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Dance, Music, Song & Talk at Red Barn Folk Festival

by Pat MacPherson, CDSS Director of Education

A1H_1179-optTwo weeks ago, I made my way to the Red Barn at Hampshire College in Amherst, MA, the site of some mighty fun contra dances. On this occasion, however, I was going to take part on a panel at the first Red Barn Folk Festival, organized by Hampshire College senior, Abigail Hobart.

Abigail, part of a family of lifetime music and dance enthusiasts in Bellingham, WA, produced the festival as her senior project. Her hope was to educate and entertain a general audience about community-based New England folk traditions. Through participatory song and dance, the audience could critically engage with pertinent themes and topics: the evolution of tradition, fostering inclusive community, sustaining music and dance traditions, and the efficacy of local food systems. As Abigail wrote, “I tried to convey my belief that thoughtful maintenance and participation in community folk-traditions causes personal enjoyment, aids cultural preservation, and builds community, with the hope that this message was carried home by each festival attendee!”

A1H_1175-optWhen I opened the barn door, there was Tim Ericksen, one of our local superstars, in the middle of a condensed history of New England shape-note singing. Following hearty singing and a short break, the panel discussions started. CDSS Education Associate, Mary Wesley, singer and song organizer, Julia Friend, and I talked about the importance of nurturing youth participation in the participatory folk traditions, followed by two more discussion panels.

A1H_1403-optWith an attentive audience, great food supplied by local producers, and fabulous music by Sassafras Stomp, old-time singers Emma and Tati, and contra dancing for all, the first Red Barn Folk Festival was a successful expression of the values, strengths, and vitality of the local traditional arts and food communities in the Pioneer Valley of Western Massachusetts. Great job, Abigail.

More photos are on Abigail’s Facebook page, https://www.facebook.com/search/str/abigail%20hobart/keywords_top.

 

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Spread The Joy—It’s a slogan, it’s a song!

by Jonathan Jensen

Musician, songwriter and longtime CDSS member Jonathan Jensen, of Baltimore, sent us this lovely gift of his song in honor of our Centennial in 2015. It debuted on March 24, during Celebration Week. Download a PDF of the sheet music or listen to Jonathan and friends sing the song here. Or hear the song and watch the video here.

MuseScore_ Spread The JoyIn the CDSS world, I’m most active playing piano for English country dance, contra dance and couple dancing, as well as writing tunes in all these genres. Lately, though, I’ve become increasingly busy writing songs ranging from goofy parodies like The Tea Chantey to rounds and serious ballads. So as the 100th anniversary of CDSS approached I had a mind to write some kind of tribute in words and music. It was hard to get a handle on this project until I noticed the slogan “Spread The Joy” on one of the organization’s mailings. Once I decided on those three words as the title and the theme, the song all but wrote itself. There are so many ways we all spread the joy of music, dance, story and song in our various communities that I probably could have come up with dozens of verses (although the requirements of rhyme and meter do impose certain limitations).

Once the song was written, I e-mailed a quick demo to CDSS headquarters, where it was well received. There was a thought of posting it on the website and Facebook page right away, but on reflection it was decided to make a professional recording with multiple voices that could be used as the basis of a video. There followed an e-mail and phone barrage to many likely participants and the inevitable poring over schedules to decide who the final cast would be and when we could all get together. I was very fortunate to have Charlie Pilzer offer his services and studio (Airshow Mastering) for free. Terry Leonino and Greg Artzner, who make up the celebrated duo Magpie are friends of the Pilzers, and kindly volunteered to take part. Veteran dance musicians Steve Hickman and John Devine signed on to sing and play. Multi-instrumentalist Paul Oorts offered to round out the texture on mandolin. And when I decided we should have a teenage singer to represent the next generation, Steve got his daughter Maren to come along—and his wife DeLaura Padovan joined in for good measure.

On the evening of February 15 we all met at Charlie’s studio in Takoma Park. After a few run-throughs we worked out an arrangement that suited all the voices and made a number of takes, with me handling string bass duties. None of our readings were perfect all the way through, but we got to see Charlie work his wizardry as he swiftly replaced a faulty note or phrase from one take with a better version from another. We look forward to sharing the song with our friends across the nation as we join in celebrating the first 100 years of the Country Dance and Song Society.

