The annual San Francisco Bay Area Scandia Festival returns February 13-14 to Hermann Sons Hall in Petaluma, offering two full days of dance and music instruction along with evening parties.
Featured this year will be dance teachers Sven and Britt-Marie Olsson from Värmland, Sweden. Accompanying them will be fiddler Karin Olsson. Sven and Britt-Marie have been dancing both folk and polska for 20 years, and have been leaders for the folk dance team in Saeffle for 15 years. Their polska group was started about 5-6 years ago.
They learned the Värmland dances from Lars Mattsson, Ann-Marie Ohlsson, and Bosse Peterzon. They have been to the U.S. 5 times and are popular teachers in Sweden. Sven sometimes judges the local hambo contest, and will replace Bo Peterzon when he retires from the Uppdansning.
Per Gudmundson from Rättvik in Dalarna will be the featured fiddle instructor. Per has been a prominent fiddler on the Swedish folk music scene for over 20 years. He is also an accomplished Swedish bagpipe player and singer. Per's teaching experience includes more than 20 years of teaching summer & weekend fiddling classes, private students and teaching traditional fiddling at the Royal Music Conservatory in Stockholm. He is a member of the band Frifot that includes Ale Möller and Lena Willemark, and works at Dalarnas Museum in Falun.
Dance instruction will be at an intermediate and advanced level. Pre-registration
is required. Fiddle instruction will also be at an intermediate and advanced
level. Pre-registration is requested. Part-time registration is possible
for fiddlers. Workshop applications for both dancers and fiddlers can be
obtained by contacting Nobi Kuratori at (415) 851-7077 or Nobi@juno.com
(leave your name and address). If you have questions about the fiddle workshops
or are a beginning fiddler interested in auditing the sessions, please
contact Fred Bialy at (510) 215-5974 or FredBialy@aol.com. §
Death of Harald Røine
We have received word of the death this November 4th of Harald Røine, hardingfele player and dancer in the tradition of Valdres, in Norway. He was diagnosed with colon cancer in the fall of 1997, and received confirmation that it had spread late this summer. Harald was the featured fiddler at Scandia Festival at Petaluma (near San Francisco) in February of 1996. From there he went on to a workshop in Washington, D.C. He was born in 1941 in Oslo, and grew up there. His father is from Valdres and has strong roots in the music and folk tradition from Øystre Slidre in Valdres. It is through him that Harald came to the music and dance. Harald began to play violin at the age of six and later added hardingfele. An A-Class fiddler, he learned from such masters as Torleiv Bolstad, Ola Bøe, Odd Bakkerud, and Kjetil Løndal, among others. He was leader of the Øystre Slidre Spelemannslag, and was a sought-after dance fiddler who also often served as a kappleik judge. Besides hardingfele and regular violin, Harald played munnharpe (jews harp) and seljefløyte (willow flute) quite well.
He began to dance springar as a young man, learning from Gullik Kirkevoll, Torleiv Bolstad and Jørgen Trøen. He has taught a springar course in Valdres and has also one in France. He was originally scheduled to teach both springar and hardingfele at the Southern California Skandia Festival this Thanksgiving. He and his wife, Sidsel, had begun to compete seriously in dance at landskappleik only in recent years; they advanced to A-Class in dance at the Landskappleik in Kongsberg this last summer.
In 1991 Harald became one of the district musicians in Valdres, and he and his family moved to the area from Oslo. He had many responsibilities as a concert and dance musician, and had many students in his capacity as teacher in the local music school. He was quite active in the Øystre Slidre Spel- og Dansarlag. He has served on the governing board of the Laget for Folkemusikk i Oslo, and also was a member of Valdreslaget i Oslo.
Harald was one of the best of the fiddlers in the Valdres tradition,
and was one of those who knew and played many of the old half-forgotten
tunes. He was a superb dance fiddler and an excellent teacher. In his capacity
as district musician, he frequently played in concerts. His concert playing
was always sensitive and beautiful, and his dance playing lifted the feet
and the spirit. This writer has also heard him demonstrate the rougher
style which characterized the playing of some of the older fiddlers. Harald
was a fine and gentle man who took great joy in playing, dancing, and teaching,
as well as in his family and friends. He will be greatly missed by all
of us who have an interest in this tradition of music and dance. We have
truly suffered a great loss. §
Per Gudmundson and Ale Möller to Give Concerts in February
Per Gudmundson and Ale Möller, members of the band Frifot will be performing two concerts in the Bay Area during the middle of this coming February.
