Category Archives: Display Dance

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.

Trad Dance & Music Exhibit Opens in New Hampshire

by Lisa Sieverts

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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.

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Monadnock region of New Hampshire, named after Mount Monadnock

 

 

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.

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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.

Lifetime Contribution Award for 2014 goes to…

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Jim Morrison

 

Jim Morrison of Charlottesville, VA, will be this year’s recipient of the CDSS Lifetime Contribution Award.

Jim brought youthful enthusiasm and strong connections to emerging contra, morris and sword dance movements when he started work for CDSS in late 1970. Serving as National Director from 1975 to 1977, he then continued as part time Artistic Director after moving to Virginia. Jim & Marney MorrisonIf you have danced Jack’s Health, Young Widow, late night Kerry sets, or played Puncheon Floor or Buck Mountain, his influence was there. Jim wrote 24 Early American Country Dances (CDSS, 1976,) founded the Greenwich and Albemarle Morris Men, and has recorded five albums of traditional dance music. An early family week advocate, creator of American Week at Pinewoods, and multi-genre dance fiddler, Jim has continued throughout his half century career to teach and play for contra, square, English, morris, sword, flatfoot, and Irish set dancing all over North America. We are delighted to honor him this year. Details about the award presentation will be announced later this year.

Are You Committed to Dance Organizing?

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Gaye Fifer, dance organizer extraordinaire

Then our special Dance Organizers Course is for you. Led by Gaye Fifer and held during CDSS’s English & American Dance Week at Pinewoods (EAP), August 23-30, 2014, the course is designed for people involved in organizing their home dance community—contra, square, English, adult or family. Two one-hour sessions will be held each afternoon to discuss and strategize about issues that affect local dances. Sharing, questioning, collaborating and connecting will be our watchwords as we interview guest speakers from the EAP staff, create solutions to problems, brainstorm, practice and give feedback. We’ll create a network of support and a toolkit of ideas that each participant can take home. You’ll have fun, learn a lot and your local community will benefit. And for the rest of the day and evening, the wonderful resources of English & American Dance Week are yours.

English dance at E&A Week, Pinewoods Camp, MA

English and American Dance Week, home this summer to Dance Organizers Course (Doug Plummer)

If you know people in your community who are “up and coming” leaders, send them this message and link; the course is also useful to people wanting to start a dance. Scholarship help is still available.

MORE INFO
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our other weeks

Ready to join in the organizing? Register here.

Course leader Gaye Fifer has been calling at dance weekends for many years. Her pleasant style and graceful teaching put dancers at ease and set the stage for a great dance experience. She has also taught numerous waltz workshops at virtually every dance weekend in the East and travels whenever she gets the opportunity. Gaye has a passionate interest in organizing to support dance community leaders and organizers.

Pinewoods Camp, near Plymouth, MA, and home to the Country Dance and Song Society’s programs since 1933, is a beautiful setting, creating a retreat where you can immerse yourself in nature, music and dance; see a slideshow of the facility.

The Country Dance and Song Society is a traditional dance and music organization, celebrating its Centennial in 2015.

The Everyday Things—Remembering Mac

by Carol Compton

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Mac at Folklife 1992; photo by Doug Plummer

Shortly after Mac died I had an email from Caroline asking me to write a bit about him for the CDSS blog.  Despite the fact that Mac and his music have been in my life since I was, oh, maybe 3, I could not imagine what I could add to the already overwhelming collection of testaments from the people whose lives he had touched in so many ways.  Somewhat chagrined, I set the assignment aside to figure out later.

I was clearing out my car today.  After several weeks of gigs just close enough together that I never took the sound system out, or the music, or the traveling gear — let’s just say it was a project.  As I got to the bottom of the archeological dig I came across a neat brown leather case with a silver buckle that once had a shoulder strap so you could carry it like a quiver of arrows. In it is a music stand. And I knew, at least in part, what I wanted to say about the man who signed an autograph from “Uncle Bob” for me when I was about 8.

A number of years ago CDSS started a “wish-list” of things we needed that we hoped someone might have lying around, unused, that would find new life at CDSS.  One of the things we needed was a large number of music stands for all the folks participating in summer camp dance bands.  So the word went out in the newsletter that we needed music stands.  One day I’m up in the balcony at the Peterborough Town Hall, probably setting up for the Snowball.  “HEY COMPTON!!”  came exploding up from the front of the hall.  “HEY WHAT?” (Certainly not ladylike but I rather enjoyed trying to match his volume level.) “I’VE GOT SOMETHING FOR YOU,” he yells back.  Turned out he’d been gathering up music stands for months.  In one delivery we had enough stands to send to all three camps that year.