CDSS is delighted to have its own song for the Centennial—we look forward to singing it with friends and humming it as we work. Thank you, Jonathan, for writing it; thanks to Charlie, Terry, Greg, Steve, John, Paul, Maren and DeLaura for the audio recording; and thanks to Mary Wesley for the video.

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Categories: American Dance, Ballads, Beginning Dancers, Centennial, Chorus Songs, Contra Dance, Dance Callers, Display Dance, English Dance, Features & Fun, Folk Dance, Guest Posts, Morris Dance, Musicians, Old Time Dance, Round Dance, Rounds, Song, Square Dance, Traditional Dance, Traditional Music, Traditional Song, Updates from the Office | Tags: | + Leave a comment »

Storytelling at Ralph Page Dance Legacy Weekend

The 2015 Ralph Page Dance Legacy Weekend was a special one for CDSS.  Each year the weekend hosts a “retrospective session;” several hours of the dance weekend dedicated to honoring and exploring some component of dance/music traditions and history.  This year the session was focused on our Centennial: “100 Years of CDSS: The Country Dance and Song Society.”

Thanks to the herculean efforts of Adina Gordon, the organizer and emcee of the session, speakers and performers from far and wide gathered to speak about the multi-faceted history of CDSS and how the organization has touched their lives.  We heard from our current Executive Director, Rima Dael, as well as current Board President David Millstone (of course David called a few dances as well.)  Fred Breunig called an English Country Dance and shared memories of dancing with May Gadd at Pinewoods.  We heard from Tom Kruskal about leading the first morris tour of the Pinewoods Morris Men in Harvard Yard and then he grabbed his concertina and jumped down to accompany Jacqueline and Dudley Laufman as they played Highland Mary for the Canterbury morris side (Dudley will tell you this is the largest morris team in the world whose entire membership lives in the same town!) Dudley Laufman also spoke about dancing Money Musk and bringing his ever rebellious spirit to CDSS camps.  Carol Ormand, one of the weekend’s staff callers, shared memories of learning to call squares from Ted Sannella at camp and then of course she called one.  The session closed with a big circle mixer with great tunes from Rodney Miller, David Surette and Gordon Peery.

The Weekend was a Passport to Joy event and Passport stickers were flying off their sheets; for many this was the first stamp they’d received.  CDSS had a small selection from our store set up as well as some historical materials shared from the timeline on the new Centennial website.  During the weekend Pat MacPherson and I were also collecting stories for the CDSS Story Project.  Dancers answered three questions:

      1. I started dancing in: ____(year)____.
      2. I was ____ years old.
      3. I went dancing because: _________.

You can view all the wonderful responses here on our Flickr photostream.  I also loved seeing people reading the stories, which we posted on the wall and talking with each other about their memories and experiences.  It was nice to see first hand the kind of sharing and bonding we hope will emerge by giving people the opportunity to share stories about the traditions we all love.  Visit the story project home page to learn about collecting stories in your own community.

CDSS thanks the Ralph Page Dance Legacy Weekend and all who attended for being part of our Centennial celebration!

 

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Categories: American Dance, Centennial, Contra Dance, Features & Fun, Morris Dance, Musicians, Song, Traditional Dance, Traditional Music, Traditional Song | + Leave a comment »

Trad Dance & Music Exhibit Opens in New Hampshire

by Lisa Sieverts

2015_sieverts_monadnock exhibit

Image: mid-1850s Dance Prompter’s Notebook

Interested in the history of contra and square dance? Come to Peterborough, New Hampshire, to view an exhibit opening on January 24, 2015:  “Gents Bow, Ladies Know How: Traditional Dance and Music in the Monadnock Region 1750-2015.”

“Gents Bow, Ladies Know How” traces the long history of traditional dance and music in southwestern New Hampshire from Colonial times to the present, with an emphasis on the 18th and 19th centuries. The Monadnock region of New Hampshire is one of the few places in the country where these dances have been done continuously since the mid-1700s.

The exhibit features artifacts, documents, instruments, photographs and audio recordings.  In addition to the on-going exhibit, there will be a series of presentations scheduled monthly beginning in February.

“Gents Bow, Ladies Know How” will be open to the public through May 23, 2015. The Monadnock Center’s regular hours are Wednesday through Saturday, 10 AM to 4 PM, and admission is $3.00 (free for Monadnock Center and Country Dance and Song Society members). The exhibit takes place in the historic Monadnock Center building in Peterborough, New Hampshire at 19 Grove Street.

