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]In setting up the performance of great Lindy Hoppers, I first had to decide whom to ask, and then see if they would be willing to perform. I wanted the best dancers in New York and wanted dancers of different styles, ages, and backgrounds. I thought of many of my partners and limited the number to four. I chose the four dancers I dance with the most: Frank Manning, George Lloyd, Charlie Meade, and Tom Lewis. Frank, seventy-three years old, is black, was born in Florida, and grew up in New York George, sixty-six, is black, from Miami Charlie is black, fifty-six, from Jamaica, moved to England when he was eighteen Tom, thirty-four, is white and from the New York area. Frank, and Charlie were professional dancers, George and Tom were not. The most difficult thing about the whole project was dealing with each of their personalities, I wanted them each to feel comfortable. honored, and inspired to dance well. They all felt somewhat honored, relatively comforts ble, at least much more comfortable than I feat, worrying about the camera working, people showing up on time, and getting what I wanted on tape from each of them. My own anxiety plus the time we had to schedule the shooting; worked against inspiration, but all in all, I got what I wanted didn't get the most exciting dance performance each of us ever gave, but I captured four different dancer's styles plus a description of their view of the Lindy and its component parts.
I wanted to have each dancer taped individually so they wouldn't be influenced by each other's answers to my goes lions, or by the movements the other ones did. I also thought it would make each dancer feel more special if he were the only one there, as the center of attention. rather than having to share time with others. It was a better use of their time. I also thought it would be easier for me to focus on each one individually. I feel more comfortable one-on-one and felt better able to set up a rapport with each partner separately. I ended up having; George and Tom together because I thought George might dance better with an audience. Tom admires George and they get along well. In hindsight I should have included a large audience for each shot, to increase the performance level and level of fun. I asked each one individually if they would dance with me for the thesis protect, and they all agreed to. I asked Tom September 17, 1987, Frank September 22, Charlie September 30, and George months before that when I originally had the idea. None was overjoyed. When I reminded George about it he grumbled a little bit, but they all consented. I wanted to get it done as soon as possible after they consented, before anything got in the way or they changed their minds, as George almost did at the last minute, just 'cause he didn't feel like it. It was difficult working on something that was very important to us, and getting others to be involved with the same amount of dedication. None of them would take any money for it, as I wasn't getting any. I offered it, but they said they wanted to do it for me. They are all friends and steady partners of mine. I apple elated not having to pay them, but it put the strain of its being a favor to me upon the whose situation.
I didn't set up a rehearsal but danced with each of them at the Cat Club dances and at other Swing Dance Society functions. I had been rehearsing with Charlie almost every week for about a year, was currently dancing with Frank at weekly practice sessions, had danced with Ton four hours a week for the nine months he studied with me, and I dance with him socially. George would never practice. We won th 1983 Harvest Moon Ball together without one practice. We dance socially though.
Setting up the times to shoot was not too difficult but ended up having certain problems. I decided to rent the studio in which I teach one of my classes because it was in- expensive and everyone knew where it was, all having been there before. I wanted to use the same studio with the same background for each of them, so the only variation that would stand out wooed be each one's individual dancing. I wanted to shoot them all as close together as possible Go my dancing would be as similar to itself as possible. I wanted to be in the same frame of mind, and not have any new change or influence appear in rig dancing in one shoot that didn't appear in the other. I was to be a control factor, they were to be the variables.
The lighting in the studio was a factor to consider for videotaping. I wanted to use natural lighting for monetary reasons, so we needed to shoot in the daytime, and around the same time of day for each one. Also, the only time that they all could make it was weekend mornings around noon. Unfortunately, this is not the most inspired time to social dance, but it was a tine the studio was available for rent- trig and it was a time that none of the guys was working or out socializing.
Donald Young, who had taped my dancing many times before, agreed to do the taping. He was an ex-professional dancer himself who had danced ballet, musical theater, and jazz with the American Dance Machine), and had done pro professional video work in Minnesota some years ago. I own industrial camera, portable GE VCR, and a tripod, which he used to do the taping, The camera was set up {n the same position each time. We found the best angle which provided the most amount of lighting with the least amount of glare from the sun or the mirror. We draped a curtain over the doorway to avoid seeing people who were not involved pass in and out of the picture. Donald taped Frank Manning December 12, and George Lloyd and Tom Lewis on December 20, 1987. Unfortunately, the studio, Studio EGG. (287 Broadway, one block north of Chambers Street), was closed for painting the week I wanted to shoot Charlie Meade. Luckily they painted the studio the same Color! I had to shoot Charlie later, and at a time that Donald was not available. My sister, Susan Rummea, was visiting New York from Montana fur Christmas vacation. She is an excellent stile photographer and was a lighting technician in high school years ago, but had never worked with a video camera before. She agreed to shoot Charlie and me for me. She taped us on January 3rd, 1988.