Per Gudmundson plays fiddle, bag pipe and sings. He has been a prominent performer and teacher on the Swedish folk music scene for more than 20 years. He has collaborated on many recordings, including a solo album featuring himself playing the Swedish bagpipe. Ale´s main instrument is mandola but he is also a very gifted multi instrumentalist playing a variety of flutes, harmonica, hammered dulcimer, and the folk harp. He once released a recording featuring himself as a one man band! As an inspirer he has meant a lot to the Scandinavian folk scene. He appeared last year in the Bay Area as part of the group called the Nordan Project. Ale and Per have been playing together for more than 10 years.
Ale and Per's concerts are tentatively planned for February 17 and 18,
the location for the concerts are still to be determined. They will most
likely be in Berkeley and Santa Cruz. For more information, contact Fred
Bialy at (510) 215-5974 or FredBialy@aol.com. §
Mendocino Scandia Camp Celebrates Its 20th Year in 1999
Plan now to join in for the 20th year celebration for Mendocino Scandia Camp next summer, June 11-18! Scandia Camp Mendocino takes place in the lovely redwood forests about 11 miles inland from the town of Mendocino, California. Days are filled with dance, music and culture sessions, evenings are party time. Lodging is in rustic wooden cabins in the forest and the food is strictly gourmet.
Coming from Dalarna, Sweden will be Bengt Mård and Britt-Marie Westholm. Bengt has been teaching dancing since the late 70's and has been a teacher for Hörkens Bygdedansare. He got his big silver in polska dance in 1984. Britt-Marie took her first gammeldans course in 1982, and started to teach with Kalle Strandell after she received her big silver in 1986. She has been a judge in Hälsingehambon and other gammeldans competitions since 1992. Since 1992, Bengt and Britt-Marie have taught the advanced polska course at Rättvikdansen. They first taught in the USA in 1993 and have been back almost every year since.
Wallmans Polskekvartett (all four members!) will be on hand for teaching and playing. Led by Olle Wallman, the quartet plays for the medal testing and many other dance events. Other members include fiddlers Mats Wallman and Karin Thörn and accordionist Lennar Jansson.
Coming from Norway to teach music and dance from Røros will be Mary Barthelemy and her husband Olav Nyhus. Mary, originally from the USA, settled in the Røros district in 1982 after living in Gudbrandsdalen, Oppdal, and Telemark. She is engaged in various aspect of life in Røros and is a member of the band Dalakopa. Olav sings, dances, plays fiddle and autoharp. He grew up in a fiddling family, rich in tradition, in Glåmos.
Rounding out the Norwegian side of the program will be Roo Lester and Nobi Kuratori who will review hallingspringar to the hardingfele music of Karin Code. Roo, known for her ability to communicate to dancers at all levels, is one of the most sought after teachers in the US. Nobi was the first American to earn his big silver in polska dancing. Both have a positive, clear teaching style with attention to detail in a fun and lighthearted manner. Karin studied violin and viola and now specializes in hardingfele. She is currently studying in Norway.
Brochures for this year's camp should be in the mail by our publication date. All registrations received by Jan. 10, 1999 will be considered equally.
For information about the camp contact:
Nancy Linscott, 53 Presidio Avenue, Mill Valley, CA 94941 (415) 383-1014 email: firstname.lastname@example.org
Roo Lester email:DancingRoo@aol.com
see Roo's web page at http://members.aol.com/dancingroo/
Ernst Grip Dies
The latest issue of "Folklore Centrum" carries news of the death of Ernst Grip. Ernst was born in Föllinge, in western Jämtland, in 1918. As a teen, he attended local dances where he saw older people from his area dancing polskas. While in the army durying WWII Ernst met an older officer from Föllinge, Gammal Anders, who knew all the older dances and taught them to him. Once the war was over, Ernst married and moved back to Jämtland to farm and train workhorses. He continued these activities until just recently.
He has worked hard to preserve the dances of his home area in text, video, and by wide-ranging teaching. He took time to explain and always showed a great friendliness in his contact with his fellow man. Ernst was a very skillful natural dancer. He often pointed out that a dance's inner rhythm, like the music's inner rhythm, was the most important to find in order to capture the soul of the dance.
