{"id":2943,"date":"2017-03-31T12:10:36","date_gmt":"2017-03-31T16:10:36","guid":{"rendered":"http:\/\/sites.nd.edu\/manuscript-studies\/?p=2943"},"modified":"2020-03-20T11:32:52","modified_gmt":"2020-03-20T15:32:52","slug":"grendelkin","status":"publish","type":"post","link":"https:\/\/sites.nd.edu\/manuscript-studies\/2017\/03\/31\/grendelkin\/","title":{"rendered":"Grendelkin"},"content":{"rendered":"

Most of us in the English-speaking world have read\u00a0Beowulf<\/em>, in translation and in high school. It is generally taught as an ancient text with insights\u00a0into Anglo-Saxon culture, whispering from our distant past. But can these whispers speak meaningfully to us today, aside from mining historical gems from the text?<\/p>\n

Beowulf<\/em> is a medieval poem\u00a0about\u00a0heroes and monsters. But it also a poem cautioning against\u00a0the destructive forces of violence and\u00a0greed, the very same combination of forces which most trouble the world today.<\/p>\n

For those who read the text in the original language, Beowulf<\/em> is a playful, at times suspenseful, poem which masks its monsters in ambiguous language and draws verbal parallels between the heroic protagonists and their monstrous antagonists in ways that challenge a reader’s assumptions. And, of course, it was performed!<\/p>\n

Are there ways of performing Beowulf<\/em>, which speak both to then and now? This is the mission\u00a0behind\u00a0Grendelkin.<\/em><\/p>\n

\"\"
“Grendelkin” at Notre Dame, produced by Richard Fahey and sponsored by the Medieval Institute.<\/figcaption><\/figure>\n

Grendelkin<\/em><\/a>\u00a0is an upcoming two day production\u00a0sponsored by Notre Dame’s Medieval Institute<\/a>, which\u00a0seeks to highlight\u00a0the ethical concerns expressed in Beowulf<\/em>\u00a0through professional storytelling\u00a0and avant-garde performance. Grendelkin<\/em> interrogates the function of reciprocal and sanctioned violence within the text and challenges tribalism and the warrior ethos of the poem, while keeping a modern audience and their contemporary concerns in focus.<\/span><\/p>\n

Cost:<\/em> <\/strong>The event is free<\/strong>\u00a0(no ticket charge) and open to the public. Tickets will be given at the door and programs will be available at the venue.<\/span><\/p>\n

Dates:\u00a0<\/em><\/strong>4\/7 & 4\/8, 2017<\/span><\/p>\n

Time:<\/em> <\/strong>7:30-9:00 with refreshment the following hour both evenings<\/span><\/p>\n

Place:<\/strong> <\/em>Washington Hall (third floor), University of Notre Dame<\/a><\/span><\/p>\n


\nEvent Schedule and Artist Biographies:
\n<\/strong><\/em><\/span><\/p>\n

DAY 1 (Friday, 4\/7):<\/strong> Beowulf: A Poem for Our Time
\n<\/em>Performance by\u00a0Chris Vinsonhaler<\/a><\/p>\n

An award-winning performance, Beowulf: A Poem for Our Time,<\/em>\u00a0will roar to life on Friday, April 7, in a program that is free and open to the public. This performance\u00a0frames\u00a0her version of\u00a0Beowulf<\/em> in both an Anglo-Saxon\u00a0historical context and in conversation with contemporary current events and cultural knowledge.<\/p>\n

The general public is invited, and high school classes are expressly invited. However, because of the sophisticated and violent content, the performance is recommended for adults and young adults only.<\/p>\n

Awarded a fellowship funded by the National Endowment for the Arts, Chris Vinsonhaler is an internationally touring artist who also serves as a professor with the City University of New York.<\/p>\n

\"\"
Chris Vinsonhaler performing her piece “Beowulf: A Poem for Our Time.”<\/figcaption><\/figure>\n

Her performance work has received praise from scholars, poets, teachers, storytellers, and armchair readers. \u201cYou made Beowulf<\/em> come alive even for those who hated reading it,\u201d said Rosemary DePaolo, President of the University of North Carolina, Wilmington. \u201cYou made the audience feel that Beowulf<\/em>, Grendel, and Hrothgar were with us\u2014in the room, and in our time.\u201d<\/p>\n

\u201cVinsonhaler\u2019s Beowulf<\/em> bristles with an energy and enthusiasm that is both captivating and infectious,\u201d said Andy Orchard, Professor of Anglo-Saxon at Oxford University.<\/p>\n

