Space Coast Contra Dance

A CRT is a way to put significant appreciated assets into a trust whose beneficiaries are charities. You get a tax deduction up front by not having to pay taxes on the appreciated values; you get a yearly dividend from the trust, and the charities get the remainder when you die. Ask your financial advisor whether a CRT makes sense for you.

If you are age 72 or older, IRS rules require you to take required minimum distributions (RMDs) each year from your tax-deferred retirement accounts. A Qualified Charitable Distribution (QCD) is a direct transfer of funds from your IRA, payable directly to a qualified charity, as described in the QCD provision in the Internal Revenue Code.

Amounts distributed as a QCD can be counted toward satisfying your RMD for the year, up to $100,000. The QCD is excluded from your taxable income. This is not the case with a regular withdrawal from an IRA, even if you use the money to make a charitable contribution later on. If you take a withdrawal, the funds would be counted as taxable income even if you later offset that income with the charitable contribution deduction.

Handling Gifts of Securities to CDSS

Transfer of Securities from an Existing Brokerage Account
Deliver to Vanguard DTC Clearing 0062 (there is no additional code number)
Account Name: Country Dance and Song Society
Account Number 37210623

Please send us a letter in reference to this gift (include your name, the name and number of shares of security transferred to us, and the specific purpose); otherwise, we have no way of knowing who the gift is from.

Last updated September 29, 2022

The Cultural Equity Advisory Group met from March 2021 to March 2022 to critically analyze our programs, operations, and governance, and to provide recommendations for changes. In recognition of the importance of this work, members were paid an honorarium for their time, energy, and participation.

• Click here to view the Executive Summary and Recommended Equity Action Plan from the CDSS Cultural Equity Advisory Group. We are taking these recommendations into consideration as we plan for 2023 and our new strategic plan.

• Click here to view the steps we are taking to intertwine equity and inclusion in the remainder of our work this year. (We will update this list to include our 2023 work later this year.)

• See the original job description for the CEAG.

Cultural Equity Advisory Group Members

Dena Ross Jennings (Group Facilitator)

Dena Ross Jennings (she/her) is a human rights activist, musician, instrument-maker, and a medical doctor, and brings over 20 years of experience working on conflict transformation with her organization Imani Works.

You can find out more about Dena’s work on her website.

Hannah Assefa

Hannah Assefa (she/her) is an elementary educator who has worked with children for most of her life, whether it be through private instruction in traditional fiddle or as an educator in the classroom. She grew up in Northern Vermont playing Scottish and Cape Breton style fiddle. Hannah has taught in various classroom settings from early childhood education to elementary and, in each environment, she has worked to make a classroom community in which each student is celebrated, nurtured, seen, and heard.

Hannah currently teaches kindergarten at Milton Elementary School. She holds a Master of Education degree in curriculum & instruction from Southern New Hampshire University (2016) and a Bachelor of Arts degree in music & elementary education from Saint Michael’s College (2013).

Cayley Buckner

Cayley Buckner (she/her or they/them) will be graduating from the University of Florida in May 2021 with a B.A. in English and a B.S. in natural resource conservation and a minor in education. She is passionate about outdoor education. She fell in love with contra dancing in August 2016 at Warren Wilson College in Swannanoa, NC.

Cayley is the 2020-2021 president of the Gainesville Oldtime Dance Society, where she has been a strong advocate for gender neutral calling, especially positional calling. She is also the co-founder of the Safety Team (a group of individuals who ensure that all feel welcome and secure) and the I.D.E.A. (inclusivity, diversity, equity, and accessibility) subcommittee (which brings a diverse group of individuals together to address social justice issues within our community).

Rima Dael

Rima (she/her) has over 25 years of experience working with nonprofit organizations in public media, arts, education & the human service sectors. She is currently the general manager at WSHU Public Radio in Fairfield, CT, having previously worked at New England Public Radio in Springfield, MA. Rima is passionate about the essential role of public media in our communities and the transformational power of the arts. Rima was the executive director for the Country Dance & Song Society during its centennial celebration in 2015, transitioning the membership organization to a capacity building, arts service organization through a multi-city community residency model to build resilient dance, music, and song communities and improve skills of dance organizers. Rima was also a founding faculty member in the Nonprofit Management & Philanthropy master’s degree program at Bay Path University. She continues to enjoy teaching online as an adjunct professor in the program.