These dances of Föllinge and Hotagen distinguish themselves from
many of the other transcribed dances, and so are an important addition
to the preservation of Swedish folkdance. The dances comprise 9 polskor,
4 schottishes, 3 waltzes, and 3 polkas. He has taught them at a week-long
summer dance course in Föllinge since the early '90s. He has taught
in the US twice, at the San Francisco area Scandia Festival in February
1995, and at Julian, near San Diego in November 1995. §
New Home for Nordic Footnotes 3rd Saturday Dance
Starting in December, the 3rd Saturday dance will be moving. Unfortunately,the Sunnyvale Masonic Temple, our wonderful home for many years, has been sold. The good news is that starting in January, we have a regular new home, complete with a wonderful floor. It is: The First United Methodist Church of Palo Alto, 625 Hamilton Ave. between Byron and Webster. As you're facing the church, the hall is in the building to your right on the second floor. There is parking behind the church, on the street or in a municipal garage on Webster. Be sure to come January 16 to help inaugurate our new home.
We also have an excellent hall for the December holiday dance. It is the SFV Lodge in Mountain View, 361 Villa St. Karen Kilgore has volunteered to decorate for us again this year, so it should be another magic dance. Don't miss it.
A few details: Feel free to bring food goodies to any dance, but it's especially appreciated for the holiday dance. No alcohol, please, at either facility. Both of these halls are more expensive, so admission for the dance will go up to $6 beginning in December. If that's a problem for you, please come anyway and pay what you can.
Special thanks to Mary Ellen Hasbrouck for helping in the search! It
took a lot of phone calls, and visits to some "interesting" facilities
before we got settled. §
NCS Sponsors MiniWorkshops for Musicians
NCS will be sponsoring a series of informal mini-workshops for musicians
over the next few years. The intention is to have two to four afternoon
workshops each year, usually before area dance evenings. Each workshop
will have a theme, and may be taught by either local or visiting musicians.
The first one was Friday, Nov. 21st at the home of Lucky Eames in Mountain
View. Jim Little and Jeanne Sawyer taught and reviewed tunes from the area
of Föllinge, in Jämtland, Sweden. The next workshop is tentatively
scheduled for the 3rd Saturday in March, with theme and teacher still to
be determined. (That doesn't mean we don't have any ideas up our sleeves.
But we'd like to hear from you.) Musicians with ideas for teaching or requests
for specific themes are urged to contact Sarah Kirton at (650) 9683126,
email: sekirton@ix. netcom.com or Jeanne Sawyer at (408) 9295602, email:
by Jim Little and Linda Persson
This summer (1998) as part of our trip to Sweden we visited Magnus and Susanne Gustafsson who had stayed with us when they were in the San Francisco Bay area to teach a Småland music and dance (slängpolska) workshop in October 1996. When we asked when would be a good time to visit them, Magnus said that we should come during Korrö Festival which is the last weekend in July. He told us that there was a lot of good music and dancing in the evenings but didn't say too much else about the festival. I (Jim) tried finding out about it on the Internet and didn't find much beyond that it was originally a bordunstämma (musicians meeting for instruments with drone pipes or strings e.g. bagpipes, hurdy gurdies, fiddles with drone srings, etc.) that had expanded in scope. We later discovered that Korrö is the largest folk music event in southern Sweden, that it is the only bordunstämma in northern Europe and is one of the few music festivals in Sweden which receives European Union support.
We arrived at Magnus and Susanne's house in Varends Nöbbele about 25 kilometers south east of Växjö on Thursday afternoon (July 23) to be greeted by Susanne and the four Gustafsson children, their dog Brugel and Magnus's father, who was painting the garden gate. Magnus was already at the festival. It turns out that he is the principal organizer and that the rest of the family, if not the whole neighborhood, are also involved in the running of the festival. After eating dinner in the garden all of us went off to the festival, which is about 20 km down the road at Korrö Hantverksby.
Korrö Hantverksby began in the middle ages as the site of a mill and grew into an estate with a manor house, flour mill, sawmill, brewery, tannery and dye works. The buildings have been preserved as a museum, a small general store and a youth hostel. The restored barn has a fine dance floor. The land around the old buildings is a nature reserve. It was very nice just to be there and look at the old buildings, the stream which powered the mills and to walk through the woods. There is also the possibility to go swimming and canoeing above and below the mill dams, there are open fields for picnicking, games and children's play, and there is a "nature" camping place across the highway.
