Dance Musings
Years ago, I created an Airstep Spreadsheet to help me recall what airsteps I knew while also being a resource for others. It was built with a limitation - youtube links in the comments that a person could only see with Editor privileges. After our St Louis Get Down airstep workshops and questions that arose by practitioners, I decided to see if I could extract the comments easily so I could share this publicly with Viewer access. Thanks to an Excel macro I could!
Enjoy!
Someone recently started a Facebook thread commenting on the diminishment of their scene post-Covid and asking what others are doing to revitalize their own. Inevitably (inevitably??) some people attributed a decline to people being politically correct or woke. From our own experience listening to members in our scene, the sense of diminishment might come from thinking nothing’s going to change and wanting change to happen.
This leads me to the movements that sprung up within the swing dance community during the pandemic and after George Floyd’s murder such as CVFC and MOVE Together (now defunct) where they created a shared Anti-Racism resource. Before that, there was Lindy Focus hosting talks with Breai Mason-Campbell where my group (organizers & traveling instructors) left LF one year with the mission “Speak up, Model, Post.” Some people have effected change while others continue to maintain the status quo.
A 2024 example of maintaining the status quo would be a swing dance organization using a clenched fist symbol in a promotion reminding their online audience how soon a dance competition was happening. While a Google Image search attributes that particularly designed fist to a Civil Rights Fist and #OccupyNigeria and can be found in Canva, this usage is likely problematic being a white fist, knowing the convoluted history of raised fists, and with this symbol being stripped of its context. At best it’s cultural appropriation and, at it’s worst, it could be perceived as a white supremacist symbol.
Symbols have power and it’s especially important for white-led organizations occupying space within Black cultural art forms to be aware and curious of symbols when the organizers likely lack cultural context. We’re supposed to be making space for tradition bearers to reclaim their heritage rather than placing barriers. It’s why using these tools and resources others have provided is so important so as to create more welcoming and inclusive spaces. But… these resources are only a stepping stone in which we’re often asked to Do Your Own Research.
As a company that prides itself in making swing events accessible for all, it’s noticeable when we and perhaps others feel like outsiders due to information not being made readily available. Some recent examples:
Contacting an event organizer to ask who their DJs are for a dance night and them ultimately not sharing that information.
Being ignored multiple times when asking another organization who was DJing their night and ultimately emailing the owner.
Seeing an older woman asking a bandleader’ mom if her son was playing because event calendars she was looking at still had the incorrect information on it
Colorado dancers from another city not being in the know of a Colorado meetup happening at an out-of-state event
An event site requires hopeful competitors to purchase a Competitors Pass but offers no pass with this label leading to confusion for a new competitor
In the first three cases, we all had access to insiders with the information we sought but what if you didn’t have that access? Where would you go? In this information age, there are so many online places to check for information which means these organizations would ideally communicate relevant information on each platform they maintain. That typically includes the Facebook event, web calendar, Facebook page, Facebook group, the booking venue calendar and Instagram to name a few options.
One of the reasons why our website’s homepage looks how it does is thanks to a woman sharing direct feedback with us based on what she heard about our site’s usability. An older person was having trouble finding information about our next event and, even though this info was available on our site, we needed to improve. We did this by linking text within that opening sentence and then linking menu items directly below to improve access on desktop and mobile. And we continually make sure we provide up-to-date information covering most everyone’s frequently asked questions.
To address the opening four examples, here are some thoughts:
If you’re empowering DJs to do their own promotion work instead of the organization, equip them with where to post and verify they are posting. And if you’re getting away from marketing on social media or being actively present, please consider becoming active.
Make sure your Facebook page is actively monitoring page’s content and answering questions on your FB events and pages. If users are directly coming to ownership via phone or email because they’re being neglected online, you messed up.
Keep your web calendars updated. More and more people are moving away from social media which means it’s even more important to keep your website calendar updated along if you’re part of a group collective calendar (Turnverein, Avalon Ballroom) where people look.
