How a Break from Improvising Saved My Social Dancing

As choreo season draws upon us I can’t help but feel a bit charged with nostalgia (something I’m not generally prone to). Choreographies have made my most memorable moments at Bees’ Knees Dance, both as a student and a teacher. And memory is the key word here, because learning a choreography is all about turning theory, moves, and feel into a clean performance that is completely committed to your mind-grapes. It’s fun, it’s intense, and it’s ironically the thing that really took my social dancing to the next level.

In normal classes we approach moves with a lot of detail and information. We talk about the lead and follow, we talk about transitions, and we even temporarily put them in little choreographies (sequences) to practice them in the midst of other moves we’ve learned. For most this is a great way to fully understand how to perform and incorporate a new piece of swing lexicon into their dancing, but for others this knowledge and understanding is only temporary (oh, hey). Let me be real for a second. I don’t remember MOST of the moves I’ve ever learned. It’s no one’s fault. There’s so much to know and to be honest, it’s mostly the fault of how my brain works. Moves that aren’t currently on my radar of “stuff I’m working on” generally lie forgotten on the sprung floor of my mind.

But then, there’s Choreo class. HELL. YEAH. If there’s one thing that knows how to print to my long term memory it’s repetition. Even if you’re someone who really retains information from all classes you’ve taken (EXPLAIN ME YOUR SORCERY, WIZARD), repetition is still the holy grail of building dance vocabulary. And choreo is THE venue for it. You have the camaraderie and pressure of a performance with fellow dancers, and your only option is to get. it. done. No matter what.

My first choreo ever was a really fun medium-fast Lindy Hop with Arthur and Heather. We did it to “I Like Pie, I Like Cake” (before it got supa’ hot in the global scene within the next couple of years) and for the first time I was dancing with real confidence. The pressure of thinking up the next move was gone, and with it the pressure of being musical (I’m a musician, the fear of NOT being musical was actually anxiety inducing). It was all right there, laid out for us, and it was AWEsome. We used moves I knew, moves I didn’t know, and a SLEW of transitions, both common and unorthodox (including an 8 count entry into tandem charleston that I still use today). We also formed a real team of dancers, people who relied on each other to make us all look good. We started holding extra practice sessions at each other’s houses and really started to enjoy each other as company instead of just classmates.

At the end of three months I had had so much fun approaching Lindy Hop in this new way. I had committed a ton of new moves to memory, made a bunch of new friends, had gotten to practice swing-outs faster than I ever had until it was easy (easyish), AND I was even more appreciative of my normal classes. Normal classes made so much sense now. In them you really work with WHY a move is what it is and how it should feel, how it should be lead and followed. In a choreo class you don’t always get the time to ruminate on the theory of a move. Choreography classes are built to cram moves in to you like an overstuffed suitcase going on a swing voyage (this year we’re going to Harlem!), but in normal classes you stay on them and pick at them until they really make sense.

In tandem (whomp whomp), these two styles give you the theory and vocabulary for great dancing. And something a little more I think, because now I can’t do that tandem transition without my sense-memory going back to that part of “I Like Pie, I Like Cake”, and remembering the room, the feeling, and the energy of that class. And that’s a voyage I enjoy taking.

Got a fun story from one of YOUR choreo classes? Let us know in the comments below!
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JAMES EVERETT
THE BUZZ BLOGGER

You may have it down pat at the venues you frequent: you know the other dancers, you know the bands, you know the floor. It gets to be so easy after a while! You go out, meet your friends and dance your face off. You know pretty much what to expect (aside from surprise pecking), and what to expect is fun. But what happens when you venture off the dance floors you know and love?

Whether you’re travelling to attend a dance event, or just travelling and hoping to dance, there are a few challenges you might face when dancing outside your scene. They’re easy to overcome though, and who knows? Before you know it you could be dancing your way across the globe!

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Find Someplace to Dance

Thanks to the power of the intertubes you can do a lot of research on what’s happening at your destination before you get there. Search for groups or swing schools in the city you’re going, check out the venues and the bands, try your darnedest to figure out what the floor’s like. Facebook’s a great help, both for finding upcoming events and making connections with other dancers.