Thursday evening began with an hour concert by the Irish band The Ashplant. After that the chairs were moved out of the way and a long list of groups played half hour sets for dancing. Among the groups that played were Råmantik (a trio from Gothenberg that played polskor on saxophone, accordion and various oriental percussion), Jeannette Walerholt & Karin Ohlsson (Jeannette is a .rikspelman from Småland, Karin Ohlsson is a rikspelman from Värmland and has been to the U.S. with Sven and Britt-Marie Olsson for Värmland dance workshops) and Sågskära (the "house band" with Magnus Gustafsson, Anders Svensson, Toste Länne, Marie Länne-Persson and others). This was the least crowded night for dancing. The dancers ranged from children in mom or dad's arms to experts - that is to say lots of people having fun. We saw and danced gammaldans and polskor and slängpolskor. Most of the time it was a case of guessing what sort of polska was being played. But who cared? There were many different opinions, all expressed with tolerance and enthusiasm.
Although many things were happening on a social level (maybe all the smart ones were sleeping), nothing was scheduled during the day on Friday so we went for a driving tour of the area, thinking to visit a few glass works. We first dropped two of the boys and a very large African drum off at the festival for an African drumming class, then drove on down the road towards Älmeboda. We turned north on a side road which looked like it would take us to the first glass factory on our list in Skruv. Shortly we came to a church ruin, which turned out to have some history associated with it concerning one of the religious sects which arose in Sweden and was put down by the state Lutheran church. At the glass factory in Skruv we saw a glass museum run by the local town association and at the glass factory shop. The museum showed the factory's history, in words, pictures and samples of the glass produced. Next we visited the glass factory in Älghult, about 50 kilometers north. Our final visit was to Dädesjö Old Church, which has internationally known wall and ceiling paintings from the 13th century. The church went out of use in 1792 and was used for storage until 1906 when the paintings were rediscovered. We then made our way back to Korrö on small back roads, impressive for their windingness, for their up- and downness and for the many very wide stone walls that we saw along the field edges. Magnus later told us that in earlier days some local people made money by leading lost tourists back to the main road.
Friday evening began with a barn concert by Edén-Stinnerbom Revival (Mats Edén and Leif Stinnerbom, two of the founders of Groupa plus Leif's son Magnus Stinnerbom and his playing partner Daniel Sandén-Warg, who form the group Harv), Råmantik, and Ellika Frisell, Mats Edén and Sven Ahlbäck (who have just put out the CD Tokpolska). It was followed by a dance in the barn with a long list of groups in half hour sets. Included in the list were the concert groups and others such as Faust (bagpipe builder and virtuoso Alban Faust with others playing bagpipes, hurdy gurdy and other instruments). Simultaneously there was a dance at the outdoor stage. If you wanted to play for the outdoor dance all you had to do was sign up at the information tent. At 10 pm there was a wonderful candlelight concert in the mill with singers Agneta Stolpe, Ulrika Gunnarsson, Sofia Karlsson, Anders Larsson, Gunilla Lundh-Tobiasson, Marie Länne-Persson, Maria Ohlsson, Sofia Sandén and Zara Tellander.
Saturday afternoon there was a formally organized concert from 1 to 8 p.m. in the barn. Among the groups that performed were Gast, Faust, Eter (a group formed around singer Sofia Karlsson), Jeannette Walerholt & Karin Ohlsson, Sågskära, Envisa (an exciting vocal trio consisting of Anders Larsson, Maria Ohlsson and Zara Tellander), Ranarim (singers Sofia Sandén and Ulrika Bodén with Niklas Roswall, nyckelharpa and Jens Engelbrecht, guitar), Råmantik, Gunnfjauns kapel (from Gotland; interesting mix of instruments and an excellent new singer), Elwali (from the western Sahara performing music and dance of that region). At the same time there was a concert at the outdoor stage. It was a mix of scheduled groups (the Klezmer band Trummel, Eter, Ranarim, the 1930's group Everts Kvintett) and sign up to play (a group of young musicians from a music camp ....). Linda went to the afternoon barn concert and enthusiastically enjoyed every minute of it. Other members of the audience moved in and out of the concerts, apparently sampling according to taste. Meanwhile, I spent most of the afternoon hanging out with some of the other säckpipa (Swedish bagpipe) players who were there, trading tunes and being surprised at what we knew in common. Saturday evening there were three dances going on at once. In the barn, many of the previously named groups played half hour sets. The barn was very crowded, both on the dance floor and off. At the outdoor stage, groups signed up to play for dancing. In the sawmill, there was dancing to solo spelmän (I did a säckpipa set there) in a space which allowed at most 5 couples dancing at once and the spectators sat on the log carriage for the saw. At midnight there was a concert in the mill with many of the top performers which was recorded by Swedish Radio for later broadcast.