Oftentimes when Colorado travels to an event, people tend to focus on Denver and Boulder as they’re rarely aware of dancers from Colorado Springs, Fort Collins or the Western Slopes. It takes little effort take to say “hey, there’s a Colorado group photo happening Saturday night. Do you know about it?” or “do you know about the Colorado Goes to Camp Hollywood group? Let me share it with you since you’re going.”
Step into a new person’s shoes and evaluate your website with their eyes or ask a friend that doesn’t do “that thing” to look for discrepancies and ask probing questions. Consistent messaging matters because doubt and questions can be barriers to entry.
It’s worthwhile increasing inclusivity.
This came across my Instagram feed today and instantly sparked memories, flashbacks if you will. I often talk about this, but I used to teach the Shim Sham on the “1” instead of the “8” in order to make things “easier” for the people that came through the Overland Park, KS swing dance night. I knew it wasn’t right, but didn’t know enough to know why nor bold enough to push back.
Watch the dissonance between people I taught and the people that respected the culture and came up within the culture (Frankie Manning) on the studio’s dance floor. I pushed Play and stayed off the dance floor anticipating the resultant mess.
Unfortunately, it wasn’t the last time I would water down steps to make things easier in the moment for people. The thing about taking the “easy” road is that you’re ultimately setting students’ up for greater difficulty later on. Difficulty might come in the form of paying for more lessons because the teachers need to unpack more layers in a particular step, injuring themselves or another person since the easy technique doesn’t scale well to the social floor, or needing to unlearn things because they’re about to teach classes and must represent the culture better than you initially did.
It is always worth the time teaching the actual step. If it takes people more time to learn, so be it. If you need to call people in do avoid appropriating steps, it’s worth it. If you need to hire someone else to teach the step, hire them. It’s about doing the right thing and the right thing is doing the steps right and representing the Black culture these steps came from well.
I started a book recently called Dying of Whiteness that encouraged further reflection on how some people make things harder on subsequent generations rather than easier. In the dance world which encompasses teaching, learning, dancing and socializing, this materializes in different forms such as:
the instructor teaching methods deemed out-dated or not aligned with Lindy Hop (groove walks anyone?)
organizers not updating their Code of Conducts or having any because they never had this when they started dancing
people not talking openly online or in-person about our social dances originating from Black communities because they think this would exclude or alienate white audiences instead of attracting the world majority
While it can be tough looking at newer generations of dancers or future ones while looking back at your experiences (learning from VHS tapes, reconciling your background appropriating Black dances, seeing that your peers were competing at ALHC while you were muddling in KC), it should be celebrated that you can make someone’s learning journey easier by bringing your meandering messy learning path but fixing the potholes, building bridges to avoid pitfalls and paving the way.
I was struck yesterday by a promotional piece from a local organization that pinpointed 1999 within the “swing revival era.” Come to find out this was missed during the editing process done by more knowledgeable dancers. We’re happy this was edited out but it’s noticeable that relatively newer dancers were pushing a revival narrative, a myth I thought was being addressed by local organizations thanks to calls in by Moving History Together, Collective Voices for Change and Move Together. .
We’d like to ask that Colorado swing dance organizations like CMDance and others that promote revival narratives refrain from doing so. Instead, I’d encourage my fellow organizations to share stories about Mama Lu Parks, LaTasha Barnes learning Lindy Hop from her grandma, what Mura Dehn and Margaret Batiuchok gleaned from their record-collecting of Savoy dancers, etc. Lindy Hop and other Black social dances have existed and continued on into this present day. What changed, and this is important, is that white people ignored these dances or diminished them through whitewashing, reduction and sometimes systemic racist policies to reduce safe gathering spaces and to control bodies only to “rediscover” them.
When we (and I mean “we” since I’ve done this too) talk about “ourselves enveloped in the cultural revival of American swing music and dance” we are becoming the colonizer and not the colleague. Let’s be better guests within Black cultural art forms.
Kizomba, Salsa, Zouk, Jitterbug read the dance list. Here was a school that respected the names of Black dances created outside of America but chose Jitterbug to represent Lindy Hop, a Black dance created in America. We asked why and are still awaiting a response.