Two local organizations, the Monadnock Center for History and Culture and the Monadnock Folklore Society, have partnered to develop this exhibit. Generous grant funding was received from the New Hampshire State Council on the Arts. In addition, the Animal Care Clinic-Monadnock has sponsored the exhibit—the owner is the grandson of the caller Duke Miller.

The Country Dance and Song Society was the inspiration for this exhibit—the idea arose as the Monadnock Folklore Society brainstormed how to participate in the celebration of the CDSS Centennial.

For more information call 603-924-3235 or visit http://www.MonadnockCenter.org.

The Monadnock Center for History and Culture is a community museum that has been dedicated to preserving and celebrating local history and culture since its founding in 1902. The Monadnock Folklore Society was founded in 1980 to increase the visibility of folk dance and music events in southern New Hampshire and provide educational services in the folk arts to the community.

Lisa Sieverts is an experienced project manager and facilitator, and owner of Facilitated Change. She is a longtime contra dancer and caller, and a regular caller at Nelson, NH’s Monday night dances. Lisa is a CDSS member and a member of the Monadnock Folklore Society’s board.

map_monadnock

Monadnock region of New Hampshire, named after Mount Monadnock

 

 

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Categories: American Dance, Arts & Tourism, Arts Advocacy, Ballads, Beginning Dancers, Chorus Songs, Contra Dance, Dance Callers, Display Dance, English Dance, Features & Fun, Folk Dance, Guest Posts, History & Archives, Ideas & Resources, Musicians, Old Time Dance, Round Dance, Rounds, Song, Square Dance, Traditional Dance, Traditional Music, Traditional Song, Updates from the Office | + Leave a comment »

Pat Napier

by Katy Tarter German

In 2007, CDSS awarded its CDSS Lifetime Contribution Award to Patrick Napier of Bowling Green, Kentucky,  for his long service and inspirational teaching to his local community. The article below appeared in the CDSS News, issue #198, September/October 2007. Pat died on September 6, 2014, at the age of 88.

pat napierPat Napier is a living legend in Berea, Kentucky. He has been teaching Appalachian dancing and stories since the 1930s. A paper he wrote for a Berea College recreation class early in his career has been the gold standard for folk dance teachers and instructors, and is still being used today. For over fifty years, he has been a much-loved staff member at Berea College’s Christmas Country Dance School as the teller of Jack Tales and teacher of the Big Set and Kentucky Running Set dances.

As a boy, Pat was a student of the legendary Frank H. Smith who worked for Berea College and the Council of Southern Mountain Workers in the 1930s and ’40s. From him Pat learned singing games such as “Paw Paw Patch,” “Old Bald Eagle,” and “Jump Josie.” Learning folk games and dances from Smith and others, Pat attended his first Mountain Folk Festival in 1942.

“We practiced square dancing,” he said, “but used a two-hand swing mostly. The closed swing was used in our folk games but usually not permitted in the square dancing. The teachers finally got over this problem.”

Pat’s introduction to the Big Set was in the spring of 1943 when he entered Berea College. “Uncle Frank,” as Smith’s students called him, invited Pat to join the Country Dancers, and, at an early session, Smith announced Pat would call a square dance.

“As many of you know, says Pat, “there’s a difference between a good caller and a beginning caller so I did a very poor job.”

However, he made up for it. He joined the Merchant Marines in 1943 and wrote down all the dance figures he could remember, practicing his calling on the fantail of a Liberty ship in the South Atlantic and South Pacific oceans using imaginary dancers. Returning to Berea in 1946, he rejoined the Country Dancers as a caller and subsequently wrote the booklet Kentucky Mountain Square Dance as a paper for a Recreational Leadership class in 1949.

Pat Napier has worked quietly his entire life to bring history, tradition, music and dance into the lives of those who are most often overlooked. He has spent his whole life preaching and teaching Eastern Kentucky dance traditions in rural areas of the state. A firm believer of the community-building power of traditional dancing, he has been a mentor and inspiration to hundreds of people in Kentucky over the years.

