Folk Tunes from the Women, curated by Kathryn Tickell, is a tune book like no other! This is a bumper book of more than 150 contemporary tunes by 100 unique composers from different areas, traditions, and backgrounds.
There’s a wide selection of jigs, hornpipes, reels, airs, marches, polkas, waltzes, mazurkas, and more. All tunes are presented as melody lines with chord symbols, making it a useful book for teachers and players alike.
Peter and Barbara Snape introduce “There Is a Tavern.” Similar to the well-known “Died for Love,” this song is by Lancastrian folk singer Emma Vickers. It is sung to the tune “McCafferty,” very similar to “Lord Franklin,” and has many floating verses.
We are delighted to announce the three recipients of the CDSS Lifetime Contribution Award: John Roberts, Tony Parkes, and David Surette. More info about their award celebrations will be posted later this year.
The Contra Connection was a series of articles for organizers and beginning callers by Larry Jennings, Dan Pearl, and Ted Sannella, published in the Country Dance & Song Society News between 1988 and 1995. All 24 articles are now in the Online Library for your perusal.
New in the CDSS digital archives! A collection of historic photos (c. 1920s-1960s, many undated) from Pinewoods, morris events in England, and other dance festivals and events. It can be accessed online by anyone and is still growing! From the Milne Special Collections and Archives at the University of New Hampshire.
The Fall/Winter 2024 issue of CDSS News has arrived! Meet the three recipients of the 2025 Lifetime Contribution Award; dance Mr. Smukler’s Inauguration; solve an ECD emoji puzzle; and much more!
Judy Cook introduces “Waterbound,” a play-party song from Grayson County, Virginia. The earliest known recording was 1929 by the Grayson County Railsplitters, and Judy shares a 1971 version by The New Golden Ring.
We’re excited to make Isaac Banner’s book of contra dances, Free and Open Dancing for All, available in the Resource Portal! This free book includes nearly 50 new dances, along with tips for running a workshop, glossary, and index by figure and dance type. It’s a great resource for new callers, as well as experienced callers looking for new dances. Check it out, as well as dozens of other resources for callers.
Rapper Sword Dance in America, by Rhett Krause, details the 110-year history of rapper in the US, with details of the movements, music, stepping, and major influences, along with how the dance has evolved differently in America than in the UK. All proceeds from this book benefit the Anthony Barrand Research & Stewardship Fund, which provides financial support to the next generation of song and dance researchers.
CDSS is an equal opportunity employer. Neither your gender, your religion, your personal life, your skin color, nor indeed any physical attribute makes a difference in our hiring process. If you’re smart and good at what you do, then come as you are. Black, Indigenous, and People of Color (BIPOC), immigrants, and LGBTQ candidates are strongly encouraged to apply.
We don't have any open positions right now; please check again soon!
In early 1900s England, there was a growth of interest in traditional English country, morris, and sword dances. In 1911, the English Folk Dance Society (EFDS) was founded to preserve and promote these dances. Subsequently, several teachers of these traditions, including Mary Neal, Florence “Florrie” Warren, A. Claud Wright, and Cecil Sharp, came to the US to teach morris and English country dance.
In 1915, aficionados of the dance in Boston established the first US branch of the EFDS with philanthropist Helen Storrow as the president. Branches were also established in Chicago, New York, and Pittsburgh. The organization originally focused on performance and demonstration groups, rather than on participatory dance. The Boston branch sponsored summer workshops, and in 1933 Helen Storrow hosted the workshops at her Pine Tree Camp near Plymouth, MA. The name was later changed to Pinewoods.
In 1933, the English Folk Dance and Song Society of America (EFDSSA) was formed, uniting the several regional US branches of the EFDS. A national headquarters was established in New York City, and May Gadd, who had come to the US in 1927 to teach dance, was appointed first national director. The organization’s name was changed to the Country Dance Society in 1949; “and Song” was added in 1967. CDSS began publishing information about dance and song traditions with The Country Dancer in 1940, in time leading to today’s CDSS News.