Originally from the Philippines, Rima spent her early years in Connecticut, and in several Southeast Asian countries with her family attending international schools. Living overseas also exposed Rima to military coups in Thailand, the People’s Revolution in the Philippines, and she participated in the Tiananmen Square protests in Hong Kong as a teenager. These foundational experiences brought forth Rima’s interest in working in mission driven organizations that promote social justice and community advancement.

Rima received her bachelor’s degree in anthropology and theater arts from Mt. Holyoke College. Her master’s degree is in nonprofit management from the Milano School of Management & Urban Policy at the New School University, where she was a Community Development Finance Fellow.

Ezra Fischer

Ezra (he/him) started making the trip from his home in New Jersey to Pinewoods for Campers’ Week 30 years ago. Since then, that trip has become a regular part of his life and much shorter since he moved to the Boston area where he now lives in Arlington, MA. He was particularly thrilled to work for CDSS as a Salesforce admin and consultant over the past few years because of the opportunity to contribute to an organization that has been such a steadily positive influence on his life. Ezra dances with Still River Sword, sings with Boston Harmony, and studiously does not play either the trombone or concertina.

Nadia Gaya

Nadia Gaya (she/her) was the little kid sleeping under the piano at her fiddle-playing parents’ gigs and grew up immersed in the traditional music and dance community of Western New York, where she was raised. Nadia currently lives in Brooklyn, New York, and was on the organizing board of Brooklyn Contra from 2012-2015. Nadia currently dances and plays diatonic button accordion with the Ring O’ Bells Morris team, plays piano for the CDNY in-house band, the Contrapolitans, and plays piano accordion with the scottish-inspired contra dance band, Torrent. When she’s not playing, dancing, singing or crafting, Nadia is a tax attorney/accountant for an advertising technology company and is busy raising her 4-year old daughter in whom she hopes to foster a lifelong love of traditional music, song and dance.

Aravind Natarajan

Aravind Natarajan (he/him) is a contra dancer and identifies as a cis-hetero male from India. He is currently a postdoctoral fellow at Stanford University, and is passionate about fostering diversity, equity and inclusion in academic spaces. He founded the Science Blender podcast to capture the experiences of scientists from diverse backgrounds and identities. He loves how music and dance bring people together and is eager to make this joy more widely accessible.

Stephanie Voncannon

Stephanie Marie Voncannon (she/her) is a contra dancer and caller in the Charlotte, NC, area. She has been dancing mostly in North Carolina since 2009 and calling regularly since 2013. Stephanie attended Lisa Greenleaf’s week-long caller class at Pinewoods Camp in summer 2016. She has called at both mainstream and gender-free dances. Stephanie also enjoys helping others discover a love of dancing, whether calling or dancing at home. Stephanie was also very involved in the LGBT community in Charlotte, including planning the Transgender Day of Remembrance from 2008 to 2010.

Bailey Walton

Bailey Walton (she/they) is a community organizer, research ethicist by trade, and banjo player from Missouri. She holds a bachelor’s degree in psychology, a master’s in public administration, and currently studies studio art. She is passionate about community-building, growing and sharing food, and connecting people with resources. She is excited to have the opportunity to provide her input in this advisory group as a relative newcomer to the traditional music community.

Earl White

Earl White (he/him) has been a prominent member of the music and dance community for more than 50 years. He is an original and founding member of the famed Green Grass Cloggers. He is one of few Black Americans perpetuating Appalachian music, which was once an important part of Black communities. Now retired from healthcare as a Registered Respiratory Therapist, he continues to play music as a semi-professional, and co-owns and runs the Big Indian Farm sourdough bakery in Floyd County, VA.