\u201cBeowulf<\/em> does indeed have something for everyone,\u201d said Vinsonhaler. \u201cIt is a dazzling work of poetry, and it is also a knock-em, sock-em piece of pop culture about a Dark Ages super hero. It is somber and thought-provoking, but it is also a lot of fun. That\u2019s what great storytelling has always been about.\u201d<\/p>\n

Yet those who are familiar with Beowulf<\/em> should expect to be surprised. “Beowulf<\/em> has many surprises in store,” Vinsonhaler said. “The poem is ironic, subversive, grotesque, and darkly comic; and it may even lay claim to be the world’s first murder mystery. Yet, above all, Beowulf<\/em> is a prophetic work about the death of nations. It presents a world overshadowed by the image of a burning tower and by monstrous acts of avarice, envy, deceit, and revenge. It is very much a poem for our time.”<\/p>\n

Now fifteen years into the project, Vinsonhaler has completed a Ph.D. in pursuit of the project. And she believes the secret of the poem is revealed through performance.<\/p>\n

\u201cAs a professional storyteller, I wondered what would happen if Beowulf<\/em> were seriously examined and interpreted through performance. Although many questions remain unanswered, one thing that is almost certainly true: Beowulf<\/em> was meant to be heard, not read. What excites me most, and what I hope to share with others, is that the poem does indeed take on a life of its own when returned to spoken form.\u201d<\/p>\n

Chris Vinsonhaler is currently working to revise her translation and has a website<\/a> designed to\u00a0help students of Beowulf<\/em> access the “bones” of the language in order to better understand the poem and its performed context.<\/p>\n


\nDAY 2 (Saturday, 4\/8):<\/strong>\u00a0Haunting Tales of Grendelkin<\/i><\/p>\n

Act 1:<\/strong>\u00a0Giedd in Geardagum<\/em> “Songs of Yore”
\nRecitations by Richard Fahey<\/a>
\nwith\u00a0instrumentation accompaniment by Chris Vinsonhaler (harp)<\/p>\n

This first act will be comprised of\u00a0three\u00a0recitations of short episodes from\u00a0Beowulf<\/em> in the original Old English language and accompanied by the bardic harp.<\/p>\n

    \n
  1. The Lay of Scyld<\/em> “Terror and Tribute” is the first of the three lays, and the shortest.\u00a0Scyld’s Lay<\/em> establishes a paradigm for heroic kingship in the poem. It tells of the heroic deeds of Scyld Sceffing, as he terrorizes the surrounding nations and exacts his tribute from them.<\/li>\n
  2. The Lay of Sigemund<\/em> “Murder and Plunder” is the second lay in the series, and tells of the heroic deeds of Sigemund (from the V\u01eblsunga saga<\/em> and associated literature), especially his slaying of a mighty dragon and plundering his treasure. This episode\u00a0foreshadows the later dragon episode and describes Sigemund in terms similar to the monsters in the poem.<\/li>\n
  3. Grendel’s Approach<\/em> “Becoming a Monster” is the last section of Beowulf<\/em>, and describes how Grendel comes from the dark night, through the swamps and into the hall to feast on the men there.\u00a0Grendel’s Approach<\/em> isolates the terrifying moments in which the monster finally arrives\u00a0and confronts both characters and readers for the first time in the narrative.<\/li>\n<\/ol>\n
    \"\"
    Richard Fahey, PhD candidate in English at the University of Notre Dame<\/figcaption><\/figure>\n

    Richard Fahey<\/a> is a PhD candidate in the English Department at the University of Notre Dame where his research interests include\u00a0monstrosity, syncretism, rhetoric and intertextuality in Old English, Old Norse literature and Anglo-Latin literature. In addition to producing Grendelkin<\/em>, Richard\u00a0is currently working on his dissertation “Enigmatic \u00c6glacan: Riddling the Beowulf<\/em>-monsters” which brings the Exeter Book riddles into conversation with Beowulf<\/em> through lexicographical and stylistic analysis. Richard is also an editor and contributor to Notre Dame’s medievalist blog\u00a0The Chequered Board<\/em><\/a>\u00a0and for the affiliate Old English Poetry translation and recitation project<\/a>.<\/p>\n

    Act 2: <\/strong>Sceadugenga<\/em>
    \nAvant-garde performance by\u00a0\u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769<\/em>
    \nwith instrumentation\u00a0by Tom\u00a0Fahey, Adam Blake and CJ Carr
    \nand\u00a0dance\u00a0accompaniment by Wisty Andres, embodying the character of Grendel<\/p>\n