 

 

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Math, Music and Contra Dance

by Lena Erickson

lena ericksonI first heard about contra dance at a small math conference in Northfield, Minnesota during the summer of 2013 when a graduate student described the connection between contra dance and permutation groups. Contra dance, a type of partnered folk dance, involves people dancing in two lines facing each other or in groups of four. If the participants of a contra dance are each labeled with a number, with n being the total number of dancers, then their most basic interactions during the contra dance can be represented as permutations on the set of numbers one through n.

norman, OK contra dance_miranda arana_cropped

Norman, OK, contra dance, December 2014 (Miranda Arana)

 

A permutation, put simply, means a reordering of members of a set, so a permutation of the dancers is a function that moves the dancers to other dancers’ positions, like two people swapping places (e.g. gents’ allemande), a group of four people circularly moving in a full rotation (e.g. circle left), or no one changing position (i.e. the identity permutation). If you combine these functions, adding one small dance step to another, you’re composing permutations, which is the operation that defines the algebraic structure known as a permutation group.

norman, OK contra dance 2_miranda arana

Norman, OK, contra dance, December 2014 (Miranda Arana)

This link to mathematics brings something special to contra dance: it evokes a feeling of connection to the universe at large. Permutation groups themselves are only yet a subset of the set of reflection symmetries, which has applications anywhere symmetry is present: in the structure of a snowflake, in the arrangement of atoms in a molecule, and even in the transpositions and inversions in Bach’s Art of Fugue, which are precisely the symmetries of a dodecagon. Math is deeply and richly tied to music and dance, and my knowing that the movement of our bodies in dance symbolized a greater relationship between elements brought an almost spiritual aspect to my experience of contra dance.While the mechanics of the dance were explainable by the mathematical structures I’d previously come to understand, the experience itself involved so much more: a sense of community, an interaction with people normally distanced, and the exhilarating act of applying these abstract concepts I’d learned to movement in the physical world, with music playing and bodies moving all around me.

Lena Erickson is a senior at Oklahoma University in Norman, OK, majoring in math.

Our thanks to CDSS member Miranda Arana who sent us Lena’s essay. She teaches Introduction to World Music for non-music majors at OU.

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Southwest Regional Organizers Conference (SWROC): From Conference to COALITION

by Linda Henry, CDSS Outreach Manager

Here’s a glimpse of history-in-the-making for dance communities throughout the Southwestern U.S…

SWROC group photoOn September 19, 2014, an enthusiastic crowd of 78 dance organizers from the Southwest (AZ, CA, CO, NM, NV, OK, TX, UT) and beyond (MA, TN) converged at the University of New Mexico in Albuquerque. They represented contra, English country, square, and gender-neutral dance communities. Whether they had met at regional dance weekends or were total strangers, their shared passion for dance organizing sparked conversations from the minute they arrived.

SWROCthreewomen_leithThe weekend was packed with pertinent workshop sessions covering three over-arching areas: Strengthening Your Organization, Improving Your Dance, and Growing the Market. For further glimpses of the program, follow these links to the schedule, session descriptions, workshop leaders, and archived materials from all sessions.

Beyond the structured sessions, participants enjoyed sharing meals, making new connections, and dancing together both evenings. Friday night we created an all-conference dance with calling and music by the participants, and on Saturday we swelled the ranks at the NM FolkMADS dance in Albuquerque.

SWROCdance1_leithAn especially pivotal discussion happened during a session called “Crossing the Border: Connecting groups within each state and throughout the region.” With the help of Wendy Graham’s skillful facilitation, twenty participants brainstormed ways to start collaborating about booking bands and callers, etc.

The session culminated with a BIG lightbulb moment that led to plans for a ground-breaking pilot project. This group will collaborate to create a tour for a well-known band to play for two consecutive dance weekends and travel from one event to the other, offering house concerts and workshops as they go. This type of tour has never happened in the Southwest and will open doors for bringing a new stream of talent to the entire region!

The group decided to keep the SWROC acronym and simply change the word “conference” to “coalition”. This outcome is exactly what CDSS hopes to make possible through supporting regional conferences like this.

SWROCcirclemixer_leithAs the conference came to a close, we did a circle mixer that ended with finding our own “trail buddy.” We talked in pairs about specific ways we’ll be supporting each other to strengthen our home dances by using resources from the weekend. A parting circle left us feeling energized by the exponential ripple effect it will have. These 78 participants are now bringing new resources, connections and energy to all their dance communities that each have 50-100+ members, reaching over 5,000 people!