When Helen Storrow died in 1944, she left Pinewoods Camp to her assistant, Lily Conant, and Lily’s husband, Richard. CDSS continued to sponsor dance camps at Pinewoods, adding more weeks with different focuses, including English, American, early music, and folk music.
In 1975, CDSS added the first Family Week, eventually sponsoring up to four family programs at different facilities. In 1976, the Conant family, CDSS, and other user groups formed an independent organization, Pinewoods Camp, Inc., to own and operate Pinewoods. Since then, CDSS has operated summer programs at Pinewoods and in the Mid-Atlantic, New Hampshire/Maine, and Michigan.
As interest in modern contra, morris, and English country dancing grew starting in the 1970s, CDSS built connections and offered support to local groups, including newer groups on the West Coast. This outreach expanded CDSS membership throughout the US and Canada.
In 1987, the CDSS office moved from New York City to western Massachusetts and established a mail-order store to distribute books and instructional materials, recordings, and ritual dance supplies.
In the early 2000s, the office modernized operations, incorporated non-profit best practices, and began a multi-year initiative to develop new leaders in programs, on staff, and on the board. The first CDSS website was published in 2009, and operations moved online, including newsletters, camp registration, programming, and the CDSS Store. In 2015, CDSS marked its centennial with celebrations in communities throughout the US and Canada, artist residencies in seven communities, and a major capital campaign.
In recent years, the organization has responded to the changing needs of the community, forming task groups to support educators, pilot a regional ambassador project, organize our archives, and share resources on community safety in local communities.
In 2018, CDSS began transitioning from an office-based organization to a remote team with employees across the continent. In 2020, CDSS convened a task group and an external advisory group to address cultural equity issues. During the COVID-19 pandemic, CDSS offered online workshops and web chats that were an important source of information for individuals and groups. In 2022, CDSS redesigned its website to provide better access to resources and publicize dance activities throughout the US and Canada. In 2023, CDSS adopted a new five-year strategic plan to support generational transitions in member communities and the living traditions that continue to grow and evolve.
Prepared by the CDSS Cultural Equity History Working Group, composed of board and community members. Last updated: August 2024.
Last updated September 2024
Definition of Cultural Equity in the Context of CDSS
In the context of CDSS, cultural equity encompasses the values, policies, and practices that ensure that all people have access to the dance, music, and song traditions defined in our mission. This includes the fair distribution of programmatic, financial, and informational resources, as well as a responsibility to research and share the complete history of the traditions we support.
We are working to empower everyone who wants to participate in these traditions to do so with a full sense of safety and belonging. This includes people who have been historically underrepresented or denied access based on age, body size or type, citizenship status, disability, gender identity or expression, veteran status, national, regional, or ethnic origin, race, religion, sexual or romantic orientation, and socioeconomic status.
About Our Cultural Equity Work
This page was created to provide updates on our ongoing efforts to improve equity and remove barriers to access in our organization. This is not a finished story, nor is it one of rapid change. It is a story of deep introspection, steady progress, and work that will continue. We hope you will take the time to read about where we are and how this work is informing our new strategic plan. If you have feedback, suggestions, or questions, you are welcome to email them to katy@cdss.org.
In 2018 our Board and staff adopted a new 5-year Strategic Plan, which included mission, vision, and focus area statements, as well as four core values: stewardship, collaboration, creativity, and inclusivity. In the process of selecting our core values, we discussed a wide range of topics, from the community-based nature of the traditions we love, to the responsibility we hold to keep them healthy and thriving, and the ways in which we can remove barriers for folks who have felt excluded. The new plan went into effect in 2019. We convened Board/staff task groups to support the work and began our 5-year exploration of the way the mission, vision, and values manifest throughout our operations. We were excited and energized about building the future of CDSS with these new goals.