In the time between asking the dancers and setting up the studio time, I planned the questions I wanted to ask and the dances I wanted to do. I wrote this down and gave each of the dancers a copy of this, along with a brief verbal description of what I wanted to accomplish by the performance, ive., to show how the Lindy lends itself to individual interpretation and styling by great dancers. I gave them this a day or two (or three) before. I wanted them to be pee pared but not too prepared, no their answers could be somewhat spontaneous.
I decided to wear the same costume each time, to provide the same basis of comparison against which one could see the men's styles. I decided to wear a white jumpsuit so it was visible for the camera, and all one color, for an unbroken line. It allowed a view of leg and hip movements that would be hidden by a skirt. I thought street clothes rather than leotards were more appropriate for social dank trig. I purposely didn't tell the men what to wear, to see what each would individually come up with. I thought it might express something more about their personalities and personal approaches.
To be better able to compare the style of each dancer, I decided to have each one dance to the exact same songs. I chose "Shiny Stockings," a medium-slow swing number by Count Katie, Frank Manning's favorite song a version of "One O'clock Jump," a faster swing song that George Lloyd always requests when we do demonstrations "The Peeper," by Hank Crawford, one of Charlie Meade's favorite artists, who does more of a rhythm and blues razz: and you Brought a New Kind of Love to Me," a smooth Benny Goodman number, my favorite, one that Tom Lewis taped for me to use in his lessons at my student. I wanted to see how each dancer interpreted the same music.
To further analyze the differences and similarities among the dancers, I thought it would be helpful to see hen each looked at the dance itself, technically. I asked each one what they thought the basic step was. None of the three older men had ever taken lessons. Frank Manning had done some teaching, Tom Lewis began dancing as my student about a year ago. Each one danced what he considered the basic step. Then I asked each one to show me a "swing-out," a reverse and a tuck-in turn, a kick step, and a jig walk. Sometimes I had to explain the terminology I was using, by showing them which move I meant. I asked each, "How do yea count the rhythm -- or do you count the rhythm?" Then I asked them if they knew or created any routines which they added into their Lindy, and would they show them to me. Then I asked them to demonstrate any Charleston, Big Apple. and Shim Sham moves they knew.
Lastly, but possibly not presented to each lastly, I interviewed them verbally only. without demonstration. Thus I had a pure dance section, an interview-dance-demonstration section of showing and breaking down steps without music, and an interview section. These were the questions I asked in the interview: Where did you begin dancing -- how old were you, who taught you?
To edit the tape, I had to decide upon an interesting and effective order, I put an eight-minute section of each dancer dancing two minutes of Basie's shiny Stockings" as an introduction or overview, to serve as an appetizer for the rest of the tape. Then I verbally introduced, on tape, each dancer, with a brief description of his background, in the same order they appeared in the introduction and would be seen in the first section, eldest to youngest.
Section I was the dance demonstration. I began with the eldest, Frank Manning, who demonstrated the dance he believed the Lindy evolved from, and also the steps he considered the basic steps in the Lindy. Then I danced the entire "Two O'Clock Jump" by Harry James with Frank. I did this with George, Charlie, and Tom, next.
Section II was the interview section. I spoke with each dancer about his background, where and how he learned to dance, what qualities he liked in a partner, and what he thought was important to good Lindy dancing. I danced to Hank Crawford's "The Peeper" with each one after his interview. I reversed the order, speaking to Tom, the youngest, first, ending with Frank Manning, who had the most history Cally influential background of all fear.
Section TIT was the style and favorite dancers section. I began again with Tom, and asked about how he created steps, who his favorite dancers were Which turned out to include Frank, George, and Charley, and to describe his style. Tom and I then danced the last number to be danced by all four, You Brought a New Kind of Love to Me." I then asked Charlie the same questions this favorites included George and Tom, and I then danced to the same last song with him. Then, as a break from the structure, to emphasize its importance, I chatted with George about his feelings of persection, as an outsider from the group of dancers representing the Savoy at the Harvest Moon Ball, to his being black and not welcomed at certain restaurants and clubs. These all are part of his dance history, and dance history in general, and not a part that is usually included. (I included his favorite dancers and his view of his style in his interview in Section II.) George presented some pretty powerful information and I put this near the end as an emotional climax, followed by us, suddenly a noticeably white-and-black couple, dancing to the sweet, pretty song, "You Brought a New Kind of Love to Me." To end it on a happier "up" note, I ended with joyful Frank Manning, I asked Frank about his favorite dancers and how he created steps (in his answers he mentioned George and Sam) and how he would describe his style. The dancers' mutual admiration society added a nice feeling to the film. I ended with a dance to "You Brought Me a New Kind of Love to Me" with Frank, after which we playfully reintroduced one another and laughed.
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