I’ll end by thanking the MANY people who made SWROC possible. Members of the Steering Committee and Program Committee spent countless hours putting all the pieces into place. So here is a BIG THANK YOU to Ron and Linda Nieman, Nate Puffer, Annie Laskey, Erik Erhardt, Lisa Bertelli, Jeff Spero, and Michael Barraclough. We also greatly appreciate coordinator Deb Brunt and all Albuquerque volunteers who handled the local logistics.

We also thank the other co-sponsoring organizations (New Mexico Folk Music & Dance Society and Phoenix Traditional Music & Dance) and seven additional dance groups that helped organizers from their communities attend this conference.

For more information, see the SWROC website and visit this link for glimpses of previous conferences co-sponsored by CDSS. Questions? Contact Linda Henry, CDSS Outreach Manager.

P.S. Registrations are now open for the next conference. Puttin’ On the Dance 2: Hands Across the Border will be held on March 20-22, 2015 in Ottawa, ON. Information about registration and much more is available on the POTD2 website.

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CDSS Midwest Camp Task Group Survey

The CDSS Midwest Camp Task Group (MCTG) was established by the CDSS Board at its annual meeting in April 2012 to explore the feasibility of establishing a summer camp focusing on traditional dance, music and song in the center of the continent.  We want to reach out to new audiences and offer a program, in addition to our East Coast offerings, to CDSS members and non-members that is accessible and fun. CDSS is very interested in exploring models and partnerships to bring this idea to life as part of our mission to spread the joy of traditional dance, music and song through camp programs.

The initial discussions of the MCTG included representatives from Michigan, Ontario, Iowa, New Mexico and Minnesota and involved developing criteria that could be used to define prospective camp facilities. At the same time, we made some assumptions about what we thought would be the best program to suit a wide audience for a week-long adult summer camp. Because the discussion continued to raise questions about what the optimum program and setting would be, we decided to ask our greatest asset for their opinions, and that would be you!

The purpose of this survey is to gather information regarding preferences related to programming of a week-long event, and to determine if there is an appetite as well as community support for another camp in an environment where there are already many competing events. The information gathered in this survey will be used in developing a business model and plan to bring this camp to fruition if the results indicate widespread interest and support for such a camp. A summary of the data and findings will be shared on the CDSS website.

We hope that you’ll take the time to complete our survey and give us your ideas.  Here’s the Link!

Please feel free to share this email with others in your community who you think may not be on the CDSS email list.

Thank you so much!

Bev Bernbaum, Michael Hamilton & Nikki Herbst
Market Survey Subgroup of the Midwest Camp Task Group

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How to Photograph a Contra Dance

by Doug Plummer

Doug Plummer is well known in the dance community nationwide as that guy who takes all the dance photos and videos and puts them all over Facebook and in a calendar. Since 2012 he has self-published the Contradance Calendar, a premium wall calendar that captures the best contra dance moments from around the country. To get a 2015 calendar, support the Kickstarter campaign for it, which is live from now until September 11, or buy one from the CDSS store come November.

South Coast Folk Society contra dance at Green Acres Grange Hall, Coos Bay, OR

South Coast Folk Society contra dance, Green Acres Grange Hall, Coos Bay, OR, 2014 (Doug Plummer)

There is no such thing as a photograph of a contra dance. The only thing we can capture is a moment in a dance. So the first thing is to identify that: a moment that might be captured.

Actually, let’s back up. The first thing is to identify how we feel at a given moment. When we dance, we go through a series of fleeting emotions. There’s the cordial greeting of a hands four. There’s the ramp-up anticipation of a balance. The connection of an allemande. The dramatic feeling of a wall of you convening and receding in a great long line. The delight of a new neighbor. The alarming stare down contest of a gypsy. The consummation of a lovely, long swing with your beloved partner, until you dump her for the next dance.

Contra dance, AmWeek, Jones Gulch YMCA Camp, CA.

Contra dance, Bay Area CDS’s American Week, Jones Gulch YMCA, La Honda, CA, 2014 (Doug Plummer)

When you watch a dance, those moments and feelings have physical expressions. There are bodies in contact and in connection that you can isolate and capture. That is the reason to have a camera at a dance—to more deeply connect with those significant, fleeting moments full of feeling, and to maybe stop and hold one.

