Well.
What a surprise!
Last week my search for a Mystic thread was fruitless, and this week, it appears tardy!

Now that I've spent well over an hour reading, I've got a buncha things I'd like to comment on.

Thanks for the Kudos Gibb. I felt like I was often performing opposite the workshops I wanted to see, so I figured myself relatively unheard. I'm very glad you appreciated the pacing. I pride myself on knowing the difference between "work speed" and "pub speed."

I think one of my best memories of the festival had to be the SRO audience for Lou Killen. It seemed like honoring Lou and honoring the Tradition were the same thing. I saw all sorts of people crowding around to get a listen - I myself snuck around to an open window on the side. What touched me most about this was that mixed in with the "fans" and the "crowd followers" were some of the most respected/experienced scholars and performers who have heard everything Louis was going to do in that workshop for years. There they were eager to hear him again. It was a strange moment of "Everything is alright in the world".

I'd really like to chime in on what JWB and Mark were saying.
I think the two topics are related.
I've been to a number of festivals where the rule is "Chanteys only" in the final round robin, and sure enough someone pulls out "Mary Ellen Carter" or some such. I see that an AWEFUL lot at Chantey sings as well.

I think what's been happening here is a tradition of its own and the question is one of letting it grow organically, or steering it while there are still people conscious of objectives.

First of all, I really don't think it's too much to ask someone hired and paid for a maritime event be asked to do one song from the tradition. I think the situation of having people from exclusive ethnic traditions who don't know where their music overlaps with the sea is rare (and an obvious exception). Frankly, this is becoming more rare all the time as more "ethnic traditions" get bulldozed everyday.

The question is : Are venues like Mystic providing a themed entertainment, or shepherding a resource? Are the "fans" audience or participants? The line is soft and frequently blurred.

In the case of "open sings" at the German club, are we expecting inexperienced performers to understand the subtleties of flow that come with years of reading a crowd? Sometimes they have spent a lot of time working themselves up to said performance, and as aficionados felt the need to research something unusual. They have seen seasoned performers put a hush on the room with a slow mournful song, well done, and wanted to do that themselves.
What I have also noticed is that some folks lack the prescience to notice when someone has just done that to the room, charging into "Haul Away Joe" two beats too soon after someone has almost made me cry.

I think it's a good question that bears more discussion, and folks need to accept that whether or not someone is steering, the boat is still moving down the river.
Perhaps guidelines need to be printed somewhere, or perhaps new folks need some shepherding or perhaps trying to control the energy of growth stunts it instead.
I do know that this question is related to the "how do we get younger folks interested and keep them?" question too.

Well that's enough for three threads.

I think singalongs should have places for people to sing along.
I think cool cats like those two who started me on this dissertation should consider an opening announcement (as de-facto leaders in this community) instead of pointing out that some folks at Chantey sings may lack the ability to pick up on social cues. ;)

All that being said, I noticed a shortage of "American" sounding songs at the sings. A notable exception being the "Johnny Come Down to Hilo" that Craig and Mark kicked all kinds of ass with (and brought up the energy level--Just so you know that I noticed).

I think a little shepherding that way wouldn't hurt either.

OK I've used the same word 3 times. It's time to go.

I had a great time and was honored to be there.
-W