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The Right Shoe for Every Floor… Is All The Shoes

If you’re new to dance travel, you’ll soon see why Lindy Hoppers pack so many shoes. Bring a couple pairs so you’ll be set whether the floor is sticky or slippery. If you like to dance in heels you might bring a couple of options there too. Oh, and probably an option in case the floor’s in really bad shape and you don’t want to ruin your good shoes. And the pair that goes with those pants. You should probably just bring all your shoes. 😉

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I Ain’t Got Nobody

Let’s dance! Yeah! It’s just… what if you don’t know anybody? How do you get out there? If you don’t know very many people it can be a little trickier to get on the floor than you’re used to. Instead of grabbing your friend or classmate, you may have to go in cold and ask someone new. Don’t worry – even the most confident among us can get a little shy in these situations. This isn’t all that bad though… I like to remind myself that I’m about to renew my faith in how friendly and welcoming Lindy Hoppers are. And that’s exactly what happens 99% of the time!

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Voulez-vous dancer? Vuoi ballare? Would you like to dance?

It’s pretty common that many scenes have fewer Leaders than Followers, so while I’m going to speak right to the Followers here, this definitely applies to both dance roles.

I’ve heard from many Followers throughout the years that they’re too uncomfortable asking strangers to dance and prefer to be asked, but that makes it difficult to dance anywhere when they travel. I can’t stress it enough: this is the time to step out of your comfort zone! Why not give it a try?

There are a couple things to keep in mind here:

1. Look for someone standing around the dance floor;
2. Look for someone whose body language says they’re ready to dance (e.g. they’re tapping their feet, moving along to the music, not otherwise in a conversation…);
3. Lindy Hoppers are generally super friendly folks and it would be pretty rare for someone to turn down a dance if the above conditions are met!

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Filling Up Your Dance Card

Hot tip: Ask for introductions! After a dance, ask your partner who you should dance with. They’ll introduce you to their friends and your dance card will fill right up.

Another strategy I use a lot: once you’ve had a dance and if you want another, stay on the floor after the song ends and you thank your partner instead of making a “bee-line” off to the side. Everyone’s milling around after the song ends, looking for a partner. It’s the perfect time to find your next dance!

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Getting Inspired

My favourite thing about visiting a new dance scene is noticing the trends. What music are they most excited about? What’s the excellent Follower styling? What is every Leader leading? For example: London is super into partnered JUMPING! right now and Parisian Leaders are leading side-by-side chugs like it’s their job.

Who couldn’t use a little excitement outside of what’s tried and true? Go forth, get inspired! Just make sure you bring that inspiration back for the rest of us so this dance we love keeps growing!

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REESA DEL DUCA
THE BUZZ BLOGGER

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My Own Personal Journey

Howdy folks!

Firstly, just a quick note that my tips and methodology on how I grew as a Lindy Hopper are what worked for me. You might find they work for you a lot, a little, or not at all. I only hope the following words can be of some value to you in your own personal journey.

I took my first Lindy Hop class January 14, 2007. I remember the exact date because I was immediately obsessed. I had explored other dance forms growing up but by the end of my first class in Melbourne Australia, I knew Lindy Hop would be my passion and hobby for the rest of my life. Once my visa was up 5.5 months later I changed my world travel plans and moved back to Canada where I could stay grounded and throw myself entirely at this amazing dance.

Tip #1: Take as many classes as you can (afford)

Although I hadn’t yet moved to Toronto, I commuted there twice a week from Burlington to attend classes. It was a bit of a hassle but worth it. Classes are an important source of new material that you can bring with you when you go out social dancing.

Tip #2: Social dance as much as possible

This is probably the most important tip, and the easiest. Social dancing is the whole purpose of taking lessons, as well as the root of where this dance originates. If you are newer to the scene and are intimidated by the more experienced dancers, DON’T BE. The Lindy Hop community as a whole is very inclusive and friendly, but I believe this is especially the case in Toronto (no bias of course). Never hesitate to ask anyone to dance, including me ☺ Lindy Hop social dancing is a shared experience where you are inspired by both your partner and the music. As long as we’re both trying to have a good time, it’ll be a lot of fun regardless of your level of experience. Dancing with a brand new dancer who is engaged and having fun is one hundred times better than an “expert” who isn’t. It’s just like any verbal conversation. It only works when both people are listening and contributing.