Frankie Manning, a second-generation Black Lindy Hopper, once said in an interview: "Nowadays if you say Lindy Hop there are very few people who know the word. You know you say Lindy Hop and they just look at you you know. What is that? And then you say uh jitterbug and their face light up because they have heard Jitterbug for so long till they think that's what it is."
There’s a local jazz festival celebrating Jazz Age dances and listing Charleston, Lindy Hop and Jitter Bug in what is being billed as a “celebration of America’s unique performing art.” Once again, a Black creation is subsumed for a white audience with the Jitter Bug inclusion and no mention of Black creators related to these dance and music forms.
Related to this, using words like "vintage" can fix Lindy Hop into a particular time and place while ignoring it's cultural transmission (separating creators from their creation) through generations perhaps minimizing its present impact. My notes from Marie N'Diaye from hers and Felix’s workshop - “European cultures tend to preserve. That was their environment. If they didn't preserve food, they'd die, whereas food was often abundantly available in the African continent.” If environment begets culture then we ought to look at the language we use to enhance inclusivity.
Oftentimes, organizers are resistant to changing their language because they’re afraid of distancing their majority-white customer base. When an organizer asked us for co-promotion assistance, we asked them to take several anti-racist steps such as calling what they were teaching by their Black social dance names, talking about the roots of these dances both on their website and social media. Months later, we still haven’t heard back.
But what if we fully embraced and acknowledged Black ownership? As Dr. Thomas DeFrantz discussed in a CVFC talk - “Dance is technology transforming dehumanization into joy but Black people can’t hold the patent.” We keep taking their fertile creations and:
renaming their creations
transforming their creations through European-American lens (lead/follow concepts, angularity or lack thereof)
sharing a history where these creations are vintage, ending in a certain era, and thereby ignoring the living community that fostered them
It’s sad to hear “That's just the way he is; he isn't going to change.” when people talk about organizers that will continue teaching East Coast Swing alongside their Lindy Hop. Instead of preserving white ownership appropriating Black culture, we should dismantle it through our words, actions and dollars.
I’m reading Sam Carroll’s thesis paper and came across the following (emphasis mine):
”Both Jackson and Malone draw on Ralph Ellison’s definition of African American vernacular dance, quoting the following passage from Going to the Territory:
‘I see the vernacular as a dynamic process in which the most refined styles from the past are continually merged with the play-it-by-eye-and-by-ear improvisations from which we invent in our efforts to control our environment and entertain ourselves. And this not only in language and literature, but in architecture and cuisine, in music, costume, and dance, and in tools and technology. In it the styles and techniques of the past are adjusted to the needs of the present, and in its integrative action the high styles of the past are democratized… Wherever we find the vernacular process operating we also find individuals who act as transmitters between it and earlier styles, tastes, and techniques. In the United States all social barriers are vulnerable to cultural styles (Ellison 139 – 41).’”
This is helping me now reconcile my complicated feelings toward labeling Lindy Hop as a vintage dance which Amy Johnson brought to the forefront last year when marketing for Ultimate Lindy Hop Showdown in New Orleans. Here is now a smattering of thoughts from me and others as it relates to Lindy Hop as a traditional dance - “traditional meaning, something that is rooted in tradition, but wholly alive. Of the now, but with some of the old ways preserved in order to connect it to the culture from which it came.”:
Notes from a conversation with Gaby Cook about the ideas behind Sw!ng Out and you can learn more through this NY Times article - Swingout! is a modern anthopological exhibition about how swing dancing is a form of humanity. Wants to be a display of swing dance in modern bodies/modern clothes and doing things that feel true to the dancers' bodies.
As dancers we are asked to bring ourselves into the dance including our entire lived-in experience. Teachers ought to be asking students to explore their range of personal movement while social dancing inside or outside class while avoiding asking them to re-enact the teachers’ exact movement because Lindy Hop is real now and not just the past.
From my experience selling and wearing vintage clothing, vintage was always something plucked from a fixed time period. Lindy Hop, as any vernacular dance, is mutable as seen in Moncell Durden’s documentary, Everything Remains Raw, and continuously spans multiple generations. It seems this could play into the revival myth that places white saviorism and dance colonialism in the midst of Black stories that featured Lindy Hop as ongoing community dance practice.