    Boston sound artist\u00a0Tom ‘Totem’ Fahey<\/a>\u00a0started working with sound and becoming invested in music as far back as elementary school. Forming several bands in his youth, he eventually found himself at Massachusetts College of Art and Design in the S.I.M. program [Studio for Interrelated Media]. Here he took to avant-garde compositions and developed his ear and vision for studio and live event production.<\/p>\n

    Since then Tom has performed in numerous\u00a0projects ranging from folk music to experimental noise to black metal, and has done various sound installations and sound design work for local artists and musicians. Tom has worked also as art director for Boston’s annual New Year’s art festival\u00a0First Night<\/em>\u00a0from 2011-2015.<\/p>\n

    (((::OF THE SUN::)))<\/em> <\/a>was started in June 2010 by Tom Fahey and Adam Blake<\/a> from the ashes of an experimental improvisational sound project called Fractillian<\/em>, which performed around the Boston area from 2007- 2010. Having taken on the visual projection art\u00a0of Andrew Goldman, they performed live for the first time in November 2010.\u00a0(((::OF THE SUN::)))<\/em> is influenced by Norwegian Black Metal and avant-garde Drone music.<\/span><\/p>\n

    \"\"
    Boston sound artists “\u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769 performing two acts in Grendelkin.<\/figcaption><\/figure>\n

    Shortly after forming, the vocal and performative\u00a0force of CJ Carr<\/a> joined Fahey and Blake and they performed as a trio for the first time in February of 2011.<\/p>\n

    In 2012 (((::OF THE SUN::))<\/em> started performing with acro-yoga artists Adam Giangregorio and Nicole Leland, which became a regular part of the experience, and in 2015 joined forces with the movement artist Wisty, performing with Grendelkin<\/em>.<\/p>\n

    Wisty Andres<\/a>, originally from Tokyo, Japan, started dancing in Columbus, OH at age 7. She has trained in classical ballet, modern, jazz, latin dancing, stilting, and tumbling. She is an alumna of Interlochen Arts Academy where she performed Les Patineurs, Sleeping Beauty, Viva Vivaldi, Serenade, and other classical and contemporary works. Andres\u00a0holds an AA in Dance from New World School of the Arts College in Miami, FL.<\/span><\/p>\n

    \"\"
    Wisty Andres, Boston performing artist in \u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769 and Grendelkin.<\/figcaption><\/figure>\n

    Andres\u00a0moved to Boston in June 2013 and performed solo work (Satta under Vatten) at the Boston Contemporary Dance Festival 2013 and has also been involved in several projects with 1000virtuesdance since July 2013. Andres previously worked with Penumbra:Movement as a guest choreographer at the 2014 Dance for World Community Festival and a guest artist in the 2014 Spring aMaSSit concert. <\/span><\/p>\n

    Andres\u00a0is currently dancing with Urbanity Dance Underground Company, and also a dancer and Resident Choreographer for Penumbra:Movement. She has been presenting works all over the Greater Boston Area as an independent choreographer in various venues, including NACHMO Boston 2014 and 2015, Third Life Studios Choreographer Series, Urbanity NEXT showcases, and Green Street Studios.<\/span><\/p>\n

    The second act,\u00a0Sceadugenga<\/em>\u00a0is inspired by Grendel’s haunting approach\u00a0to Heorot, and the psychology and mythology surrounding a monster. This piece incorporates the Old English language and raises some of the questions discussed in the current scholarship.<\/p>\n


    \n<\/i>Act 3: <\/strong>Umberhulk<\/em>
    \nAvant-garde performance by\u00a0\u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769<\/em>
    \nwith instrumentation\u00a0by Tom\u00a0Fahey, Adam Blake and CJ Carr
    \nand\u00a0dance\u00a0accompaniment by Wisty Andres, embodying the character of Grendel<\/p>\n

    \"\"
    \u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769 performing with Shri Rajuli at “First Night” Boston, TRIBE VIBE (12\/31\/14).<\/figcaption><\/figure>\n

    For those interested in previewing a performance, there is video<\/a> footage corresponding with the above image of\u2768\u2768\u2768:: Of The Sun ::\u2769\u2769\u2769<\/em> performing their song “Light” at Boston’s “First Night” in an event called Tribe Vibe.<\/p>\n

    The third act,\u00a0Umberhulk<\/em>, explores the parallelisms between heroes and monsters, such as is found in descriptions of\u00a0Beowulf and Grendel during their epic battle in the hall.<\/p>\n