For all the wonderful music, for all the years of service to country and classroom, for whatever good times and difficult ones, I look at the outpouring of stories and emotions of the last few weeks and wonder if the greatest gift he’s left us is not about the big gesture or some grand and glorious tunes — it’s the knack Kwack had for doing small things that had an enormous impact.

For him, collecting stands, or starting a piano tuning or scholarship fund, or telling the guys to shape up and give the gals in weight room some respect, or getting to know the person who served him his coffee, or giving some kid a second chance — these were not “big” things, just part of life.  But those of us on the receiving end know better. These “everyday” things are the ones we hold onto and treasure.  (Okay, these and some of his jokes…) 

Somehow, the music stand in the leather case never made it out of my car and into the CDSS collection. It lives in the back of the car waiting for the moment when someone says “I need.” And when I hand it to that person and they admire the cool leather case, I tell them about the man who passed it on so someone else could play the music. Thanks, Bob.

Bob McQuillen died on February 4, 2014. An afternoon memorial service will be held on May 3, in Peterborough, NH, following by an evening dance; see https://www.facebook.com/groups/238978876284424/for more info.

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photo of Carol Compton by C. J. Leake

Handing on the Tradition

by Zoë Madonna

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Outside the dance hall (Photo by Zoë Madonna )

The 2014 Ralph Page Legacy Weekend’s Saturday dance was buried in eight inches of wet, heavy snow that started falling at about ten in the morning and did not stop till late evening. Fortunately, the gym of the Memorial Union Building at the University of New Hampshire was heated enough to keep everyone comfortable. The kind of vigorous dancing that makes dancers sweat through their shirts was nowhere to be found at Ralph Page; even after three hours of dancing, I was hardly tired. The tunes were played at a moderate pace, some dances didn’t have partner swings, and one of the staff callers tells me he’s never used a calling card in his life.

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The past into the future (Photo by Zoë Madonna)

The Ralph Page weekend is more of a celebration of social dancing history and tradition than it is a modern “dance weekend.” A loop of David Millstone’s documentaries on Dudley Laufman and the history of contra in New England played in one room, where dancers could rest their feet. Memory books about now-deceased Ralph Page mainstays were laid out on a table. Workshops and dance sessions were themed around the past; a retrospective of mentors (Bob McQuillen, Larry Jennings, Ralph Sweet, Marianne Taylor), a program themed around one of Ralph Page’s Tuesday night dances at the Boston YWCA, and a session of “contras and squares that folks think ‘Dudley doesn’t know.’” “Dudley” is Dudley Laufman, who made immeasurable contributions to getting youth involved in contra dancing in the 1960s. He still plays fiddle and accordion, calling while he plays.

I was there because I’d gotten a calling scholarship, so I was in attendance at Dudley’s workshop on the “dos and don’ts of calling.” He hadn’t come with any dos and don’ts past “don’t ask at the beginning how many people are there for their first time” and “don’t let the band boss you around,” but the other attendees had plenty of questions for him and he had plenty of stories to tell, like the time he and his wife Jacqueline played a gig on a Boston Harbor yacht for a convention of insurance salesmen, during which they had to wear full colonial dress and were  not allowed to speak to their fellow performers or the audience. Dudley is in his 80s and had heart surgery recently, but that isn’t stopping him from calling barn dances. These days, a Dudley set usually consists of a few chestnut contras, some circle dances, a New England style square, and a Sicilian circle or two. Moves that have become commonplace in modern contra, such as the hey for four and gypsy, cannot be found in Dudley’s sets.

Dudley also had plenty of questions for me, whipping around with surprising speed for someone his age every time he remembered something he wanted to ask. “If a bus full of Girl Scouts, no, if a bus full of people with Down’s Syndrome pulls up and everyone comes in, what are you going to call?” I puzzled that question over for a minute before saying I’d call the simplest circle mixer I know. “Would you have them change partners?” asked another caller. I didn’t know what to answer. I still have a long way to go.

The defining moment of Ralph Page for me happened during lunch on the final day. As I was walking through the cafeteria, the jam session that had been playing struck up Money Musk. Two couples set up at one end of the cafeteria aisle and called for a third; I grabbed a partner and we three couples started dancing. No calls were needed. We all knew this dance. By the time my partner and I were waiting at the top, the line was at least twelve couples long. By the time the dance ended, there were at least twenty couples on the line: a good quarter of the people at the weekend, dancing Money Musk in a cafeteria for fifteen minutes with unabashed joy.