Responding to the World Around Us
A strong mission and strategic plan can carry an organization a long way, but sometimes the outside world necessitates a reevaluation of our priorities. The past decade of increased social activism came to a close with a contentious U.S. presidential election, the global COVID-19 pandemic, and continuing violence against Black, Indigenous, and people of color (BIPOC) individuals in the U.S. We have all been affected by these movements. And like many other predominantly white-led organizations, CDSS began reflecting as an organization on systemic racism in our institutions and how it creates misalignment between an institution’s intent and its impact. As people who believe in the positive health and emotional benefits of participatory arts, we knew we needed to do more to address structural barriers that prevent people from participating or feeling comfortable in our spaces.
The killing of George Floyd in May of 2020 felt like a tipping point—a call to action for organizations to interrogate the unexamined structural racism and cultural inequity in our spheres. That summer the CDSS staff and Board had conversations about what more we could do to educate ourselves and how we could work against systemic injustice in the folk arts community. We issued a statement affirming the need for this work within our institutions. We opened up our Community Grants to people doing anti-racism and cultural equity work in their dance, music, and song communities. We listened to community feedback calling on us to recognize and address systemic racism as it manifests in how we operate, to go beyond performative statements and checking boxes, and really commit time and resources to long-term diversity, equity, and inclusion work. And we recognized that we needed more diverse voices and perspectives to help us see the things we could not see. People who benefit from systemic inequity often have the hardest time recognizing it. Inspired by the work of Americans for the Arts, we formed a Cultural Equity Task Group that included members of the staff and Board, whose purpose was to convene a year-long advisory group of diverse individuals to evaluate our organization.
Committing to Online Programming
As part of our response to the COVID pandemic and in an attempt to broaden access to our programs, CDSS committed to year-round online programming. The organization’s main programming for the past 50+ years had been in-person camp sessions. These require money, time, and resources to attend, and are often in locations that have limited accessibility for folks with disabilities. We knew this, and yet prior to the pandemic it was hard to imagine conducting community-based programming online. The pandemic revealed a lot about what is possible for the arts online, and what types of programming and training work best in that format. So in 2021 we expanded our regular programming to include free and low-cost online offerings year-round, creating more accessible opportunities for folks everywhere to learn and develop their skills.
Convening an Independent Cultural Equity Advisory Group
Also in early 2021, the Cultural Equity Advisory Group’s year of work began. Unlike a “task group” that has a clearly defined task to accomplish, an “advisory group” is asked to provide insight and advice to the Board and staff. We asked the Cultural Equity Advisory Group to review our operations, our programs, and our outward communications within the framework of our existing mission, and to identify actions we could take to promote the living traditions that are dear to us in anti-oppressive ways. We asked them to help us understand the ways that CDSS has caused harm so we can stop perpetuating that harm. We wanted to make sure that, in our work and play, we carry out our mission of strengthening and supporting communities in a way that builds more equitable relationships.
The advisory group worked independently, with support and information from our Board and staff as requested. As they conducted their review, we continued our efforts to facilitate more training sessions for our staff, Board, and communities, as well as making grant funding available to local groups interested in anti-racism and cultural equity work. In March of 2022, the Cultural Equity Advisory Group wrapped up their work and presented the Board and staff with a write-up of their process, along with a report and recommendations.
What We Understand About Cultural Equity at CDSS
We are continuously learning and striving to be a more culturally equitable organization. Receiving the materials from the Cultural Equity Advisory Group was a significant point along the way that has helped us imagine and consider new perspectives and ideas that both challenge and inspire us. We look forward to implementing their recommendations (see “What We’ve Done” and “What’s Next” for more details) and to seek out new sources of knowledge and advice in our quest for more equity.
Some of our key lessons so far:
The literal reading of our mission statement matters. We need a mission that closely reflects the activities of our organization and the communities we serve, rather than implying that we are serving every dance and music tradition in North America.
Our connection to local communities matters. We cannot create a more equitable future alone. We’re continuing to learn as an organization—through our work, from the example of others who are already making changes, and from organizations who have been doing this work all along. As we learn, we have a responsibility to make information, resources, programming, and support available for organizers doing cultural equity work in their local communities.
