Yes, we will dance in Nelson on the Fourth of July. And here’s a story about another Independence Day dance, thanks to folklorist Fred Field.

THE FOURTH OF JULY IN JONESVILLE IN 1833.

The anniversary of our national independence was not forgotten by the early dwellers here, and although at the above date no very extensive “celebration” could be held, yet the scattering population met for a royal good time at the then infant village, and enjoyed themselves to the utmost. A dance was held at Jones’ tavern—the old “Fayette House,”—and from far and near came the patriotic settlers to indulge in the pleasures of the occasion. A certain man, who lived eleven miles away, was there with “his girl,” anticipating a rare treat in measuring time with their feet to the tones of dulcet music which was to be furnished by parties who had been especially engaged to play here on that night. To the disappointment of everybody, the expected musicians failed to put in an appearance, and “gloom was depicted on every countenance.” By some mysterious legerdemain, however, a violin was unearthed, and it was known that our eleven-mile man could play it. Then the faces in the assemblage brightened; the hero of the bow and rosin mounted a chair-back in order to have plenty of elbow room, and the fun began. The well-known notes of ” Money Musk,” “Scotch reel,” ” French four,” and other lively airs, swelled forth upon the summer air as with magic touch the musician plied his bow, and “joy was unconfined.” The feet of the dancers were light, their hearts ditto, and with the passing hours the assemblage continued their evolutions till the gray dawn bade them desist and seek their homes.

The New Hampshire State Council on the Arts is pleased to announce the recipients of the 2011 Governors Arts Awards. Awardees will be honored at a ceremony at the Governor and Executive Council Chambers on April 27, 2011.

Folk Heritage Award: Sylvia Miskoe, traditional musician and dancer. Miskoe’s contributions to our state’s musical lore, particularly Scottish, French-Canadian and New England Contra-dancing, are legendary in New Hampshire and beyond. Sylvia joins an illustrious group of prior Folk Heritage honorees, including Bob McQuillen, Dudley Laufman, and Harvey Tolman.

In Seattle, she will be honored at the 5th Saturday dance. Her friend and mentee, Phil Katz, forwards the following: There will be a brief special tribute to tradition, probably before one of the individual dances starts up. Two of Phil Katz’ original mentors in contra dance music are celebrating significant milestones back in New Hampshire the week of April 30. Musician/caller Dudley Laufman will be celebrating his 80th birthday April 30. It was Dudley’s band – Canterbury Country Dance Orchestra (CCDO), with Dudley calling, that was a major force in saving contra dancing and its music from dying off in the “tv generation”, and carrying it onwards to students and young adults in New England during the late 1960′s/early 70′s. Phil heard the CCDO at at festivals in New York State in 1976/1978 and has been doing this music ever since. Accordion player Sylvia Miskoe, of Concord NH, was the first musician to invite me onstage to sit-in, playing for dancers; the Canterbury Town Hall in 1978. She’s organized and played in “The White Cockade” for contras and Scottish country dances for over 30 years, called dances, and done a long list of musical organizing. On April 27 she will receive the New Hampshire Governor’s Award for the Traditional Arts, awarded to one person every two years. Tradition is passed on from actual individuals to others; we will take a minute to pay tribute to two who were significant in starting us, here in the Northwest.

Check out this blog post at the Country Dance and Song Society Web site:

http://blog.cdss.org/2011/02/23/letters-to-mr-scarlett/

Here’s a short snippet from this fascinating post:

The three letters from Ralph Page to Mr. Scarlett are dated January, March and June, 1938. In 1938, Page had just begun calling professionally and the previous year, his and Beth Tolman’s The Country Dance Book had been published. In the first letter, Page mentions a “big armful of letters” which Beth Tolman has just given him. Page refers to Scarlett’s letter describing the Mead New Jersey dance group, saying he was very much interested because he had only previously heard about it “from a distance.” Unlike Lovett, Page is accustomed to barter and offers Scarlett “directions and rhymes for one or two singing quadrilles” in exchange for “the Americanized form of The Huntsman’s Chorus,” and then goes on to offer the observation that he “[has] prompted for dances for several years and find[s] it a very interesting occupation. The favorite singing quadrilles up here are these: Darling Nellie Gray, Garry Owen, Buffalo Gals, O Susannah, and Duck and Dive.” He asks Mr. Scarlett for “the favorite contra dances in New Jersey” and offers that in Munsonville, NH the favorites circa 1938 are Morning Star, Hull’s Victory, Lady Walpole’s Reel, and Money Musk.”