Vintage also communicates very differently between Black/BIPOC and white communities. The idea of vintage can also play into the idea of time travel to an era when Black communities dealt with Jim Crow laws, segregation, and much much more which Grey Armstrong tackles here.
From a marketing standpoint, I want to appeal to wide demographics and want potential students to see themselves learning and dancing Lindy Hop. Vintage can be a barrier to entry as people might not want to dress vintage, do a dance that seems to be a reproduction, or do something deemed out-of-fashion.
If you were to look at comparable dances including blues, salsa, argentine tango, you’ll rarely if ever find them branding their dances as vintage though some have as long if not longer lineage than Lindy Hop. Again, why does Lindy Hop and its dance peers get the vintage treatment? One theory posits that by labeling a dance as being in the past or even “dead,” one can preserve and do with it as they see fit, therefore separating it from its originating culture.
Overall, I see this as a complicated subject and still want to include people where vintage plays a large role in their lifestyle. I do think labeling swing dances and music as vintage keeps them in the past while new swing content continues to be produced by both dancers and bands. To paraphrase what Rachael Pitner once wrote - To limit Lindy Hop being a “vintage” dance likely sterilizes it and hurts the art form.
Noted Black historian and dancer, Moncell Durden, asked in a presentation entitled "Rooting Uprooted" at The International Conference and Festival of Blacks in Dance - “what is being taught through the media?” and later saying “Once you find out where they {Black social dances] originated from you find out the meaning and why it's called what it's called but technology misses that.”
This made us immediately reflect on how we broadcast what we do online and what others do. For example, iLindy has this statement accompanying each of their social media posts on Instagram and Facebook: ”Swing Dancing is an African-American creative art, built on African-American dance values. These roots and values deserve to be reflected in our communities, to respect the spirit of the dance, and make it an inclusive space for people of color.” How they explicitly center swing dancing as an African-American dance form is fantastic to see!
Fifth Element Dance in Aurora writes “Jazz dance originated from Black communities in the late 1800s & 1900s. It combines performance with social & cultural dances that were emerging at the time of its development.” under the Jazz class description.
Katrina Rogers, owner of Move With Ease and a Blues dance instructor, writes “Embark on an immersive exploration of Blues Dance, a captivating and soulful form of black vernacular dance that transcends time and resonates with the heartbeat of cultural expression. Rooted in African American history, Blues Dance embodies the rich tapestry of emotions, stories, and experiences woven into the fabric of the blues music genre.” for her Beginner Blues series in the Facebook and Meetup events.
Others bundle Jitterbug and East Coast Swing as Vintage Swing Era Jazz Dances, offer that East Coast Swing “were originally developed side by side with vintage Jazz music”, or write that Lindy Hop is interchangeable with Jitterbug. Why do we need to couch Black dance in terms associated with whiteness? As Moncell also says and I paraphrase - “Your identity is attached to it and that's a disruption” which, if it holds true to me and my dance history, is likely true for other current organizers where they themselves and their own mentors are and were not steeped in swing dances’ origins or they purposefully avoid explicitly sharing the Black origins online.
We’re at the point when organizers occupying space within the Black social dance community ought to be using the names Black creators gave their social dances, stop using names that purposefully erased Blackness (jitterbug and east coast swing) and seek opportunities to share that these are Black social dances online and offline. And since we’re still in a time where whiteness is the default, it’s important to expressly state Lindy Hop is a Black (vernacular/social) dance. Stating it’s a dance born in Harlem, NY isn’t enough when the overall Black population is down to 44% in that neighborhood and people lack education around the Great Migration and Harlem Renaiisance.
Let’s use the technology available to us to amplify the origins of the vernacular dances we love so much rather than featuring them without origins.
The title of their class, Developing the Essence, drew me in. The written description was that they would focus on the intention of the body and the idea of polycentrism both solo and partner. That idea—the polycentrism—is what I see in Marie and Felix’s dancing, and they do it spectacularly. Marie embodies the idea of the follow having their own autonomy in the partnership, and Felix “spotlights” her when she does it.