The Ralph Page Legacy Weekend was created in 1988 to recognize the contributions that caller Ralph Page (1903-1985) made to contra and New England folk dancing. It’s held the weekend before the third Monday in January (MLK, Jr. Day), at the University of New Hampshire in Durham, NH and sponsored by the New England Folk Festival Association.

A singer, dancer, musician—and Oberlin junior―Zoë Madonna is interning with CDSS this month.

“Nobody remotely like him…”—Pete Seeger (1919-2014)

Text and photos by Stewart Dean

576A3583 (Medium)Nobody remotely like him, and a towering example to us all of a life well led, decently, indomitably, with heart, conviction and a burning sense of fairness and compassion.

Attached are some pictures I took of him last summer at the Summer Hoot at Ashokan.  He was then so frail, but his spirit was still fierce.

When he wasn’t at the mic or talking to someone, he would look out into space as if gazing into eternity…with utter calm.  It seemed to me he could have, at any time, stepped into the void….utterly surrendered and unafraid

He has now turned and turned….which he wrote: https://www.youtube.com/watch?v=GbPl91kTFro

His voice has been faltering but him never.

“…in our direst need, the smallest gifts: the nail of the horseshoe, the pin of the axle, the feather at the pivot point, the pebble at the mountain’s peak, the kiss in despair, the one right word.

In darkness, understanding.”

(“Dy Cabon’s Prayer to the Bastard,” by Lois McMaster Bujold, Paladin of Souls)

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Youth Traditional Song: The New Kid’s Tale

by Zoë Madonna

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I was the Doctor in the mummer’s play. My role was a) to use the tiny flask and revive the Soldier and the Sailor after they had fought and killed each other, and b) make a glaringly obvious Doctor Who joke. (Photo by Suzanne Mrozak)

The Merriam-Webster dictionary defines “youth” as “the time of life when someone is young” or “the early period of existence, growth, or development.” Something or someone is “youthful” when it “[has] or [shows] the freshness or energy of someone who is young,” or is “in an early stage of development.” With that in mind, was Youth Trad Song, which took place during the first weekend of January, a “youth” event? To encourage young people to attend Youth Trad Song, admission was balanced 80% “young” (under 50) and 20%  “young at heart” (over 50). Still, 40 or 45 years old is not considered a “youth” under most definitions; what, then, makes Youth Trad Song a youth event?

The answer to that question is involvement and openness. Before the weekend, a schedule of staff-led workshops was posted on the website, but the directing committee also actively sought submissions for camper-led workshops, with the reminder that anyone could schedule one at the last minute at the weekend; all that a would-be workshop leader had to do was write the location and the theme of the workshop on the giant schedule on the dining room wall. The result was a delightful, spontaneous hodgepodge of song (“Around the World in 80 Songs,” “the anti-pub sing,” “Georgian and Ukrainian harmony singing,” “camp songs with Jillian and Eevy!”) filling up every corner of the handful of buildings YTS occupied. There was room to create, and share creations and ideas; the only thing that everyone was asked to do for the weekend was learn “West Indies Blues” to sing together at the first dinner. The crowd didn’t even make it ten feet before breaking into “Bringing in the Sheaves,” kicking off a song circle that lasted till three AM.

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Sam Kleinman leads a song from the new shapenote tune book, The Shenandoah Harmony. (Photo by Zoë Madonna)

A perfect example of the kind of organic creativity YTS’s environment cultivates:  I participated in a mummer’s play during the open mic on Saturday night, in honor of Twelfth Night. The idea of doing the play had been brought up just that morning at breakfast by Marvin Warren, who had seen a good number of Twelfth Night plays but had yet to take part. After a bit of tossing ideas around at lunch (St. George? Sarcastic dragon?), we gathered enough people (Soldier, Sailor, Doctor, Chimney Sweep) to perform the stock play in the song “Rise Up, Jock.” We picked parts, added parts where they were needed (Old Father Christmas made an appearance in the guise of Brad from the Foggy Bottom Morris Men), we gathered and made props (most out of paper bags and duct tape, in keeping with the Paper Bag Mummers of Waltham’s tradition), learned the chorus to the song, found stock lines and insults thanks to Lynn Noel’s iPad, and found a willing stooge whose open mic performance Marvin (playing the fool) could interrupt by shouting “Room! Room!” and banging on a pan, announcing the arrival of the mummers. Five minutes before we went on, a woman named Rose volunteered to be Beelzebub and pass the hat at the end of the play, and we ended up raising some money for next year’s Youth Trad Song scholarship fund.