Tip #3: Bring a cheat sheet to the dance

The social dance floor presents a great opportunity to practice what you learned in class, though not at the expense of the conversation with your partner. I used to bring a cheat sheet to dances that listed a few brief points on what I was currently working on. I would take a quick peek, pick one thing, and focus on that for some or all of the evening. I would have it as a thought in the back of my mind, throw it out there once in a while and then forget about it. For more general things such as posture or what your arm is doing, you can focus on them a little more often. Again, have fun and don’t let your training happen at the expense of the person you’re dancing with. The one possible exception where you could practice a little more during a dance would be if your partner was someone you practice with regularly and they’re okay with it.

Tip #4: Find a dance partner and/or practice group

I found it difficult to find a steady partner early on but got lucky with some great ones. Nowadays Toronto’s scene has a greater number of eager dancers you can hopefully connect with. The most obvious place to meet and inquire about partnering with someone is in your regular classes. If you have great social dancing chemistry that’s also a good sign. If you’re working with someone in a performance class or troupe, you might try to extend that working relationship outside the classroom. Although regular classes offer a great place to get expert material and occasional personal feedback from your experienced instructor, working with a partner has the added benefit of constant and focused constructive feedback and the opportunity to cater the material to you and your partner’s needs. Just make sure you are both considerate of each other’s interests when utilizing your practice time and always make sure your feedback is constructive. When something isn’t going quite right with what you’re working on, be as specific as you can about the problem but without assigning blame, i.e. “I’m not feeling the stretch at the end of our Swingout”. Because you often don’t know what the issue is or who, if not both of you, is contributing to it, the best approach is to list the possible causes from the perspective of both roles. Even if you think you’re doing everything right and know exactly what your partner is doing wrong, being balanced at the onset is a more diplomatic approach and allows each person to reach their own conclusions. You’ll probably find that your original theory is sometimes incorrect.

Most people are sensitive to criticism, especially when they are trying really hard to work on something they care so much about. If you’re going to offer your opinion, always follow up by asking for theirs. Nobody is an absolute expert and both of your opinions always matter.

I find this approach to be safe, considerate, and a benefit to the long-term health of your relationship.

Tip #5: Keep track of your progress and accomplishments

When I first started practicing it was in my parents’ carpeted basement, working on jazz steps from YouTube videos I burnt onto blank DVDs. I started a Word document with the title “Solo Jazz” and began listing the moves regardless of whether I knew the actual name. If I wanted to confirm the name or had a question on how to execute the move, I’d ask my instructor just before or after class.

When I started working with partners, I extended the Word document to include other categories and greater detail, i.e. Tandem Charleston, Swingout Variations, Personal Stylings, Sugar Pushes, etc. For each move/combo/style/variation/etc., I would include a name (if possible), exact title of the YouTube video and a timestamp of where the action takes place. I would then include a brief description of how I thought it was being executed from a Leader’s perspective. When I showed up for practice I had the document and videos ready for reference on my laptop or tablet. When I stopped adding to the document about 3 years ago and began writing custom lists for each person I was working with, I was up to 63 pages. It was pretty big.

Here’s a couple examples of how I used to catalogue what I was working on. Please keep in mind that these are several years old and reflect the dancer I was at the time ☺

(from the “Texas Tommy” section of my Word doc.)

[0:40 – 2009 03 09 Heather   Davis Thurber Lindy Level 3 Week 22] As soon as you pass her hand off on 5, grab it with your RH on 6, keeping your LH on her lower back. Keep the Follower anchored while you continue to rotate cw.  At about 7, bring her RA to behind your back.  At about 1, prep her hips cw and lead a ccw turn in the direction of stretch to your left. Try it!

(from the “Swingout Moves and Variations” section)

[0:40 – Nick & Carla au PSF 2008] Build tension by 6, lead a stretch away on 7 and lead her to jump towards you on 8.  On 1, you’re both landing with forward momentum as your RH connects with her left shoulder. Lead her into an outside turn as she continues to move in your direction.  As she turns, turn with her for about another 90° so that you both land facing opposite to your starting positions.

• Variation: Turn an extra 180⁰ at the end so that you land back to front.  Now with a bit of a downward prep on the landing, jump up while turning and leading her 180° ccw into Tandem Charleston. [5:20 – Camp Jitterbug 2008 Lindy Hop Couples Finals] Practice

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The Practice meant that I still needed to work on it with my partner during practice time. Try it! meant that it was ready for the dance floor.

