The US Swing Dance Server [home][new][events][styles][technique][steps][literature][terms][music][videos][clubs][links] The US Swing Dance Server [home][new][events][styles][technique][steps][literature][terms][music][videos][clubs][links]Barry claims many national championship titles, including 1995 US Hustle champion. He can be reached at i-hustle@usa.net.
Lani QueenCoins Seattle, WA
I'd like to respond to the "counting hustle" thread recently on rec.art.dance -- how music, counting, and movement apply to the hustle. First, in music, the designation "3/4" or "4/4" is merely an indicator to signify the "content" and integrity of a *bar* of music. 3/4 means each bar of music "contains" 3 counts of music, and each beat is built with a quarter note increment (or 4 integrity). In 4/4 time, 2 counts equal 1 beat, 2 beats equal 1 bar, 2 bars equal a measure, and 8 measures comprise a "phrase." Since no music has a 16-increment integrity (impossible), the concept of 16/16 time cannot exist. This "theory" was obviously adopted by people with no musical writing concepts.
However, the end result is the same; i.e., 8 measures of 8 counts each is a phrase of music, or 64 counts. 4 measures of 16 counts is also a 64-count phrase. We have two basic theories that get the same result. The difference is that one (4/4 time) is musical writing that has been proven, practiced, and accepted in music theory, and has an established working system. The other (16/16 time) has no basis whatsoever. My inclination is to go with the one that demonstrates the most logic *not* 16/16.
Secondly, I've heard it taught that rhythm dances swing, rhythm & blues, nightclub 2-step are danced in two-beat increments, when in actuality they are danced in two-*count* increments, with the second count having a greater musical intensity, thus becoming the beat indicator or back beat (pulse). Eg., one, TWO, three, FOUR. All dances associated with these music styles move and flow with the beat, pulsing on the even counts.
Hustle music does NOT have this quality. It was rejected by many because each count had the same musical intensity, and, therefore, was "boring and monotonous." Thus, no beat, no pulse.
Thirdly, on the subject of counting, I have been training in many forms of dance for over 30 years. After working in dinner theater, Las Vegas, cruise ships, and after 30 years of competing in Jazz, Swing, Hustle, Ballroom, and Latin, I can honestly say that about 90% of the top-level pros that I have worked with would support the practice of *counting*. I do believe that the more you dance and the better understanding of dance you develop, the less *conscious* effort you put into counting. But this is only once your muscle memory has the sequence of the patterns, and your coordinating skills have been developed to a level that allows you to execute what you've learned with some degree of consistency and accuracy. This process takes much longer than most people think; hence, a lot of bad dancers who don't count, and, unfortunately, ones who think they are wonderful.
Men, just because there are an abundance of women to dance with, and just because they smile and say, "Thanks, that was great," doesn't make you a good dancer. Most women are just happy to dance even with bad dancers because there are 10 times as many women dancing as men. Gents, get a clue. Don't be one of the guys that women dance with just to be polite. And don't let women's polite comments go to your head. Work harder on the basics of dance! Just recently there was a gentleman in one of my beginner classes who was obviously a higher level dancer. He smiled and said he was trying to get pointers on the basics. If we had more men with that attitude, we'd have a much higher level of dance across the board.
Now let's get to the Hustle. The Hustle originated in the early 70s by the Latinos and the Gypsies in southern Florida. They were street dancers looking for some way to dance the hot influence of the Latin rhythms to disco music. Hence, the birth of the Hustle.
A new and beautiful form of movement-music relationship was born. A dance with a 3-count measure danced to 4-count music! This quality is the beauty of Hustle! It is the first dance that does not move with the beat, but cuts through the beat right to the count, with the movement emphasis of each step being equal, like the count base of the music it was designed for. The fact that there were no beat restrictions bore many different styles of Hustle. Some people pulse with the back beat (when dancing to R&B or Pop style music). Some dance it very smooth with accents added occasionally with the flow of the music. And some accent the syncopated count, whether it is a down or up beat. All of these styles are valid.