Original Job Description

CDSS is convening a Cultural Equity Advisory Group to help us move forward in our commitment to cultural equity. We are asking ourselves: In a CDSS with a fully realized core value of cultural equity, how would things look/feel different? How would we know that we were successful in an ongoing way?

We recognize that our organization and leadership do not currently have the kind of representation—particularly of non-white people—needed for this work. We want to make decisions informed by the voices of the people most affected; however, we don’t want to tokenize anyone by placing the expectation of labor solely on them.

We are asking the Advisory Group to give guidance within the broad framework of our existing mission. We seek to support and promote the living traditions that are dear to us in ways that are actively anti-oppressive. We want to understand the ways that harm was done in the past and work to stop perpetuating that harm. We want 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.

We are engaged in the process of analyzing how the ways that we operate – both historically and currently – contribute to inequity. We are re-evaluating our programming, research and scholarship, education, access, marketing, relationships with other organizations, organizational structure, and compensation. We are committed to investing labor and financial resources into this work.

Composition

The Cultural Equity Advisory Group will consist of a contracted facilitator and 6-10 people, drawn from our current communities as well as the larger participatory arts community and beyond. The group will prioritize the voices of those who have been marginalized and/or erased in the history and current practice of North American folkways. The group should also include a diversity of skill sets, including non-profit experience, DEI (diversity, equity, and inclusion) work, and historical scholarship.

Scope and Goals (what are we expecting the CEAG to have done by the end of their term)

• The CEAG will be a primarily internally-focused group, evaluating the operations and programs of CDSS.
• CEAG will provide CDSS with recommendations to improve cultural equity in these areas:
• Help CDSS prioritize these recommendations and suggest action steps.
• Reflect on our self-analysis and point us to areas and issues that we have overlooked.
• CDSS will publish a report of the group’s recommendations as part of our accountability to the community.

CDSS commits to supporting the CEAG’s work, including in the following ways:

• Conducting a critical internal analysis of current operations and programming
• Sharing information with openness and transparency
• Providing the CEAG with a critical summary of CDSS history
• Providing access to staff and board leadership
• Being accountable through public reporting and ongoing work informed by the CEAG’s recommendations
• Providing opportunities to observe and participate in programs as well as office and board work.

Term of Service

We are asking that Advisors commit to 1 year of service, which will include attending monthly remote group meetings, and some research and preparation between meetings. The Facilitator will work with the Cultural Equity Task Group (staff and board) to create a timeline and benchmarks.

Honorarium

In recognition of the time and labor inherent in a working Advisory Group, CDSS is able to offer the Advisors an honorarium in the amount of $750. The Group Facilitator will receive a consulting fee of $3000.

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How do I include CDSS in my will?

A will is the most common way for a person to make a gift at death to charitable organizations. It’s important for a will to be kept up to date and valid, making sure it reflects the person’s wishes and clearly expresses the desired distributions. Since the laws and requirements for wills vary by location and tax laws change frequently, we recommend seeking professional help to create or update your will.

To name CDSS as a beneficiary, the following wording is suggested: “I bequeath to the Country Dance and Song Society, Inc., a nonprofit corporation in Easthampton, Massachusetts, the following…”

What is CDSS’s legal name and address?

Legal name: Country Dance and Song Society, Inc.
Address: 116 Pleasant St., Suite 345, Easthampton, MA 01067

What is CDSS’s corporate and tax status?

CDSS is incorporated in the state of Massachusetts. 
CDSS is a 501(c)(3) tax-exempt, nonprofit educational organization.
Our IRS employer identification number (EIN) is 04-3031125.

Are there tax benefits to including CDSS in my will?

Bequests made through wills do not qualify for a current tax charitable contributions deduction. However, the value of the gift will be deductible for federal estate tax, and possibly state estate tax, purposes. In estates large enough to be subject to the federal estate tax, the savings can be substantial.

What types of bequests may be used?

