum is not the only venue with issues like this.  Some museums, often due to budget constraints, are displaying older recreated items that are based on information that is decades out-of-date.  Sometimes artisans are employed to do reconstructions without the benefit of detailed research or access to time/materials to make a good representation of an item.

​Sometimes it can be exciting to see a progression in displays of costume or other items.  I will use Mammen as an example because years ago there was a lovely, plausible, reconstruction of the garment (for King Cnut) that appeared in the book Mammen: Grav, kunst og samfund i vikingetid.  This item was made with research available at that time, and is quite striking.  Currently, there is new work being done by some of the top researchers in the field.  They are taking a very detailed and highly scientific new look at these textiles and the costume from this grave.  I cannot wait for this work to be completed, and you can follow the progress yourself here:  https://natmus.dk/organisation/forskning-samling-og-bevaring/fashioning-the-viking-age/the-three-project-parts/  (The great irony here is that this is also in conjunction with the National Museum of Denmark.)

Typically, museums displays of items, such as brooches, are a good source of information.  Just seeing the object can let you grasp the detail and size of the item.  Sometimes things like beads, however, can be misleading.  Many of the older archaeological sites cared less about certain goods (like beads or textiles), resulting in all beads being tossed in boxes to be restrung later in any fashion for display.  This could result in all of the larger, ‘fancy’ beads being grouped together in one strand (and leaving out the plethora of tiny beads completely), which can lead the impression that that was the norm.  And yes, sometimes items in a museum can be mislabeled (or it could be labeled with data that made sense at the time the display was erected, but that was countered later by new evidence).  Even a well-crafted display needs context.  If you see something that interests you in this type of professional setting, it is still advisable to look deeper and do your own research to help get the most accurate information available.

Just because it is in a book doesn’t make it true either.  This can be for a variety of reasons.  One of the most common is that the book is simply an older text that is presenting older (and now debunked) theories.  The most common thing I see, in this field, with this is the diagrams from Flemming Bau (the infamous open-front aprondress) still being used when interpreting evidence.  A look at Hilde Thunem’s site ( http://urd.priv.no/viking/ ) or Inga Hägg’s most recent book on Hedeby ( https://amzn.to/2HKDesE ), will detail for you why those theories are out-of-favor.
 
Other books are simply just not as well researched or presented.  There is a now infamous drawing by Rushworth from his book (Handbook of Viking Women’s Dress) that shows the back of an aprondress with pleats covered by long vertical bands of tablet weaving.  There is absolutely nothing at all in the evidence that even begins to suggest this type of costume, yet because it creates lines that are attractive to the modern eye, and because it is published in a book, it is seen as “real” by someone who has not looked deep enough at the evidence themselves.
 
Other books have lovely images and nice tutorials, but do not use proper citations, nor do they discuss the methodology that lead to the conclusions that are made between the covers.  Without that discussion, I do not view a book as a credible resource academically.  This is poor scholarship at best, and now I see other books that rely heavily on those same titles as a source, and it makes me question the credibility of the work as a whole.  An example of this is the Viking Dress Code, which was just recently released in English.  This book is full of lovely charts and maps and has a very nice summary of evidence, but the heavy reliance on a few less critical works (and also some of the strange conclusions that are made about certain items), make it something that I personally can find a use for and am happy to own, but it would never be something I would recommend to someone with no prior knowledge of the sources.

We all know there are many amazing researchers, archaeologists and authors in this growing field and I can make wonderful recommendations for many facets of what we are studying based on my own list of favorites.  It is important though, to make sure that you are looking at the current information.  Sometimes there is a dissertation that is published that is easily accessible (and free online), but the book that came out later (and that costs money) actually has more current information on the subject.  Another example here is Hägg’s work, while I highly recommend reading any of her papers regarding Hedeby, I would not recommend moving forward with a reconstruction project without looking at that most recent book mentioned/linked above.
 