The story we tell matters. We need to interrogate our organization’s history, not to erase, but to expand the narrative, acknowledging past harm and omissions, such as the impact on indigenous populations as this land was colonized and the erasure of Black and Indigenous contributions to folk traditions born on this continent. We need to set our story in the broader context of all participatory folk art traditions on the continent.
Intention in programming matters. Though CDSS draws on the expertise of independent dance, music, and song leaders to create our programming, we are ultimately responsible for what is presented in our programs. We have a responsibility to provide guidance, support, and resources so that we can work together with artists and participants to correct harmful narratives and provide appropriate historical context to the materials we share.
Representation matters. We need to do a better job of recognizing and representing the diversity that exists in the CDSS network of communities in the programming we offer and among the writers and contributors with whom we work.
The materials we make available matter. We are continuing to share unexamined historical materials via our store, publications, and resources, some of which perpetuate problematic narratives. We need to review what we are offering, critically evaluate our store items and publications, and provide context and additional information where necessary.
Access to decision-making matters. Service on our Board right now requires a certain amount of privilege, including time, energy, and the means and ability to travel. Our existing practices for bringing new leadership to both the Board and staff are not bringing enough diverse voices to the table. We need to critically analyze the way we are structured and our organizational culture in order to recruit a more diverse Board and staff.
Designated one camp session to pilot a sliding scale tuition model. Completed at American Dance & Music Week 2023. Some results here. Expanded to all adult sessions at Pinewoods in 2024.
Piloted new pay model at English week in 2023 and more sessions in 2024. Review of success is ongoing.
What's Coming Next
As we continue our work at CDSS, we will continue to intertwine themes of equity and inclusion throughout our conversations. Listed below are some goals we intend to work towards.
On the CDSS Board…
Review and update the CDSS Board travel reimbursement policy and procedures, to address some of the economic barriers to joining the CDSS Board
For Affiliates and organizers…
Continue making CDSS grants available for diversity, equity, and inclusion training and workshops for local groups
Follow up with recipients of CDSS grants for cultural equity training, to better understand their experiences and learn how best to support other groups interested in this work
Establish a recurring section of the quarterly Affiliate eNews for cultural equity content
In our internal operations…
Increase usage of BIPOC-owned printers, designers, and mailing houses, or businesses owned by people with other marginalized identities
Practice equitable meeting facilitation models to ensure every Board/staff member is heard during meetings
In our development work…
Identify training resources and opportunities for the Board and staff on equitable fundraising models
Explore building a more accessible and inclusive base of support for the organization
In our camp programs…
Identify strategies for improving the experience of new staff and campers, particularly BIPOC staff and campers
Clarify the purpose of our scholarship program, improve and simplify the application process, and ensure that the distribution of funds aligns with the stated goals of the program
We think it’s important, too, to acknowledge that this has been challenging work. Like many groups, the board and staff of CDSS desire to be unified. But we are 33 different individuals with different background and perspectives. We do not agree on all things or always see eye-to-eye, and disagreement is uncomfortable. We understand, too, that disagreement, conflict, and discomfort are not inherently bad things, that they can lead to deep understanding and good pathways forward.
If you have any questions, feedback, or ideas about CDSS and equity, please send them to Executive Director Katy German (katy@cdss.org) or Board President David Smukler (dsmukler@verizon.net). In the meantime, we hope you are finding opportunities to fill your soul with dance, music, and song!
Our geographically diverse board is listed below. Correspondence for them may be sent to office@cdss.org. Click each board member’s name or photo to learn more about their involvement with the community.
Most weeks, our office and store are staffed Monday–Friday, 9:30–5:00. Please call before traveling: 413-203-5467.
Where We Are in the Building
Enter through the “marquee” entrance in the middle of the building. (There is a huge vertical Eastworks sign and a smaller black and white marquee sign above the door.) Take the elevator (immediately to the left) or the stairs (immediately to the right) up to the third floor. Turn right down the first hallway, and #334 will be on your right, a few doors down.