• A specific dollar amount, to be paid out of liquid estate assets.
• Named property items, such as specific securities, real estate, or valuable tangible personal property.
• The residuary estate, or a percentage of the residual value that remains after all costs have been paid and specific bequests made.
• A contingent gift, passing to CDSS only when the named beneficiary dies before the donor.

What options for planned giving are there other than a will?

• Establish a living trust with provisions that direct the distribution of estate assets.
• Name CDSS as a beneficiary (or one of the beneficiaries) of a life insurance policy. It could be an existing policy that is no longer needed for its original purpose or a new policy purchased specifically to carry out charitable objectives.
• Make a “payable on death” (POD) designation on a certificate of deposit or other personal account, naming the CDSS to receive the asset on death of the donor.

Please consult your financial or legal adviser on these and other planned giving options.

How do I share my plans with CDSS?

It is not necessary to share with us your plans for a future gift to CDSS. We understand and respect the personal and confidential nature of such decisions. We do, however, appreciate having the opportunity to personally thank the members and friends who have planned future gifts. When we are informed of such a plan, the information is treated in confidence and with the understanding that the donor’s plans may change in future years.

To share your plans, please fill out this form.

For more information

If you have questions about making a future gift to CDSS, please write or call Robin Hayden, Director of Development: robin@cdss.org, 413-203-5467 x107.

How does it work?

CDSS has a single, group policy that Affiliates and callers may join that provides general liability insurance for those Affiliates and callers. The limits on the policy have been calculated to provide enough coverage for all covered groups.

What does the policy cover?

The CDSS policy is a general liability insurance policy, which generally covers the organization, volunteers, employees directors and officers, for their work for the insured entity if there is a claim of liability brought due to their operations. It potentially covers the legal costs, expenses, and settlement. In all cases, a claim would need to be submitted to the underwriter who will assign a council and determine payment. In addition to the $4,000,000 aggregate, $2,000,000 per-occurrence limits on liability coverage, the following is included:

$300,000 Rented To You Limit (any one premises)
$5,000 Medical Expense Limit (any one person)

Is someone breaking a leg, getting food poisoning, or emotional damage covered?

A claim could be submitted for any of these scenarios if an allegation of negligence made against the group. The carrier/adjuster will review the specifics of the incident to determine if coverage applies.

Do we need insurance?

Many venues require groups to have insurance before renting or holding events in their space. The CDSS policy meets and exceeds the minimum coverage amounts required by most venues. Many groups find the peace of mind afforded by the policy to be worth the cost when thinking about the long-term health of their organization.

Do you offer Director and Officers insurance (D&O)?

We are unable to offer D&O insurance because we are under a single policy, which cannot cover multiple directors and officers of different organizations. We’re happy to put you in touch with our insurance agent, who has helped other Affiliates obtain D&O insurance.

Do we need Director and Officers insurance (D&O)? What is the cost?

It’s difficult to give generalized advice on this subject—each organization is unique and has different needs. You’ll need to decide for yourself if the cost of D&O insurance is worthwhile. General Liability and D&O insurance cover separate things. The General Liability policy CDSS has covers directors or officers (or employees, volunteers, etc.) for their work for the insured entity if there is a claim of liability brought due to their operations. A D&O policy covers you as officers/directors of the organization.

This article provides some information on the difference and what D&O covers, but you should speak with a lawyer or insurance agent if you have further questions.

$500-$1000 is a very general estimate of the cost of a D&O policy. The exact amount will depend on the size of the organization and location.

Should we list our venue as Additional Insured?

Only list a venue as Additional Insured if specifically requested by the venue. This is additional coverage for the venue and is not required unless specifically requested.

Do attendees need to sign waivers?

Some insurers require waivers for certain activities; ours does not. A waiver won’t prevent you from being sued, but may provide additional protection if you are. It may be worth consulting with a lawyer to discuss your particular situation if you feel it’s necessary.

If you are sued, is there a requirement to notify the insurer even before there is an outcome?

You are not required to notify the insurer of every incident, but the policy states that the insurer needs to be notified in a timely manner in the event of a claim.