And then there is the case of plain old bad scholarship.  She-who-shall-not-be-named is one of the best examples of this (and sadly, is also cited as a source in the Viking Dress Code book).  This author seems to prefer scandalous headlines over solid academic methodology.  She made a name for herself with the Boob Brooch Debacle ( https://www.eurekalert.org/pub_releases/2008-02/uu-vdn022508.php?fbclid=IwAR3eVe9HLWCjnzIcnhH6sMM123zo1qO6bYsv7a-X-0gEjW6hyse7YlcALsY ) and then pretty much drowned any credibility she had left with the claims that if you look at a piece of tablet weaving backwards (using a mirror) and then add extra lines to the pattern (in what reality is that even science????) that the motif spells Allah in Kufic script.  ( https://www.independent.co.uk/news/world/europe/allah-viking-burial-fabrics-false-kufic-inscription-clothes-name-woven-myth-islam-uppsala-sweden-a8003881.html?fbclid=IwAR3oYiLtcyNYJDwqp5MU-i-IEjDgR7FeYKOMH7fdQXBXA1e0A_nh2tYxGSs ).  This is all problematic because at the time these items made headlines, she was still affiliated with a University, was participating in study of archaeological textiles, and it was easy to assume that this was all real.  (Note also, the promised papers for these items never made it to publication, and that is frequently the case with very wild theories like these.)

​This is an area that can be really touchy, but I am going to dive in anyways.

• Just because something is well-crafted (look at Lygvild’s photos, these items are pretty and well made and professionally photographed to display them at their best) doesn’t mean it is a representation of proper research or reconstruction.

 

• Just because a reenacting group (especially one in Europe) is doing it, doesn’t make it real.  I have seen individuals designing costumes after those worn by the positively incredible group Wulfheodenas, including the use of full pelts draped over the shoulders.  One of the members stated this about the practice online, “As a member of Wulfheodenas whom initially wore wolf pelts for a number of differing reasons, a number of us have moved away from them, again for a number of reasons, I'll hold my hand up and say to a degree we may have have been instrumental in the popularisation of such pelt wearing by emulation because it is visually striking. But like all things many of us have revisted this and for a number of years no longer wear the pelts.”  I highly recommend looking them up because they are an incredible inspiration - https://www.facebook.com/Wulfheodenas/, but it is also important to understand context… they are pre-Viking age and Saxon, so using them as a foundation for Viking is already off base even before you get to the furs ;-)

 

• I also want to point out that some living history groups are years ahead of others in terms of research and presentation.  Some also might have a focus on one sphere, such as historic agriculture, and their research is keyed to that end and the costuming might be secondary.  If possible, reach out to your historic inspirations and try to ascertain the “why” behind their decisions.  And in some cases, the reenactors are poorly paid employees or volunteers of the museum or venue, so the facility often takes whoever is willing to do the job for free or cheaply.

 

• Just because someone is a Laurel in the SCA does not mean that everything they do is “correct”.  It is entirely possible that their Laurel is in cooking or music, not costuming, and someone else made their garb or they made it using an older handout from a Viking 101 class.  It is entirely possible that they are a Laurel in Viking costume, but they are wearing an older garment (made early in their research) because it is Pennisc and they need to use everything they have to make it through a two week event.  It is also possible that someone stopped their research (or just switched focus) after a time, and while their clothing might represent the best available knowledge in the 90s, it does not stand up to the vast amount of research we have today on the subject.

​The summary here is that we want to make an attempt at authenticity, we need to dig deep and try to figure out what is good, what is bad, and what has stood the test of time (in terms of knowledge).  It is not an easy road, but it can be very rewarding.  I am always happy to talk resources with people if they want to listen to me drone on about it!
 
I am going to finish this rant with a power passage from Lise Bender Jørgensen (one of the top Viking Age textile researchers) about the role of proper reconstruction and the public eye.  The article it is from is in NESAT 5 and is titled “Ancient Costumes Reconstructed: A new field of research”:

It was brought to everyone's attention yesterday that there is a page missing from the Pennsic site book for this year.  Certain events are STILL happening, and the list of those can be seen below.  These include the A&S Display and also the annual and amazing Clan Blue Feather Ball and Fashion Cotillion.