Tip #6: Use other dancers as a source of inspiration

At this point in my dancing I’m more focused on coming up with original ideas without videos but will sometimes watch videos of the world’s top dancers for inspiration. Regardless of how long you’ve been dancing, try to assimilate what you get from other dancers as much as possible, rather than just copying things exactly.

There’s nothing wrong with “stealing” from other dancers. The great Frankie Manning pointed out that Savoy dancers did this all the time. The key is to take their move and make it your own through style, variation, addition or a combination of the three. When I first started practicing with a partner I almost never chose something to work on simply because it looked cool or flashy. I always picked something that had a movement, style, or technique that was new to me. My theory at the beginning was that if I focused on improving all of these things, I could eventually move in every way and lead anything. Of course, no matter how good you think you are there is always something to learn. This mentality, not to mention truth, is what will drive you to improve and create for the rest of your dancing life.

If you decide to use a practice methodology similar to what was mentioned above, the one piece of advice I would give is to remember that this dance is an art form, allowing you to express yourself with your own unique creativity. Begin by imitating and breaking things down but then quickly move to make the new material your own and allow it to evolve. Your dancing should be an expression of who you are and not a robotic regurgitation of what you saw on YouTube or did in practice.

Tip #7: Film Yourself

Watching yourself dance is an extremely useful thing to do. Set up a tripod or ask a friend to help. For most of us we’re much better dancers in your own heads than what is actually displayed on the dance floor. Every time I check in and watch myself dance, I see something I want to improve upon. Having your dance partner(s) critique your video can also be beneficial. Video critiquing is a great way to measure your progress, and over time you will gain a keener eye for what you’re seeing .

Tip #8: Travel

All the best dancers I’ve known are people who travel to outside dance events. There are some fantastic instructors here in Toronto and some great dancers to social dance with, however we only represent a fraction of the greater Lindy Hop community. Taking outside workshops exposes you to new teaching and learning approaches, as well as unique styles and dance moves. One instructor’s perspectives and approach to fundamental concepts might connect with you in ways you hadn’t thought of before.

Dance events typically have amazing music to inspire you, push your creativity to places you’ve never been, and can result in some of the best dances you’ve ever had. One of the best things about travelling is all the friends you’ll make along the way. The greater Lindy Hop community is massive and it’s pretty cool when you have friends from all over the world. Not only is the social dancing fun but your partners will expose you to new styles, moves, variations, etc.

There are 3 main categories of events: 1) Exchanges, which are all about social dancing 2) workshops and 3) competitions. Some events are a combination of these three. In my earlier years I focused more on workshop events because I was a sponge for knowledge. Your days are full of classes and your evenings are filled with social dancing. I dabbled in competition events but didn’t go to many until I had been dancing for about 4 years. Competition has never been a big focus for me. I’m more of a social dancer at heart. I compete a handful of times per year because it presents a different challenge and the whole process can be pretty exciting when it isn’t too serious. You might feel different about it depending on your goals. If you are an aspiring competitor, keep in mind that the better social dancer you are, the better a competitor you will be.

If you’re interested in competing, I also recommend performing. Do it with a partner and/or with a troupe. In some ways competing is performing, in that you are presenting yourself to an audience. You have to consider connecting with them in addition to your partner.

Tip #9: Explore other dance forms

To present a new challenge and refine some of my fundamental dance skills, I started taking ballet classes. I’ve also dipped my toes in Hip Hop and Breakdancing. Training in other forms of dance can improve body awareness, movement, and overall mechanics. In the modern Swing era you can see many examples of dancers incorporating other forms of dance into their Lindy Hop. I’ve seen hip hop, breakdancing, locking, modern dance, tap, tango, etc. Lindy Hop is a dance of improvisation where there is some freedom to incorporate ideas from other dance forms. The key in most cases is to do it while having it still look like Lindy Hop.