I've probably not mentioned all of the groups who performed since I didn't take notes. The styles of playing and singing ranged from quite traditional to very experimental. It was a very interesting and pleasing mix, all of excellent quality and enthusiasm. The list of groups to play for dancing in the evening was organized mostly by having a signup list. The list for the barn was supervised; the others were not. In all cases very good programs resulted. Also, many of the groups played more than one evening so that there was more than one chance to hear them.
Even though Korrö Festival is the largest folk music event in southern Sweden, it didn't feel like a mob scene. Instead, it had the pleasantly intimate, laid back and non- commercial feel that can only come from careful planning and a conscientious labor force that works for the love of it.
Entry to the festival was only 50 kroner (about $4.25) per day. The food stands were run by the Nöbbele Bollklub (a local sports club that also ran parking) and various private individuals and ranged from standard "fair" food through Middle Eastern, Oriental and alternative life style. Many picnic baskets were apparent. Rotspel (from Stockholm) had a stand selling books and CDs, there were the stands of two instrument makers (Alban Faust with a wide variety of bagpipes and a maker of mandolas and other stringed instruments) and a stand selling handmade leather goods. There certainly was ample opportunity to find oneself in a picturesque setting.
Housing was the youth hostel (mostly taken up by the performers), camping (tent, trailer or housecar), there were signs for "rum" or bed and breakfast in various of the small towns around Korrö, and Växjö is not that far away. Transportation to Korrö appeared to be private automobile. I don't remember seeing bus stop signs.
We enjoyed Korrö Festival very much and enthusiastically recommend
it to anyone who has the opportunity to be in Småland the last weekend
of July. §
How to Keep Your Violin Healthy and
Sounding Its Best
By Jeanne Sawyer
At Mendocino Scandia Camp this year we got a special bonus: Göran Ohlsson came to camp as a dance teacher, but we quickly learned about his additional skills as a fiddler and violin repair expert. One afternoon, he gave a special talk about how to care for our violins. This article is based on what he said at the talk, plus some additional things he told me when I asked about a million more questions.
Göran stressed in all of his discussions with me that the advice here reflects what he was taught, confirmed by his experience. However, there are many different opinions about what is best, so don't be surprised if you get conflicting advice from other luthiers. Göran studied violin making and repair with Josef Kantucher, from Mittenwald, Germany. Many thanks to Göran for sharing his expertise!
Routine Care Problems You Can Correct Yourself
Check/do the following to keep your violin in top condition:
Check to make sure the strings are not pressing against the sides of the peg box or touching other pegs. Put lead from a pencil in the groove of the nut and bridge to help the strings slide smoothly as you tune.
The pegs should move smoothly and stay in place. If they don‘t, first clean them to get any peg compound or crud off them. Then alternately coat the peg with soap and then chalk, three times ending with chalk. If the peg slips add more chalk; if it‘s hard to turn add more soap. The soap should be old-fashioned hard soap/rendered animal fat, no oils, no perfume. The chalk is regular blackboard chalk.
Every time you tune, check that the bridge is straight and its feet flat on the top of the violin. The backside of the bridge (toward the tailpiece) should be at a 90û angle with the top of the violin, although this may vary depending on the luthier who fit the bridge. Tuning the violin will pull the bridge forward, so periodically you‘ll need to straighten it. Do this by holding the violin as shown in Figure 1. Then push and support the bridge at the same time and move it slowly in to the right position. You don't usually need to loosen the strings, but be careful not to force anything. If the bridge is stuck, loosen the strings a little. While you're at it, check your fine tuners to make sure they‘re not about to gouge the top of your violin.
When you tighten or loosen the bow, always hold the frog in place against the stick as shown in Figure 2. This will help prevent stripping the screw. Tighten the hair to leave about the same width between the hair and the stick as the stick is wide.
Every time you play, use a clean cotton cloth to wipe off your violin and bow to keep rosin from building up.