Fortunately, the A&S Display still has a full page dedicated to the event, it just will not be in the printed schedule (it is, however, still listed in The Thing).  

​Another item that sadly got missed is the Clan Blue Feather Ball & Fashion Cotillion.  The Facebook event page for it can be found here:  https://www.facebook.com/events/1352843131538865/www.facebook.com/events/1352843131538865/

From the event description: The annual Clan Blue Feather Ball & Fashion Cotillion will be held at Pennsic XLVIII on Tuesday night, August 6, at 9:00 p.m. in the Great Hall (immediately after Aethelmearc court). As always, the theme is, "You don't have to wear your best garb, but wear the garb that makes you look your best!" Music, dancing, revelry, prizes, food and drink for everyone to enjoy at this open and family-friendly event!

Do you want an excuse to dress your best or simply to enjoy an incredible evening?  I highly recommend checking out this event if you have a chance.

Below is the list thus far (I will continue to up date it here as well).  Each item is clickable for the full post!

As part of my Pennsic Improvements posts (found here - https://www.facebook.com/awanderingelf/ ) I talked today about coolers and how to keep them colder (and how to know when it is time to swap them out for a new one).  I figured that post was worth a re-share here as well.

​Yesterday I brought up one of my new favorite boozy beverages, and today I am going to talk about my test over time to keep the ice cold for my Pennsic cocktails.  I will note that you can actually do Pennsic without a cooler at all (assuming you do not have medications you need to keep at a certain temperature), and some people do indeed do this.  Duke Cariadoc has an article about doing Pennsic without a cooler here that some folks might be interested in: http://daviddfriedman.com/Medieval/Articles/Camping%20without%20a%20cooler.html
 
Personally, the only food I take to War is a few snacks for land grab.  After that, my cooler is for ice only, and maybe a re-used water bottle full of leftover coffee or tea for a cold beverage at a later point.  Mostly I am just keeping ice for drinks, and possibly a small container of fresh fruit purchased at the Coopers store.  My camp has a meal plan, and I love to eat in the market, and I certainly am not going to Pennsic to cook so one of the ways I have pared down the things I take with me is to cut out the food items (that often were going to waste).
 
I am, however, very picky about coolers, and doubly so if food is going to be stored in them.  Coolers are not immortal.  They have a lifespan, and often the cheapest coolers have a very short one.  The easiest way to tell if your cooler is on the outs is to open the lid.  If it lifts with no resistance at all, it is no longer air-tight and, therefore, it is no longer doing it’s job.  You will go through much more ice at this point and it is time to consider purchasing a new one.  (Do not worry though, that old cooler can be used to store your dry goods now, because old coolers are a fantastic way to keep bugs out of your food and rain off of it!)
 
For the past decade, I have used Coleman Xtreme coolers and really do like them.  They last longer than some others I have had and tend to keep things cold for a decent amount of time.  I have, however, been researching newer high-end coolers for almost two years now, because I am due for a new cooler and because I also want a smaller one as I really just need it for ice.  After reading many reviews, I decided that I wanted to try a Grizzly cooler, with which my wonderful mother recently surprised me.  I honestly cannot wait to test it out this year (and will definitely post my thoughts after the fact)!
 
Even if you are not ready for an upgrade just yet, I do have some tips for helping to make the best use of your current cooler.

Each year I repost two of my older articles that have tips for surviving Pennsic and also for enjoying it.  Last year I included a compilation of my summer wardrobe tips as well.  All three of these will be linked below.

