Come a’cuin

when ‘ner he come
for prayer untold
to hear the moon
forsake the sea,
and blind the fire
to need of when;
breath deep, my son
and you will sense the ‘cuin.

the hourglass breaks
and endless sand
sifts hopeless bound
through clutched despair
to gather up
felled jeweled tears;
dance quick, my son
and you will know the ‘cuin.

shadows betray
this Moonless night
to distort anew
chanting heartsteps
leading upward
in silent clamor;
spin about, my son
and you will see the ‘cuin.

when roaring din
of lost starfall
detracts from dreams
in patchwork hues
of spirits claim
on proud soul’s view;
then call out, my lad
and you will touch the ‘cuin.

Parallel tracks
of circle time
balance within
the measured tread
when chaos seeks
echoing silence;
wish profound, little man
and you will claim the ‘cuin.

Strum of the Gusli

The instrument on my knees adds singular notes to blend with the song of birds, brook and whispering leaf. I call to the shifting forest shadows and they sing back to me of the passing faun, the patient spider and a secret cache of honey. But the instrument can also produce a throbbing pulse, a strumming cadence to match the heartbeat of the canyon, with the almost silent power of the jutting cliff and the shrieking caress of the waving fern. My fingers, less nimble sure than in long decades past, evoke the sounds of nature and communicate by prayer, thoughts I cannot voice. I ponder, though, that perchance it is nature that plays at a Gusli like lute in the heavens, for does not every culture and tribe have an instrument both simple and profound that combines the pulse of quite passion and the melody of imagination? Within God’s lyric poem what is the instrument; this box of polished wood and strings, this wandering merchant and entertainer, or the forest and land of Mother Earth?

I am a Gusari. I am one who plays the Gusli. That is everything, and nothing. This mark is not a pendant that I can display nor coin that I can trade, though I am certainly a merchant. It is not a title nor position, but Princes listen to my counsel and entrust me with messages of state. I am not an actor not trevere’, but I sing, and tell stories with magic effect and moral design. I am a stranger from afar but am asked to speak to simple problems in many lands. I have the gift of absolute freedom and the curse of the prophets. I did not ask for this cloak. I will wear it ’till I die. Listen to my song.

Gusari Mystique

Gusari Mystique
Gusari (Goo sa ree like nursery)

This is a term that can be roughly applied to traveling performers in Eastern Europe, Slavic States and Western Russia during the 8th to 17th centuries, and equates to the Celtic “bard” in function. However, there are many important distinctions that could affect the use of this title or label, especially for SCA Bardic competition. There is evidence of their presence and influence in Saxony, Selesia, Moravia, Austria, Hungary, Kiev, Novgorod, and all southern realms.
1. It is a slang term of mixed origin that encompassed performance functions from many cultures. Specific references can be found for:
• Anyone playing the Gusli, a Russian lute type instrument.
• A traveler from afar, possibly originating in Qusar by the Caspian Sea and part of the “Silk Route.”
• A political satirist of the type associated with inciting the people of Kiev to free the Prince of Polotsk (circa 1225).
• A person who combined story telling with legerdemain in performance as distinct from traveling actors, jugglers, fire-eaters, etc. They did not always sing, but often combined story, recitation, and song according to the needs of the audience or setting. In this way they are linked with the European treverè tradition.
• Synonymous in the Novgorod area with the “skomorokhi.”
2. During the formation in Europe of the unified Germanic Duchies and the Growing power of the Lombards in the 12th and 13th centuries, the Gusari were chastised and outlawed because of their outspoken political parodies. Those who could keep their mouths in check became, Jongleurs (Juggler), Magika, Travere’, and Skomorokhi. The latter shift didn’t work out, however, because of later persecution by the churches in the 15th-17th centuries in Russia. Apparently, speaking the truth out load was not appreciated.
3. The Gusari is linked to the concept of the “baffoon” which inaccurately translates as “clown” in English culture. Thus a person dressed in harlequin type garb in 12th century Moravia would have acted and performed differently than one in English or French court.
4. Actors in the Gusari tradition performed short skits rather than traditional plays. They often substituted the names of local officials and powerful merchants into the skits for parody, humor, and political purposes.
5. The Gusari are based on a merchant tradition more than a religious one, though the later sift to skomorokhi took on unfortunate religious relationships. They traveled from Turkic (silk route) lands north to Saxony and West to France. Southern influence is lost in Islamic expansion. The collapse of the Khazar Empire seems to have severed any link to Caspian area. However:
• 1999 background for the building of a gas line from the Caspian to Romania refers to following the “Trade Route” established by the Gusari.
• In 1998, two students accused of smuggling in Russian Georgia claimed protection under the “Gusari Law.” While no details were given it apparently had to do with ancient protection for the merchant class. The petition was denied because the accused could not prove direct personal ascendancy from the 12th century merchants.
6. Modern usage appears to be linked exclusively with the Gusli instrument, which is now far removed from the original 5 string ‘block ‘n strum’ instrument.

Anyone adopting an Eastern European or near Russian persona can rightly call themselves a Gusari if they tell stories, and use music, magic and other arts to entertain. Presentations are not restricted to lyric forms or Bard traditions. The appropriate term is “bylini”, which translates as “what happened.” Other mixed story/songs are called “starina”, which means “what is old.” The best term for this unique persona group is “umeltz”, which means “a versatile person.” Attempts to use satire and political parody in a medieval tradition will probably not be successful. Logical argument was also by parable and “Plato’s Dialectic” rather then syllogistic.

Note: Gusari is also a name for Japanese chain mail armor, which greatly complicates Internet research. Many of my links were developed through communication with the Slavic Interest League in Romania.