Driving to CDSS
Coming from the South
From I-91 North, take Exit 17B (Easthampton). Follow Route 141 to Easthampton; at the foot of the mountain, turn right onto East St., and go approx. 2-3/10 miles. Turn left onto Ferry St., and follow to the end. Turn left onto Pleasant St., and go approx. 3/10 of a mile and turn left into the Eastworks parking lot.
Coming from the North
From I-91 South, take Exit 18 and turn right at the bottom of the ramp. Follow Route 5 for 6/10 miles and turn right onto East St. Continue for 1-4/10 miles and bear right onto Ferry St. Continue 9/10 miles to a “T” intersection and turn left onto Pleasant St. Go 3/10 miles and turn left into the Eastworks parking lot.
John Roberts receives the Lifetime Contribution Award in recognition of his contributions as a singer, song collector, historian, accompanist, teacher, and mentor. His award celebration will be held spring 2025 in Schenectady, NY.
For the past six decades, John fostered a wonderful set of communities through his music and song, including the English folk music scene, the morris dance world, the Irish music world, CDSS camps at Pinewoods, and at folk festivals from coast to coast.
Supported by concertina, banjo, guitar, or melodeon, John’s solo performances offer a great balance of wit, historical knowledge, and musicianship—and always a warm invitation to join in. When John sings, he has the remarkable ability to transport listeners to the place and time of the song, a notable talent that engages the audience with ease and confidence.
Tony Parkes (1949–2024) receives the Lifetime Contribution Award in recognition of his contributions as a caller of contras and squares for more than 50 years, choreographer, musician, band leader, author, workshop leader, dance historian, and dance organizer. His award will be presented posthumously on November 22, 2025, in Concord, MA.
Tony Parkes touched the lives of innumerable dancers, musicians, and callers throughout his career. He was the author of Contra Dance Calling: A Basic Text, the comprehensive book on calling, and more recently Square Dance Calling: An Old Art for a New Century, and his legacy will live on in those foundational volumes for decades to come. But Tony also embodied the consummate caller and musician, appearing weekly at the Concord (MA) Scout House for more than 20 years with the band Yankee Ingenuity, which he co-founded.
David Surette (1963–2021) receives the Lifetime Contribution Award in recognition of his contributions as an inspiring music performer, teacher, scholar, and mentor. His award will be presented posthumously in fall 2025 in Concord, NH.
David will be remembered as a talented, kind, and generous person who fostered the love of participatory folk music in all those around him. He taught and mentored many young musicians and was an extraordinary talent on mandolin, guitar, and bouzouki. David toured with numerous contra dance bands, including Fresh Fish and Airdance. Each of these bands was arguably the finest in the country at their time and left a lasting impact on the evolution of contra dance music.
Bill Alkire, 2018 Lifetime Contribution Award Recipient
Nominations for Future Lifetime Contribution Awards
Do you know someone who has made a long-term and exceptional contribution to the mission of CDSS?
Have they led the way in preserving, promoting, and/or creating within the living traditions that CDSS stewards?
Has their contribution benefited people in more that one geographical area?
Has their contribution impacted more than one generation?
Have they worked in conjunction with CDSS, CDSS affiliates, or complementary organizations?
If the answer is “yes” to all of these, then you may know a future recipient of the CDSS Lifetime Contribution Award.
Examples of a long-term and exceptional contribution include:
Increasing the quality of what we do by inspiration, instruction, or excellent example
Bringing what we do to new communities
Expanding the repertoire of dance, music, and/or song through scholarship or original composition
Working behind the scenes or enabling others to make these contributions
Nominations for the Lifetime Contribution Award are currently closed. The 2025 award will be announced later this year. Nominations for the 2026 award will open in early 2025.
The following people were made an Honorary CDSS Member before the origination of the Lifetime Contribution Awards:
1996: Sue Salmons
1992: Kate Van Winkle Keller
1990: Marshall Barron
We connect and support people in building and sustaining vibrant communities through participatory dance, music, and song.