Watch For Things That Need Professional Help
The following are things to check. If they need adjustment, you should take your violin to a professional.
The neck should be straight. Check by lining up the center line of the top of the scroll with the center of the back.
The fingerboard should have a concave arc, swooping up a bit towards the bridge. It vibrates, contributing to the sound of the violin, so it's important that it have the right shape. At the bridge end, the G string should be 4-6mm above the fingerboard and the E string should be 2-3mm. The smaller height is for steel strings, the larger for gut strings. This is important to make the violin easy to play while ensuring the string has enough room to vibrate fully without buzzing.
If it's the wrong shape, if the strings are the wrong height or if the strings have worn grooves in the fingerboard, it may be time to have your fingerboard adjusted or replaced. Adjustments might include adding a piece ebony under the fingerboard to make it higher or replaning the fingerboard. A fingerboard made out of good material can be adjusted many times.
The position of the soundpost has a big effect on the sound of the violin. It should always be vertical and the correct length (the f-holes should feel smooth, i.e., the edges should be in the correct plane with the rest of the body). In general, the position should be about 4mm behind the bridge, but exactly where you put it depends on what will make the instrument sound best. Moving the soundpost closer to the bridge makes the sound sharper, farther will be more mellow. If the sound post is moved towards the f-hole, the G string will sound more, while closer to the center will make the E string sound more.
If your bridge is warped or is too soft, it may be time for a new bridge. A good quality bridge has lots of speckles on the side towards the scroll and lots of lines on the side towards the tail. It should be about 34mm high, but may need to be a little lower to keep the string height comfortable to play. You lose power as you lower the bridge, so if the bridge is less than 30- 31mm, it's probably better to raise the fingerboard instead.
The bridge normally should be located so that it is centered between the notches of the f-holes. In addition, the distance from the nut to the mensur line (the line that you get by connecting the two notches in the f-holes) should ideally be 325mm. If you can't have both, the bridge should be moved (and the soundpost) to get the proper distance. You're basically trying to juggle getting the best sound, making the finger reaches comfortable, and keeping the measurements standard so that it is easier to change violins. Get your violin repairperson to adjust this if you need it.
For the best sound, the tailpiece should be placed as close to the end of the violin as possible. If you are very careful, you can do this yourself. Make sure to note where the bridge is located before you loosen the strings. If the soundpost falls over when you loosen the strings, you need a new soundpost - the old one is too short. Different tailpieces use different systems for attaching to the violin: look for the instructions from the manufacturer.
The best kind of chinrest clamps on the violin at the end, over the tailpiece rather than on the side. A side-mounted chinrest takes away some sound from the violin. The plates (back and belly) should be able to swing as freely as possible. The chinrest should be custom fit to your violin so that it is the proper height and fits snuggly against the top of the violin. Get your violin maker to do this for you. §
Folk Alliance Conference
Features Focus on Sweden
The North American Folk Music and Dance Alliance conference, February 25-28, in Albuquerque, New Mexico, will have a special focus on Sweden. Representing Sweden will be Björn Ståbi, Kalle Almlöf, and the music groups Väsen and Frifot.
The Folk Alliance exists to foster and promote traditional, contemporary, and multicultural folk music, dance, and related performing arts in North America. The Alliance seeks to strengthen and advance organizational and individual initiatives in folk music and dance through education, networking, advocacy, and professional and field development.
The 11th annual conference will offer a variety of showcases of attending artists and groups as well as workshops for performers and event organizers. Some of the performers will be holding public concerts in conjunction with the conference. For more information, contact:
1001 Connecticut Avenue, NW, #501
Washington, DC 20036-5504
email: email@example.com website: http://www.folk.org
American Scandinavian Music Sites
Northern California Spelmanslag
American Nyckelharpa Association
Bruce Sagan's Scandinavian Web Site
Hardanger Fiddle Association of America
Skandia Folkdance Society, Seattle
About the Calendar
A (somewhat) more detailed and up-to-date calendar can be found on the NCS Webpage at
Web and Newsletter calendar submissions should be sent to Jim Little at firstname.lastname@example.org, (650) 323 2256 or Sarah Kirton at email@example.com, (650) 968-3126.
Suggestions for what to include in a calendar submission are found at
the end of this month's calendar and will eventually be on our web page.
The web page calendar is updated when new material is received. §