What does it take to be young at heart, or youthful? Some of the attendees, like myself, were at very early stages of our lives as folk singers. But then there were people at the event who have been singing for 50+ years, who have well established identities as performers and singers and leaders in folk and traditional music communities.  I wouldn’t have been too surprised if the veterans had cliqued up and did their thing while us kids did our thing, as I sometimes see at contra dance events. Instead, everyone sang like they were new and youthful and open to everything they heard, celebrating each contribution alike.

A singer, dancer, musician—and Oberlin junior―Zoë Madonna is interning with CDSS this month.

Exceedingly Good Song Night

by Zoë Madonna

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“And I bid you good night” (Zoë Madonna)

What do you get when you take a back room of a New York bar, fill it with singers coming out of varied folk traditions, sell them some food and beer, and then give them five hours to sing what they will? That’s Exceedingly Good Song Night, a monthly event in New York’s East Village run by acting coach Ken Schatz. Professional musicians and amateurs, experienced singers and first timers: generations mix and join in on the choruses at Exceedingly Good Song Night in a way I rarely see at any other traditional song event.

I went to my third EGSN last Sunday as part of a trip to New York which I wasn’t sure was going to happen until about a half hour before it did. There’s a loose theme every month; this month, the theme was “noise.” Ken serves as unofficial master of ceremonies, constantly looking around the room to make sure everyone who wants to sing gets a chance to sing, calling on people who might be shuffled into a corner of the small stage or otherwise not in the center of the room. One of Ken’s songs of choice for the night was “The Fox,” not to be confused with “What Does the Fox Say.” Most of my generation knows the story in that song through Peter, Paul and Mary’s kid’s album, but Ken’s version was set to a different melody with the relevant line “up jumped John, ringing on his bell.”

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Spontaneous blues dancing (Zoë Madonna)

Hunting songs were plentiful that night, probably because of all the hunting horns that usually appear therein; someone sang “Dido Bendigo,” and then Heather Wood, formerly of the Young Tradition, followed it with a parody version, as she sometimes does. Charlie, from Maine but visiting family in Brooklyn, sang “West Indies Blues.” There was a whole contingent down from Massachusetts at this Song Night; Nicole from Amherst sang a bluegrassy murder song (“ain’t nobody knocking at the door”), Mel from Boston sang “The Heavenly Aeroplane” (“this old world’s going to reel and rock”) and Laura from Williamsburg sang a version of “Mary Had a Little Lamb” with a chorus borrowed from the Civil War (“shouting the battle cry of freedom”) and some decidedly not kindergarten-safe verses.

Most of the songs at Song Night have choruses or opportunities for harmonies, but most people are glad to take a little break from singing when someone wants to sing a story song or a ballad without a chorus. After Ken announced the next month’s theme, “Romance Or Lack Thereof,” I asked if it would be apropos to lead one that fit both themes and sang “The Little Duke Arthur’s Nurse,” a rare ballad with a happy ending about a man who hears his sweetheart singing (fitting both themes) and then escapes would-be killers by…listen to Frankie Armstrong’s version and find out.

Other songs I heard that night included a bunch of mountain spirituals, a handful of shanties, and one “Cherokee deer song” which is apparently supposed to travel through the ground into the leg of the deer and make the deer come to you so you may eat them. No deer showed up; they must have been stuck in the traffic on the George Washington Bridge.

In addition to all the singers, there was a healthy contingent of people with instruments who could improvise, so most of the songs ended up having a few instrument notes behind them. There were guitars, a banjo, a concertina, and a Shruti box present; the latter only came out to accompany its owner as a haunting drone under a ballad. Some people got up and waltzed during a song in 3/4 time, and during a blues number a few people got up to blues dance. Most of the songs were traditional or have been folk processed enough that they could be, but near the end of the night Ken requested a decidedly modern song and Will, from Montague, sang the “Ballad of the Button Box.” (“If you can type, you can play the concertina…”) Though I had the longest journey home (three and a half hours) this time out of any of my visits to Exceedingly Good Song Night, I was able to stay till the end for the first time; when I was living with my family, I always had to catch a train home well before closing, but this month, I was present to sing the last song, and joined in for the choruses on “And I Bid You Good Night.” I bundled myself into Will’s car and slept most of the way back to Massachusetts, tired, happy, and full of new old melodies.

Zoë Madonna is interning with us this month; her blog last week, abouther first dance experience, is here.