So, given that, what do you do to take a photograph that holds all that ambition? The first trick is to watch for just a single moment that you emotionally connect with. Shoot only that. Thirty-two beats later, it comes around again. Keep whacking away. How you feel inside is your signal that you might be getting closer.

Here is maybe the most important advice to becoming a better photographer. Don’t stare at the back of your camera at what you just did. Don’t pay any attention to the results of your shooting. It only takes you away from the moment. All that investment in getting connected with the dance, with the dancers, with the beat and rhythm and the energy surrounding and carrying you away—look at the screen for longer than a second and you’ve left the room. It takes great effort to reenter. Edit when you get home.

Another tip: get close. Get within elbow dodging range. Make people know you’re there. Be engaged with them. If someone doesn’t want you there, you’ll feel it and you can adjust. But that rarely happens. Don’t be a jerk, but don’t feel you have to be a wallflower in order not to be one. Everyone notices the person trying to photograph unobtrusively. If you’re in the middle, you disappear.

The first thing I tell my workshop students is, go forth and fail. You have great aspirations to capture the perfect moment, and mostly you won’t. That’s part and parcel of the creative process. You flail and you fail again and again, and then, you get a glimmer of something that’s starting to work, and you chase that and see if you can do it again. It doesn’t matter a whit what kind of camera you use. The process of creative growth doesn’t care.

Wasatch Wiggle, Utah

Wasatch Wiggle, Salt Lake City, UT, 2013 (Doug Plummer)

Photography, especially in the digital age, is an act of great profligacy. That’s not to say that you shoot indiscriminately and without intention. Just the opposite. It takes a great deal of attention and effort to stay deeply connected with the moment, and from that connection comes the urge to click the shutter. It might happen a lot of times in a few seconds, particularly in the complex, dynamic environment of a contra dance hall, as a feeling hits. I rarely come away from an evening of photographing a dance with fewer than two or three hundred exposures. And I don’t sit out that many dances.

And when you do sit at your computer that night, posting on Facebook? Don’t post the two dozen variations of a single move that are pretty good. Post only the best one. The fewer shots you post, the better photographer people think you are. And it indeed makes you a better photographer.

This article is in the Fall 2015 issue of the CDSS News in both print and online versions.

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Categories: American Dance, Arts & Tourism, Beginning Dancers, Contra Dance, Dance Callers, Display Dance, English Dance, Features & Fun, Folk Dance, Guest Posts, Ideas & Resources, Musicians, Old Time Dance, Publications, Round Dance, Square Dance, Store, Traditional Dance, Traditional Music, Updates from the Office | + 1 Comment »

Southwest Organizers Conference—important deadlines!

by Linda Henry, CDSS Outreach Manager, on behalf of the SWROC Steering Committee

Dear Dance Organizers,

copy-ann-large-extendedIn case you haven’t heard the news, CDSS is co-sponsoring the Southwest Regional Organizers Conference (SWROC) that’s coming right up on Sept 19-21, 2014 in Albuquerque, NM. Don’t miss this exciting opportunity to gather with dance organizers from across the SW and bring lots of new resources, connections and energy back to your home community!

Here are some IMPORTANT deadlines…

August 5 is the last day to register for the early bird rate. Please visit this link and register soon! After this date, the fee will go up to $100. Scholarships are still available, and here are other ideas to help pay your way.

August 19 is the date the $68 hotel discount rate will increase to market price. Only a limited number of rooms are available for the conference, and hotel rooms are beginning to fill. We have no guarantee of room availability after this date, so please finalize your plans and make a reservation soon! (See Lodging info included in registration info.)

The SWROC Program Committee has lined up a skilled and enthusiastic team of session leaders. They’ll be providing many resources and tools to help strengthen our dance organizations, increase attendance, encourage youth participation and much more. Visit the Program info on the website for a list of session topics and leaders.

This weekend will also offer plenty of chances for talking shop, sharing stories, dancing and having fun with fellow organizers. It’s the first of its kind in the Southwest corner of the U.S and is SURE to impact dance communities throughout the region for years to come!

Got questions? Please contact the SWROC Steering Committee at swrocinfo@gmail.com or call 480-893-3328.

Know any dance organizers in the Southwest? Please refer them to the SWROC website and invite them to come. For glimpses of other conferences co-sponsored by CDSS, visit this link.

We hope to see you in Albuquerque in September!

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