One thing I wish he would have mentioned was how the Jitterburg became the dance of rock n roll in the 1950s, among white teenagers. The lindy didn't fade away it transformed among black teenagers turning into the "Bop" which is what inspired Chicago Stepping still popular today. To jump from the late 40s to the 80s negates the transition lindy went through. While the "Twist" killed partner dance from 1958 to 1962 the lindy was being done as the Bop without air steps sparking other dances like the "Birdland" and others. Also, he didn't mentioned that the Swedish looked they way they did/do because of people like Al Minns and Frankie Manning teaching them.
this was a great summary of the origins of Lindy Hop. Our non-profit strives to educate the public by preserving, promoting, and performing the vernacular jazz dances of the 1900s and beyond
Fascinating stuff. One of the things I've lamented about swing's has transformation since I started in '01 is how it's seemingly gone from something more social to more competitive. Exchanges - just getting together, dancing and meeting others - seem to have given way to "championships," where competing and leveled tracks are priority. This is good for the top-end, but might turn off recreational dancers. I think RUclips had a major impact on that happening, which relates to this discussion.
I concur that the swing out should be individual to the person, if allowed. With women, we tend to dance a different dance depending upon our lead. Men tend to lead the same move the same way with different partners. NOTHING like a good feather duster move!!!!
The reality is that a Lindy Hop basic does not exist. It is just a combination of weight transfers and energy flow that has been universally agreed upon. Or did we agree? Perhaps we just accepted it because that is what we were told by our teacher, and them from theirs. The better question is why was it agreed upon? The 'singular and universal' 8 beat basic (and 6 beat, charleston, balboa, etc) is a universal language that we can share internationally, to find a place of rapport and connection with someone we don't know (personally and kinaesthetically). Once connected we can converse & explore, experiment & create, dance as one & individualise. It creates a place of certainty within which we can connect with our partner, connect with the dance and connect with the music. My mum sent me a recipe recently that used instructions like 'a handful of sultanas, a generous portion of butter". I had no idea what she was talking about and went into confusion. I would have preferred the 'basic' version. Artistry stems from process, and process stems from artistry. The place in between is my prefered state to be in whilst dancing. In flow.
very strange talk. not sure what the point of it was as a lindy hopper myself. im also putting myself in the shoes of the general audience and wondering WTF was going on
True. Started as a presentation, then to become a peek into the insiders controversy, to finish off with a "different is beautiful" and "centralisation is bad" kind of message. Probably not his peace of cake, all that public speaking. And I guess he got stressed out near the end when he was running out of time. But still, solid, informative and worthwhile.
I think they are great dancers, I just find the leg movements of the women very unatractive and unenjoyable to watch. I'm sure great fun to actually do.
One thing I wish he would have mentioned was how the Jitterburg became the dance of rock n roll in the 1950s, among white teenagers. The lindy didn't fade away it transformed among black teenagers turning into the "Bop" which is what inspired Chicago Stepping still popular today. To jump from the late 40s to the 80s negates the transition lindy went through. While the "Twist" killed partner dance from 1958 to 1962 the lindy was being done as the Bop without air steps sparking other dances like the "Birdland" and others. Also, he didn't mentioned that the Swedish looked they way they did/do because of people like Al Minns and Frankie Manning teaching them.
You know that he had a limited time, maybe he thought about it but he had to choose.
Dancers are: Tony Jackson and Irene Ragusini / Moe Sakan and Remy Kouakou Kouame
Sam Rae
We need more of these kinds of presentations to help fully revive lindy hop!
this was a great summary of the origins of Lindy Hop. Our non-profit strives to educate the public by preserving, promoting, and performing the vernacular jazz dances of the 1900s and beyond
Fascinating stuff. One of the things I've lamented about swing's has transformation since I started in '01 is how it's seemingly gone from something more social to more competitive. Exchanges - just getting together, dancing and meeting others - seem to have given way to "championships," where competing and leveled tracks are priority. This is good for the top-end, but might turn off recreational dancers. I think RUclips had a major impact on that happening, which relates to this discussion.
Fabulous presentation...Creativity and diversity - those are the essential elements..and fun, musiciality and fun and fun and fun and fun!
wonderful presentation!
Well done!
Fascinating!
I concur that the swing out should be individual to the person, if allowed. With women, we tend to dance a different dance depending upon our lead. Men tend to lead the same move the same way with different partners. NOTHING like a good feather duster move!!!!
Thats my uncle
Owsomem,owsome,mowsome,,thats the least you can say
yup :)
Strange but this was somewhat emotional for me. And I'm not sure why.
Oldies
is that Moe Sakkan dancing in the blue skirt?
Yes
The reality is that a Lindy Hop basic does not exist. It is just a combination of weight transfers and energy flow that has been universally agreed upon. Or did we agree? Perhaps we just accepted it because that is what we were told by our teacher, and them from theirs.
The better question is why was it agreed upon?
The 'singular and universal' 8 beat basic (and 6 beat, charleston, balboa, etc) is a universal language that we can share internationally, to find a place of rapport and connection with someone we don't know (personally and kinaesthetically). Once connected we can converse & explore, experiment & create, dance as one & individualise.
It creates a place of certainty within which we can connect with our partner, connect with the dance and connect with the music.
My mum sent me a recipe recently that used instructions like 'a handful of sultanas, a generous portion of butter". I had no idea what she was talking about and went into confusion. I would have preferred the 'basic' version.
Artistry stems from process, and process stems from artistry. The place in between is my prefered state to be in whilst dancing. In flow.
Do we know who the other dancers are?
very strange talk. not sure what the point of it was as a lindy hopper myself. im also putting myself in the shoes of the general audience and wondering WTF was going on
True. Started as a presentation, then to become a peek into the insiders controversy, to finish off with a "different is beautiful" and "centralisation is bad" kind of message.
Probably not his peace of cake, all that public speaking. And I guess he got stressed out near the end when he was running out of time.
But still, solid, informative and worthwhile.
I think they are great dancers, I just find the leg movements of the women very unatractive and unenjoyable to watch. I'm sure great fun to actually do.
Horrible reenactment! The Lindy Hop with a rough passionate quick and hard every move! They were being polite to one another
An energetic dance dribbled down to a boring, lethargic presentation. Couple on the right was the best btw.