Like all street dances, there was no rhyme nor reason to it. Unfortunately, even when the studios picked it up, there was no dance analysis to formulate a basis of movement. That's why early Hustle had so many inconsistencies. Besides, it was just a "disco dance" that would surely fade. It was primarily used to segue from lift to drop, etc. So, most Hustle dancers knew a couple of dozen moves. That's all they needed.
When disco died, so did the Hustle in most areas. New York, California, and little-known Michigan were the only places where Hustle could still be found. New York and California styles of Hustle remained the same large steps, long sweeping patterns, and a random basis of movement. These are some of the common flaws found in these styles of Hustle, especially in social dancing.
In Michigan, Hustle was going through a metamorphosis. As all dances must, Hustle was growing and maturing. Any dance that stays the same for 20 years is destined to become "extinct." Now that Hustle is seeing its national rebirth, let's not go back to doing the same illogical things that caused the wonderful dance to die in the 80s.
THE COUNT. As there can be no dance before the first beat of music, we cannot start on "and 1." All dance (formal) is measured to basic music theory. That is why all dances begin on "1," as all basic music is measured from "1."
INCONSISTENCIES OF EARLY HUSTLE. All dance starts with some mutuality of movement. It is illogical to start with partners moving away from each other. This teaches the male dancer that it is okay to push his partner back on "and 1" and makes him believe that he should continue to push her back on each ensuing "and 1." This is inconsistent with the rules of good lead-and-follow technique. It also attributes to the familiar "hick-up" step associated with the Hustle. This hick-up is made worse by creating a rock step on the "and 1" where the lady's right foot is placed as a ball step behind her left foot. When the lady is changing her weight and direction of movement in a 1/2-count, this makes keeping up with the pace very difficult, as her weight is between her feet. Again, an incorrect movement technique. Further, "and 1" forces the lady to begin each measure with "1" on her left foot, which is again inconsistent with the formal dance basics (the lady beginning on her right foot and the man on his left on "1").
FINAL ANALYSIS. Hustle is a dance built on a 1-count increment, danced in a 3-count measure, and best expressed in 6-count patterns. Let's take a look at a new style based strictly on the technique and logic of good partnering. First, let's measure the dance from "1" to keep it consistent with all other dances. This makes our count "1, 2, and 3." We start the dance with both partners coming forward. That satisfies the problem of mutual movement. If we begin forward on "1" and we apply the rules of good frame (i.e., keeping your partner out of your space while you are in it), creating compression which will cause both partners to move away from each other on "2." If we consider this to be our last movement away from each other, then we would step together on the "and" and forward on the "3." Thus, our basic would be (1) forward, (2) back, (and) together, (3) forward. In just our basic form we have remedied a number of major problems: we have a basic that adheres to all rules of mutual movement and measuring; with development we've stopped the dreaded "hick-up"; we have increased the efficiency of weight transfer during the syncopation by dancing the point of exchange over both feet; and, by making the patterns smaller and adding to our basic by dancing it on the slot, we make the dance more "user friendly" by giving direction and definition to each pattern. This stops the need to push and gives us a solid beginning basic.
Let's go into a more advanced technique of the lady's basic. If a basic begins forward on "1," it should end going *back* on "3." We take the "1" forward and the "2" backward. Place the feet together on "and" but instead of stepping forward on "3" we use it as a forward foot placement that leaves the lady on her right foot on "3" (instead of a step). In order to begin with "1" on the right foot, we syncopate between the "3 and 1." Our count then becomes "1, 2, and 3, and 1, 2, and 3," etc. This gives us the maximum use of our 3 counts: (1) forward, (2) back, (and 3) no body flight.
This is the new age of Hustle. Let's move into the next century with a Hustle that has enough technical merit to survive.
Barry Douglas (i-hustle@usa.net)
The US Swing Dance Server you can add to this page