Are board members personally liable in suits against 501(c)(3)s, or just the organization’s assets?

This will probably depend on the details of the suit. Per our agent “The General Liability policy CDSS has covers Directors or Officers (or employees, volunteers, etc) for their work for the insured entity if there is a claim of liability brought due to their operations.” But there are other situations where board members wouldn’t be covered by our General Liability policy, or could be sued separately from the organization.

In a normal year, approximately how many CDSS Affiliates are actually sued? Do you know the total number of cases?

There are usually between 0 and 2 claims under our policy per year.

Is ____ situation covered?

We cannot offer definitive advice on what hypotheticals will or will not be covered by the policy. Each situation is unique and handled individually. Speaking to a lawyer or expert in the area is advised when exploring such hypotheticals. Feel free to contact us with questions and we can forward your question to our insurance agent if necessary.

Does the CDSS Liability Insurance Policy offer coverage for COVID-19-related claims?

Our policy beginning on May 1, 2021, will NOT allow for COVID-19 related claims due to an added virus exclusion—a change from the previous year’s policy. We are not aware of any general liability policy that will do so.

Are virtual events covered?

Yes! As long as they are essentially the same as other events you would be holding (dancing led or taught by an instructor/caller). As usual, filing a claim would require someone who attended your online event to sue and prove your negligence.

Are regular events covered?

Events held at this time are covered by our insurance policy as they usually are, just not for COVID-related claims.

Should we have people sign waiver for in-person dancing post-COVID?

Some insurers require waivers for certain activities; ours does not. A waiver won’t prevent you from being sued, but may provide additional protection if you are. It may be worth consulting with a lawyer to discuss your particular situation if you feel it’s necessary.

Can we review the policy?

Absolutely! Email ben@cdss.org and we’ll be happy to provide a copy of the policy for your review.

Other questions?

Have questions or need more information? Call Ben Williams at 413-203-5467 x106 or email ben@cdss.org.

The CDSS News is published in March, June, September, and December and is distributed to about 2,000 people in print and 10,000 recipients digitally. Submissions are accepted on a rolling basis.

We welcome submissions of any of the following, with a focus on contra dance, English country dance, traditional square dance, morris and English sword dance, dance tunes, folksongs, and the dance and music community.

ads
articles
letters
poems
photographs and other visual art
newly-composed dances and tunes

Please email news@cdss.org for more information. We may edit for submissions for length and clarity and to match CDSS’s grammar style. Photos should be 300-600 dpi (print resolution) and should be submitted in color.

CD+S Online is written in a style that is accessible and engaging. Articles are rigorously researched and analyzed so that scholars are pleased to include the journal on their publications list. Generally speaking, we do not accept opinion pieces. When reviewing articles for publication, we ask reviewers to consider the following points:

Quality of the Piece

• Does the submission engage in critical and analytical work or is it merely descriptive? (Note: there will be submissions that are very descriptive of a group’s practice or history, but they should not be merely descriptive; there should be some framing of the practice within the larger context of the transmission of culture or a similar broad idea.)
• Does the content meet a high standard in terms of the quality, breadth and depth of research? Are the arguments supported by the research and is the research replicable?
• Would the submission require a substantial amount of editing/reworking on our part? Is it engaging and accessible?

Fit for the Journal

• Does the content fit with our mission to explore music, song, and dance rooted in England and North America?
• Would the submission work in terms of formatting/layout? (For example, we do not want a link to a 30-minute video where the specific material the reader is supposed to view is buried deeply; we prefer snippets.)
• Does it come with practical, usable media or media ideas?

Originality

• Has this submission been published elsewhere? If so, we cannot accept it for publication in CD+S Online.
• Do the arguments seem fresh or have you heard them before?

Permissions

Is the content usable or does it require extensive, expensive, or impossible permissions issues?