We steward the living traditions of English country dance,contra and square dance,morris and sword dance, and the music that is an integral part of these traditions.
The Country Dance & Song Society is proud to announce that David Kaynor of Montague Center, MA, is the 2021 recipient of the CDSS Lifetime Contribution Award.
David was selected in recognition of more than 50 years of performing and teaching at camps and festivals across the U.S., humbly mentoring an entire generation of contra dance musicians, tirelessly serving as a leader in dance and music communities of Western Massachusetts, generously sharing tune compositions and writings about dance calling, and supporting generations of musicians and dancers in creating warm, inviting, and welcoming communities though music and dance.
David’s award was celebrated at an online event on his birthday, April 17, 2021. Watch the recording:
David’s Acceptance Remarks
I’m delighted and humbled to receive the Lifetime Contribution Award.
I think about the colossal contributions of past recipients, and I ask myself, Why me? Although I enjoyed and believed in what I was doing as a dance caller, fiddle teacher, session host, musician, and graphic artist, I considered myself irrelevant to the lofty circles and activities of the Country Dance and Song Society.
A low point in my musical life came in the spring of 1981, when the president of NEFFA told me that, in their opinion, what we … my cousins, uncle, other Fourgone Conclusions band mates, and I … were doing had nothing to do with New England contra dancing.
My response to numerous real or perceived organizational snubs was to submerge myself in the pleasures of the moment in my core interests and pursuits: Long distance running, cross country skiing, dancing, calling dances, teaching basic Swedish dances, teaching basic fiddling, and playing music. I also became something of a calligrapher and graphic artist.
Eventually, I found a niche as a teacher and caller. This led to countless gigs in which I enjoyed a happy integration of my artistic, spiritual, and political ideals and having to earn enough money to get by.
All these facets of my life came together when I became Music Director of the Vermont Fiddle Orchestra and the Fiddle Orchestra of Western Massachusetts. These groups welcomed all musicians of all skill and experience levels. My tasks included including all. Our practices blended learning and arranging tunes with in-the-moment adventure and fun. I wrote out many harmonies while on AMTRAK’S Vermonter, where the conductors knew me by name and the scenery was sweetly familiar.
I’m grateful to Jay Ungar and Molly Mason at Ashokan, Bob Dalsemer and Annie Fain Liden Barallon at the John C. Campbell Folk School, the Reiner family of Fiddle Hell, Paul Rosenberg and Peter Davis at the Dance Flurry, my colleagues at Northeast Heritage Music Camp, Mike Reddig in Flagstaff, Arizona, Fred Karsch in Ann Arbor, Michigan, Sue Songer and Betsy Branch in Portland and Mark Lewis and Carla Arnold in La Grand, Oregon, Sherry Nevins and Tom and Amy Wimmer in Seattle, Lindon Toney in Olympia, Washington, and numerous other organizers and bandmates in the Pacific Northwest. These folks gave me opportunities to share my developing skills and deep love of music and dancing, not just once, but over and over.
Thanks to all these people, I was able to cultivate relationships with and within their communities. This, in turn, enabled me to not just share tons of fun, but also share experiences of growth and development in many ways. Our skills and repertoire evolved and so did our senses of self, possibility, and purpose.
We didn’t just perform music and dance. We SHARED it. This became a fundamental personal philosophy: There are times and places for performing, but sharing can happen so much more often, and it’s good for us all. Maybe it’s even good for the world.
I’ve struggled to matter for as long as I can remember. This showed itself in a number of ways, including sports and music and dance. I was always dogged by the weight of self doubt. This finally dissipated in the final years of my career, thanks to all of the above who provided opportunities for us to explore mattering together.
David Allen Kaynor passed away on June 1, 2021. We’re so grateful for everything he brought to our world, and for the opportunity we had to honor him with this award.
Thanks to the Massachusetts Cultural Council for their generous support.