    \n\u200b\u200bAct 4:<\/strong>\u00a0Wrecend\u00a0<\/em>
    \nMovement art piece by Shri Rajuli
    \nwith instrumentation accompaniment by Tom\u00a0Fahey (drums and throat singing)
    \nto\u00a0music by Eiv\u00f8r P\u00e1lsd\u00f3ttir<\/p>\n

    “Shri” Rajuli <\/a>(Rajuli Khetarpal Fahey) dances with a spirit that is rooted and ancient. Every movement piece is a ritual for Rajuli. Over time, a fusion\u00a0of movement influences from around the world has blossomed into her ever evolving dance style, which Rajuli\u00a0describes as “Temple Tribal Fusion.”<\/p>\n

    Rajuli has performed and taught for over ten years. She has studied and collaborated with dance professionals\u00a0all across\u00a0America. Rajuli is an active movement and installation artist from Boston, and\u00a0received BFA with Distinction from the Studio for Interrelated Media from the Massachusetts College of Art and Design and is a Rachel Brice 8 Elements Initiate. Her movement art\u00a0incorporates elements of Indian folk, Ballet, Jazz, African, Haitian, Flamenco, Gothic, Butoh and Modern and modern dance style.<\/p>\n

    \"\"
    Movement artist Shri Rajuli. Rajuli will be performing her piece “Wrecend” and embodying the character of Grendel’s mother.<\/figcaption><\/figure>\n

    Rajuli has produced movement art shows in the past,\u00a0such as her recent event\u00a0Immaculate Portal<\/em><\/a>\u00a0(7\/22\/15), which celebrates the experience and\u00a0journey of motherhood through interpretive dance. Links to additional performances may be found on her website<\/a>.<\/p>\n

    Rajuli will be performing the final act of the evening, her piece titled Wrecend<\/em>, which explore the experience of maternal loss and grief from the perspective of Grendel’s mother.<\/p>\n

    After the final act, there will be a brief panel discussion of performers in Grendelkin<\/em>, discussing their art in relation and conversation with some trends in scholarship. At this time, audience feedback and questions are welcomed!<\/p>\n

    Whether you are a medievalist, an artist, an educator or an enthusiast, we hope you will join us for\u00a0Grendelkin!
    \n<\/em>
    \nSpecial thanks to Chris Abram, John Van Engen, Thomas Burman, Megan Hall, Peter Holland, Sara Maurer, the English Graduate School, and especially the Medieval Institute for their support of this project.<\/em>
    \n<\/em>
    \nRichard Fahey
    \nArt Director\u00a0and Producer
    \nPhD Candidate
    \nDepartment of English
    \nUniversity of Notre Dame<\/p>\n

     <\/p>\n

    Resources for accessing\u00a0Beowulf in Old English\u00a0and its manuscript context<\/em><\/p>\n

    Critical edition:\u00a0Frederick Klaeber’s critical edition<\/a>
    \nStudent edition:\u00a0    George Jack’s student edition
    \n<\/a>Electronic edition:     Kevin Kiernan’s electronic\u00a0edition<\/a>
    \nDigitized Manuscript:\u00a0    British Library, Cotton Vitellius A.xv<\/a>\u00a0(Nowell Codex).<\/p>\n","protected":false},"excerpt":{"rendered":"

    Most of us in the English-speaking world have read\u00a0Beowulf, in translation and in high school. It is generally taught as an ancient text with insights\u00a0into Anglo-Saxon culture, whispering from our distant past. But can these whispers speak meaningfully to us today, aside from mining historical gems from the text? Beowulf is a medieval poem\u00a0about\u00a0heroes and … <\/p>\n

    Continue reading “Grendelkin”<\/span><\/a><\/p>\n","protected":false},"author":1886,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[483881,242321,73957,264203,264201,246737],"tags":[73920,5065,16403,73478],"class_list":["post-2943","post","type-post","status-publish","format-standard","hentry","category-monsters-wonders","category-news-and-events","category-north-seas","category-special-series","category-the-future-of-the-humanities","category-the-profession","tag-beowulf","tag-events","tag-pedagogy","tag-pop-culture"],"_links":{"self":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/2943","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/users\/1886"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/comments?post=2943"}],"version-history":[{"count":83,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/2943\/revisions"}],"predecessor-version":[{"id":3878,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/posts\/2943\/revisions\/3878"}],"wp:attachment":[{"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/media?parent=2943"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/categories?post=2943"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.nd.edu\/manuscript-studies\/wp-json\/wp\/v2\/tags?post=2943"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}