Decision-Making

Reviewers are asked to give one of the four following opinions on the submission:

1. Accept as is.
2. Accept with revisions (in this case, please indicate ideas, paragraphs or sentences that need work).
3. Revise and resubmit for review (in this case, please indicate areas or sentences that need work; this would be an extensive rewrite and the results would be submitted to the original reader as well as a second reader).
4. Reject Please provide some concrete reasoning as to why it should be rejected based on the criteria above. A reviewer may also request that another or an additional reader(s) review the submission.

Note that the General Editor, in consultation with CDSS staff, retains final decision-making authority.

We welcome submissions at any time on topics addressing traditional dance, music, and song rooted in England and North America. Articles in CD+S Online are longer and more detailed than those found in its sister publication, CDSS News, and represent an exploration of the past, a celebration of the present, speculations as to the future, and a means for future generations to mark the status and development of our shared art form at any given point in time.

Generally speaking, we do not accept personal memoirs or group histories unless they can be fitted into a broader theme or argument.

Requirements for publication: Articles should be limited to 2,000 to 3,500 words and conform to the MLA Style Manual, with parenthetical documentation for all sources and with American spelling and punctuation (except for historical quotations, as noted in the style sheet). Place any notes at the end, preceding the Works Cited list.

Submission of a paper to CD+S Online is a representation that it is the author’s original, unpublished work, that it has not been submitted elsewhere, and that the author has secured permission to publish any copyrighted material, including illustrations, and video or audio links. Authors retain the copyright to their essays, but essays accepted for publication in CD+S Online may not be reprinted elsewhere without the permission of CDSS and its journal Editor.

All articles should follow the style guide and editorial guidelines linked from this page. Email your paper as a text file to Allison Thompson at journal@cdss.org.

CD+S Online refers to the MLA Style Manual in matters of grammar, usage, and, especially, documentation; exceptions are described later in these guidelines. Please note that it is the responsibility of the writer to put the manuscript into our preferred style.

I. MLA Style

The essential difference between MLA style and others is its system of parenthetical documentation. This is what we are asking for when we request a conversion to that style: sources noted in parentheses within the text, at the first natural pause.

Sources are cited by author’s name (unless recently mentioned) and page number (unless recently mentioned). The title of the source is included only if more than one source by the author is being used in the article and only if that title has not been clearly and recently mentioned. The aim is to keep the parenthetical reference as clean and brief as possible while still identifying the source clearly. If you have information to add, you may use endnotes. Because of space limitations, however, we encourage careful consideration of their inclusion in your article. Use endnotes for 1) comments, explanations, or information that the text cannot accommodate, or 2) a listing of several sources or comments on the source(s).

The parenthetical references are then keyed to a Works Cited list at the end of the article.

Pointers for the CD+S Online version of MLA Style:

In the parenthetical reference, use only what is needed for readers’ clear understanding of the source. They will refer to the Works Cited section for details.

1. In the Works Cited section, abbreviate publishers’ names as far as possible. For example, use “Chicago: UCP,” instead of “Chicago: U Chicago P” as MLA recommends. There is no need to state the name of the university if it is clear by the name of the city. Another example: use “Berkeley: UCP” since Berkeley is clearly a reference to a California university press. If the reader can easily deduce the name of the publisher from the city’s name, simply give initials. However, use “Philadelphia: U Pennsylvania P,” etc., for greatest clarity.
2. When citing an article in an anthology, please remember to include page numbers in the list of works cited.