Well, I think I’ll leave it here for now. I could easily go on forever as most of my friends would agree. If you have any questions, please don’t hesitate to ask me in person. Lindy Hop and the culture surrounding it are easily the greatest things that ever happened to me. If you’re new to this dance I’m very excited for you and the adventure still ahead. It’s going to be an awesome ride. I now leave you with a couple of my favourite quotes from the great Frankie Manning.
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“When you are dancing with your partner, for that two and a half minutes, you are in love with each other. You’re corresponding with each other by the moves that you make. It’s a love affair, between you and your partner and the music.
– Frankie Manning

I think the dance is wonderful, to me it’s a partner dance, good exercise, with a partner, it’s a joyful dance. I usually tell people, I never see a lindy hopper who is not smiling. – Frankie Manning

Question for Frankie: Frankie, these days you are The Man … how do you feel …
Frankie: I really don’t know what it’s like. I don’t feel any different from anyone else. I’m just a dancer who loves to dance and loves people. I can’t tell you. People ask me, “How does it feel to be a legend?” I feel like I feel. I don’t feel like I’m a legend, I feel like Frankie.

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PHIL BOURASSA
THE BUZZ BLOGGER

I Can Has Lindy Hopz?

It was almost exactly a year ago this weekend that I finally faced my fears and went for it… I asked a stranger to dance.

A bit of backstory perhaps. Like many swing dancers, I’m an introvert. A shy introvert. Big time. I can easily tuck that behind a blanket of outgoing perkiness but at my core, people are scary. So the idea of walking up to someone and willingly putting myself in a position of judgment where the other had the choice to either accept my offer graciously or storm off cackling loudly at the very audacity of spending a single moment in my presence… well, clearly I’d built the latter up to a terrifying if not ludicrous level.

So I didn’t ask. Ever. Oh sure, if I was leaving the dance floor and happened to catch the eye of one of my good pals I could awkwardly raise an eyebrow and strike a dork-pose until they shuffled over to dance… but to actually walk up to someone and ask? Oh hells no. Terrifying. Stranger-Danger. I’d rather stand by the sidelines. So I did. A lot. And apparently started to get a reputation as a dance snob, even lost a couple of friends over it. It had the beginnings of becoming a real barrier to the dance funz, and gosh darn it I was frustrated.

Thankfully a year ago, at my first Steven & Virginie workshop in Rochester, a good pal grew tired of my cowering in the corner and challenged me to ask 3 people to dance that weekend. Just 3. Had to be strangers. And by golly I did it.

Since I’m sure I’m not the only swing dancer to ever suffer this affliction, I’ve decided to share what worked for me so that you too can stop being a wallflower and get out there and dance!

Dance in Someone Else’s Shoes

You know how good it feels to be asked to dance. It’s awesome, it’s flattering, it’s a possible new pal, it’s at least 3 minutes of good times in your immediate future … All kinds of good things. Now have you ever looked the asker in the eye and thought “how dare they think themselves worthy of my time and sweat!” ? Oh c’mon, of course not. If you did, you’d probably have been ostracized long ago. (I kid) So when you’re crossing the floor and summoning courage, just remember how great you’re about to make that person feel.

Target Other Wallflowers

My first self-initiated dance was with a fellow dance introvert, a well-dressed elderly gent being repeatedly passed over at the sidelines. So up I went, offered my hand, and was greeted with the warmest, most enthusiastic smile. And boy, that dance was FANTASTIC. It made the rest of the night so much more pleasant for both of us. He got to strut his stuff, thus intriguing other follows, and I got an injection of courage with which to seek out my next dance partner.

Remember the Many Reasons for Rejection

Maybe they just finished a really fast Charleston and need a breather. Maybe they stubbed a toe during that last dance. Maybe they feel too sweaty and want to change their shirt. Maybe they are concerned of their own body odor and want to escape to the loo for a pits n’ bits sink-shower. Maybe that particular song dredges up bad memories. Maybe they are feeling that pre-dance burrito about to make an unfortunate reappearance. Perhaps they’d previously promised the next dance to someone else and are frantically scanning the room for them. Notice how none of these reasons have anything to do with you? Exactly.

And finally…

If All Else Fails, There’s Always Solo Jazz

If you’re loving the song but too shy to find a dance partner, there’s no reason you can’t still dance. Rock out some Apple Jacks or a cool Boogie Drop, and in no time you’ll notice others joining you. Solo dance is contagious, like moths to flame, or flies to sidewalk-poo. If you dance it, they will come… and you’ll either end up with a Lindy Hop partner for the rest of the song, or at least someone else to Spank the Baby with.

Happy Asking!

KRIS LIGHT
THE BUZZ BLOGGER