New for this year is a running list on my Facebook Page, with (almost) daily tips based on things I have learned over the years that make my best two weeks of the year even better.  I would love for anyone interested to come join the conversation!

https://www.facebook.com/awanderingelf/
​

My Pennsic Prep List:  http://awanderingelf.weebly.com/blog-my-journey/pennsic-prep-and-my-list-for-newcomers

Tips for Enjoying your First (or Tenth) Pennsic:  http://awanderingelf.weebly.com/blog-my-journey/tips-for-enjoying-your-first-or-tenth-pennsic

Summer Wardrobe: http://awanderingelf.weebly.com/blog-my-journey/summer-wardrobe

#PennsicImprovements

Below is a missive from the coordinator for the Pennsic Fiber Arts Pavilion:

One of the joys for many people, as they anticipate Pennsic and their annual pilgrimage, is the knowledge that they can locate any activity there, from fighting to dancing to classes on every topic imaginable. As fiber artisans, we noticed that the fiber arts lacked a home at Pennsic. Fiber classes are scattered all over the schedule, often fill quickly to overflowing, and students leave with no place to come back together and work with each other to practice their new skills. We were missing a single place where fiber people could find each other and work together on a variety of possible fiber crafts.

To fill this need, we have created a Pavilion devoted to the Fiber Arts, and available for the duration of Pennsic. Their Majesties of Atlantia have graciously created an Artisans Easement within Their Royal Encampment, where artisans are able to erect pavilions for specific Arts, and practice their crafts together every day. We have taken advantage of this location, and made it our home.

Join us in Atlantian Royal Encampment in Block N40, two blocks down from the North Gate along the Long Way toward the Parking hill. Come meet other fiber artisans, take a class, teach a class, or just bring your fiber toys over and relax with like-minded folk for a morning or afternoon. We also have fiber toys available in the pavilion, if you'd like to get acquainted with new equipment before you invest. This pavilion can be whatever you want to make it.

If you want to join the discussion before Pennsic, go to Facebook and search for the "Pennsic Fiber Arts Pavilion" group. Ask to join, and you can see what we are doing this year. We look forward to meeting you at the Pennsic Fiber Arts Pavilion. Come join us there!
​

I love head coverings for my Viking Age kit.  I have an entire box of different things I have made or that I have purchased to test out to see how they fare in use.  I particularly love to buy pre-made scarves (via Etsy, Amazon, Ebay or other vendors) and cut them down into veils or caps and work with them.  This can be an affordable source of fine wool cloth especially.

So today I came across diamond twill wool/silk scarves on Amazon.  I just ordered one, so the weight might be more than I usually use for veils, but I think it would still work for caps or other items and the best part?  These are diamond twill! 

I will post and additional review once I get mine in the mail!  ETA - I just got mine and it is absolutely lovely.  It is very fine and soft and very slightly sheer. 
​

​A Wandering Elf participates in the Amazon Associates program and a small commission is earned on qualifying purchases.

This topic frequently comes up amongst both my fibre arts and my SCA/Viking Age friends.  People often ask me what the history is, and my research in this area is very limited, but I absolutely need to share Anne Marie Decker's (Magistra Sigrid Briansdotter in the SCA) work, and new blog, on the topic.  https://nalbound.com/

I got a chance to look at the pages and pages and pages of inspirational research she had last summer (and am honored that she let me geek out over it).  She spoke earlier this year about naalbinding at a conference at the Centre for Textile for Research in Copehagen (she has a link to her session on her blog).  I highly recommend taking a look at her new page if this art interests you!

Today a received an email from a woman named Beth that assists with a children's library reading group.  She said they have covered a viking story in their readings and now the children are very interested to learn more about the history of the Norse people.  To help learn how they dressed, they have researched things here on my site.  This absolutely delights me!

Beth also told me that one of the young ladies in the group, named Audrey, has been researching on her own and came across some information on viking age teeth and health she wanted to get the information she found shared as well and I am happy to do that for her:  ​https://smilesincluded.com/viking-teeth-and-health/

I also had a strong interest in history (and historic dress) when I was growing up so I am happy to give a shout out to these kids who are eager to learn as well!