II. General Style Matters: Frequently encountered style and grammar points, with our preferences

• Articles from Country Dance & Song, CD+S Online, The Country Dancer and CDSS News should be cited like any other periodical source, with the author’s name and/or page reference in parentheses, and the full citation in the Works Cited list.
• Close up spaces around em-dashes.
• Do not use brackets around ellipses, as MLA recommends. For an ellipsis that signifies an omission within a sentence, space three points evenly (one space before/after each period); for an ellipsis that signifies an omission between sentences, use a period, space, and then even spacing.
  Spell out all numbers under 10; thereafter use numerals. Use “’s” for singular possessive: e.g., Brian Jenkins’s tunes.
• Use “1820s” not “1820’s.”
• Use “morris dance” not “Morris dance,” unless the phrase is at the beginning of the sentence.
• Use “English country dance,” not “English Country Dance.”
• Do not italicize “CD+S Online.”
• Use “poussette” not “poucete” or any other variants unless it is in quoted material
• When you refer to the Country Dance and Song Society, the English Folk Dance and Song Society or the Royal Scottish Dance Society, use these full titles with the acronym in parentheses (CDSS, EFDSS, RSCDS) and thereafter use the acronym.
• In older quotations, please substitute an “s” for the eighteenth-century “long esses,” but leave other spellings, capitalizations and punctuation as in the original.
• Please check all quoted material and make sure you have quoted exactly; this step is particularly important as Microsoft Word, for example, thinks it knows better than you and will “correct” spellings without notice!
• You do not need to italicize foreign words that describe common dance terms (i.e., révérence, pas de basque, cinque pace) but follow MLA rules for italicizing other foreign words such as “non pareil” or “caro sposo.”
• We have a separate set of guidelines for notating dances; write to the Editor for details.
• Please use the so-called Oxford or serial comma: (I.e., “CD+S Online publishes articles that explore aspects of traditional music, song, and dance.”

III. Formatting the Document

• Format the essay in Times New Roman, font size 12.
• Justify the left margin only.
• Use one space after a period.
• Use the Tab key (rather than the space bar) to indent the beginning of paragraphs.
• Double space the entire document including indented quotations, notes, and the Works Cited page.
• Number your pages, but please do not include a running head with your name.
• To offset a long quotation, adjust the margins by ½ inch on each side. Please do not insert extra hard returns to achieve the same effect.
• To indent the items on the Works Cited list, please use the hanging indent function. Please do not insert a hard return and tab in the middle of the entry.

IV. Audio-visual Materials

• Images must be submitted as .jpg files.
• Musical clips must be submitted as .mp3 files.
• Video clips must be submitted as .flv files supported by Adobe’s Flash Player.
• Written music may be submitted in .pdf form at the time of first review. If the music is laid out using a musical formatting program, indicate which program. You may be asked to send a copy of the file upon acceptance.
• Permission to publish any copyrighted material or to obtain video/audio releases is the author’s responsibility. Copies of the permission releases must be sent to the Editor along with the final draft of the accepted article.

V. Resources

• MLA Style Manual (our primary resource)
• The Chicago Manual of Style (for points not covered in the MLA; for greater detail)
• Webster’s New World Dictionary
• The American Heritage Dictionary
• The Elements of Style
• Fowler’s Modern English Usage

Before event:

• Acknowledge CDSS support in any print and online publicity, including our logo (download a file below) and a link to our website. For example:
  “This event (or project) is supported in part by a Community Grant from the Country Dance & Song Society, cdss.org.” Include the CDSS logo (download it just below).
• Arrange to have skilled photographers take quality photos during your event/project (and video if possible).

During event:

• Make announcements to acknowledge CDSS support.
• Make CDSS promotional materials available. (We will mail these to you.)
• Have photos (and video) taken.

After event:

• Submit follow-up report within one month, including successes, challenges, feedback from participants, financial outcome, etc. Include photos (and video) with corresponding name(s) of photographer(s), so we can provide credits.
• Provide a list of anyone helping to organize your event/project, including contact information.
• Return the mailing list sign-up sheet included in your promotional materials.

Logo Usage

CDSS grant recipients must use the CDSS logo on their printed materials, website, and/or social media. When included on a web page, blog, or social media site, please link the logo to the CDSS website, cdss.org.

The logo is available in two versions, horizontal and square, in either two colors (2C) or black and white (B/W). It must be produced as shown without alteration.

Instructions for Downloading Files:

Click on the link below the logo you want and the logo will open in another browser window. Then follow the instructions below

PC users: Right-click on the link below the image you desire and select ‘Save Target As’ or ‘Save Link Target As’ to save the file to your desktop or appropriate folder. 

Mac users: Control-click on the link below the image you desire and select “Save Link As” to save the file to your desktop or appropriate folder.